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01 Bohemia in the 19th century 02 Wattens, in Austria’s Tyrol region, in 1895 03 The young Daniel Swarovski I, always inventing Swarovski works hard to show designers and consumers the many possible uses for crystal. It holds events for designers and works together with them on objects using crystal to be displayed at other shows and galleries. Throughout its history, the company has worked on developing quality techniques for applying crystals to various materials, such as leather and wood. Swarovski knows that the easier it is for a designer to achieve a quality effect with crystals, the more likely he or she is to use them. The company recently invited over 100 artists and designers from more than 22 countries to create an item related to wed- dings, using Swarovski crystal. The project resulted in dresses ranging from an ultra-modern sculptural dress, to a variation on the 450-year-old tradition of the kimono, to an embroidered Arabian gold tunic. The designers also created objects such as bouquets, bed linen and table settings. There was even a mink- lined sleeping mask. The beginnings The relationship between the Swarovski family and designers has always been a close one. This was a result both of the business necessity of such connections and the family’s interest and 10 Outlook 02/2008 01 02 03 enthusiasm for the creative uses of crystal. Company founder Daniel Swarovski grew up in a small town in the mountains of northern Bohemia, in what is today the Czech Republic. His village was near Gablonz, the center of Bohemia’s thriving crystal and costume jewelry industry. His interest in design and decora- tion was instilled at a young age. He trained as a crystal cutter, apprenticing to his father and other local craftsmen. Always interested in new ways of doing things, he began setting crystal stones in metal jewelry settings. At age 18, he took his first invention, a machine for setting crystal stones, to Paris. This was the beginning of what was to be a life- long relationship with designers in the French fashion center. Three years later, in 1883, he visited the First Electric Exhibition in Vienna. Fascinated by the potential of electricity, he set out to invent a machine for cutting and polishing crystal jewelry stones. Nine years later he was able to patent one. In 1895 he and his family moved to Wattens in Austria’s Tyrol region. Here he was able to use water power, and he was away from prying eyes. In those days, the high mountains of the Tyrol
provided a formidable barrier to his competitors in Gablonz. Wattens was also on the railway that ran to Paris. Together with his brother-in-law Franz Weis and a Paris customer, Armand Kosman, he formed the Swarovski company in 1895. The new crystal stones became known as “Pierres Taillees du Tyrol.” This was a time when the cities of Middle Europe – Prague, Budapest, Bucharest and Vienna – were vibrant with art, music, literature and science. It was the time of Strauss, Rilke, Klimt and Freud. When Daniel Swarovski visited Vienna, the baroque beauty of the Austrian capital was meeting with radi- cal art movements such as the Wiener Sezession, which was aimed at making good design available to everyone. It was a time when the traditional was being challenged by the modern, and also combined with it. The Swarovski company grew from these roots, with these ideas. 01 02 The Swarovski crystals were more precisely cut and consis- tently sparkling than earlier crystals, and they were an immedi- ate success. In 1908, Swarovski began to manufacture the raw crystal material and by 1913 he had found a recipe that significantly refined and improved the crystal. A little later he experimented with color, which gave crystal a permanent place in fashion. 