Why Crystal?

Ivey-Frank Design&Engineering

Why Crystal?

… from the designer’s viewpoint

This is not a scientific paper, but some thoughts from a designer

who also happens to be an engineer and who feels

passionate about crystal.

Developing crystal for a post millenium world


Content

• My background in the crystal industry

• What does traditional crystal design look like and why did it evolve in the first place?

• What has changed?• What products and designs suit

crystal and where is it wasted?• How can we bring out the best

in the material with our designs?

• Which possible design directions can modern crystal go?

• What technical challenges does this pose to the industry?

• Conclusion


My background in the crystal industry• Grew up with crystal at Nachtmann• Engineering degree in at Technical University of Munich

following in my father‘s footsteps• Complete my studies with a M.A. in design at the Royal

College of Art in London• Early experience as a project manager with leading

American design firm IDEO based in London• 1999 entered Nachtmann on the technical side of the

business• Production manager at the Weiden plant• Three years as manager of the design and product

development department• Now run glass design and product development

consultancy


What does traditional crystal look like ?

• Richly cut crystal• Repeat patterns• Cased crystal• Heavy = value • Sparkle• Fake „cut“ pressed crystal • Exact flat cuts • Clean, heavy shapes with

thick ice and walls• Pressed stemware• Press-injected candle-

holders• FigurinesBCT



• Richly cut crystal

• Repeat patterns• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal• Exact flat cuts• Clean, heavy shapes with


holders• FigurinesWaterford Crystal



• Richly cut crystal• Repeat patterns

• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal• Exact flat cuts• Clean, heavy shapes with


holders• Figurines

Nachtmann



• Richly cut crystal• Repeat patterns• Cased crystal

• Heavy = value• Sparkle• Fake „cut“ pressed crystal• Exact flat cuts• Clean, heavy shapes with



Waterford Crystal



• Richly cut crystal• Repeat patterns • Cased crystal• Heavy = value

• Sparkle• Fake „cut“ pressed crystal • Exact flat cuts• Clean, heavy shapes with



Swarovski



• Richly cut crystal • Repeat patterns• Cased crystal• Heavy = value• Sparkle

• Fake „cut“ pressed crystal

• Exact flat cuts• Clean, heavy shapes with



Hofbauer / Nachtmann



• Richly cut crystal• Repeat patterns• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal

• Exact flat cuts • Clean, heavy shapes with



Baccarat



• Richly cut crystal • Repeat patterns• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal• Exact flat cuts

• Clean, heavy shapes with thick ice and walls

• Pressed stemware• Press-injected candle-


Orrefors



• Richly cut crystal• Repeat patterns• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal• Exact flat cuts• Clean, heavy shapes with

thick ice and walls

• Pressed stemware• Press-injected candle-


Mikasa



• Richly cut crystal• Repeat patterns• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal• Exact flat cuts• Clean, heavy shapes with

thick ice and walls• Pressed stemware

• Press-injected candle-holders

• Figurines

V&B



• Richly cut crystal• Repeat patterns• Cased crystal• Heavy = value• Sparkle• Fake „cut“ pressed crystal • Exact flat cuts• Clean, heavy shapes with


holders

• FigurinesLalique


Why did crystal evolve in the first place?

• Less fragile than Venitian cristallo

• Heavy = value• Cutting:

– Opened up unlimited scope for design

– Feel of ultimate luxury – Hide flaws

• Pressing: flame and acid polishing made possible cheap products with good surface quality and sparkle

• Long glass => development of injection pressing allowed complicated shapes like figurines

• Superior transparency and colour

George Ravenscroft, 1690










England, 17th C.










Perrin Geddis & Co., 1806-8



• Less fragile than Venitian cristallo• Heavy = value• Cutting:






Nachtmann, 1970



• Less fragile than Venitian cristallo• Heavy = value• Cutting:






Nachtmann









• Superior transparency and colourHoya


What has changed?

• Most crystalline formulations are now less fragile than crystal• Traditional repetititve cut or fake-cut patterns in decline• Pure shapes without decoration have become more popular• Cost of traditional cutting, rework and acid polishing has been

rising• Thin = quality / high value• Improvements in technology: crystalline can be used for

many items• Patterns to camouflage flaws are less necessary• Growing supply of cheap, hand-made and especially coloured

glass opens up new design alternatives• Issues like prop 65 mean unwanted hassle to some

companies


What products and designs suit crystal?

• Wine glasses (sound and balance)

• Designs which need rework• Complex press-injected

shapes• Thick walls because of

transparency and colour• The sparkle of luxury:

– real cut crystal – real cased crystal – modern press patterns

Riedel




• Designs which need rework

• Complex press-injected shapes

• Thick walls because of transparency and colour

• The sparkle of luxury: – real cut crystal – real cased crystal – modern press patterns

Gaia&Gino




• Designs which need rework

• Complex press-injected shapes



Nachtmann





shapes



Hoya






transparency and colour


William Yeoward

Willian Yeoman








Nachtmann







• The sparkle of luxury: – real cut crystal – real cased crystal – modern press

patterns

Nachtmann


Where is crystal wasted ?

• Plain, thin-walled shapes

• Richly patterned pressed items

• Functional table ware (plates, bowls, jugs, etc.)

• Heavy pressed stemware• „Everyday“ stemware

• For all these items I see a better future with other materials such as crystalline

Nachtmann



• Plain, thin-walled shapes

• Richly patterned pressed items

• Functional table ware (plates, bowls, jugs, etc.)



V&B



• Plain, thin-walled shapes• Richly patterned pressed

items

• Functional table ware (plates, bowls, jugs, etc.) is lighter and more durable in crystalline



Nachtmann




items • Functional table ware

(plates, bowls, jugs, etc.)

• Heavy pressed stemware

• „Everyday“ stemware


Nachtmann




items • Functional table ware

(plates, bowls, jugs, etc.)• Heavy pressed stemware• „Everyday“ stemware


Nachtmann


How can design bring out the best in crystal?

• Stemware: Taking sound and feel into consideration

• Keeping the sparkle alive• Work with varying thickness

of rims• Emphasize edges• Play with optical effects• Take the complexity of

shapes to extremes• Never kill a product with

decoration, but contrast clean surfaces with patterned ones

• Use traditional techniques for which crystal was invented

BCT




• Keeping the sparkle alive

• Work with varying thickness of rims

• Emphasize edges• Play with optical effects• Take the complexity of



• Use traditional techniques for which crystal was inventedGaia&Gino




• Keeping the sparkle alive

• Work with varying thickness of rims





Nachtmann





of rims





Nachtmann





of rims• Emphasize edges

• Play with optical effects• Take the complexity of shapes

to extremes• Never kill a product with



William Yeoward





of rims• Emphasize edges• Play with optical effects

• Take the complexity of shapes to extremes

• Never kill a product with decoration, but contrast clean surfaces with patterned ones


CALP






shapes to extremes

• Never kill a product with decoration, but contrast clean surfaces with patterned ones

• Use traditional techniques for which crystal was inventedStuart Crystal








• Use traditional techniques for which crystal was inventedNachtmann


Which possible design directions can modern crystal go?

Gaia&Gino

• Large items • New glamour • Take the sparkle to the

extreme• Patterns from nature instead

of geometry • Revival of classical patterns

applied in a modern way• „Mix & Match“ look• Vases are not only for flowers• True colour • Plain bowls – decorated stems• Crystal used in jewelry and

fashion



• Large items

• New glamour • Take the sparkle to the


of geometry• Revival of classical patterns

applied in a modern way• „Mix & Match“ look• Vases are not only for flowers• True colour• Plain bowls – decorated

stems• Crystal used in jewelry and

fashion

Nachtmann



• Large items • New glamour • Take the sparkle to

the extreme • Patterns from nature

instead of geometry• Revival of classical patterns

applied in a modern way• „Mix & Match“ look• Vases are not only for

flowers• True colour• Plain bowls – decorated


fashionSwarowski



• Large items• New glamour• Take the sparkle to the

extreme

• Patterns from nature instead of geometry

• Revival of classical patterns applied in a modern way

• „Mix & Match“ look• Vases are not only for flowers• True colour• Plain bowls – decorated stems• Crystal used in jewelry and

fashion





of geometry

• Revival of classical patterns applied in a modern way

• „Mix & Match“ look• Vases are not only for flowers• True colour• Plain bowls – decorated stems • Crystal used in jewelry and

fashion

Wedgewood

Hermes




extreme • Patterns from nature instead


applied in a modern way

• „Mix & Match“ look• Vases are not only for flowers• True colour• Plain bowls – decorated


fashionNachtmann






applied in a modern way• „Mix & Match“ look

• Vases are not only for flowers

• True colour• Plain bowls – decorated stems• Crystal used in jewelry and

fashion






applied in a modern way• „Mix & Match“ look• Vases are not only for flowers

• True colour• Plain bowls – decorated stems• Crystal used in jewelry and

fashion

Orrefors

Tittot






applied in a modern way• „Mix & Match“ look• Vases are not only for flowers• True colour

• Plain bowls – decorated stems

• Crystal used in jewelry and fashion

Rosenthal Versace






applied in a modern way• „Mix & Match“ look• Vases are not only for flowers• True colour • Plain bowls – decorated

stems

• Crystal used in jewelry and fashion

Swarorwski


What technical challenges does this pose to the industry?

• Improve pressing techniques in order to allow very large items with an acceptable weight

• Pressed stemware: thin, thin, thin

• Improve stationary blowing (the possibilities for rotational or open shapes are running out)

• Work on mould technology to realise ever more complex shapes

• Reduce cost in traditional techniques

• Work on techniques for bringing true colour back into crystal

• Find better ways to deal with mould lines other than hiding them with fake-cuts


Conclusion: Making virtue out of necessity!

• Part of the crystal market is likely to be replaced by crystalline, but it is the crystal manufacturers who are best suited to produce these new items

• We will still need crystal for all the more challenging designs, but as a result, crystal is returning to its origins as a niche and luxury product, but at price points which keeps it available to a large market.

• The era of plain design will run its course. At this point we need to be ready with concepts for truely modern decoration for crystal and crystalline.

• „Mix&Match“ and „New Glamour“ trends allow even the most purist design enthusiast to bring back a touch of crystal sparkle to their homes.

• From the designer‘s point of view there is a future for crystal, but it will need bold new concepts to bring the material back to the consumer‘s attention.

• In order to achieve this, close collaboration between design and technology will be more important than ever before.

Why Crystal?

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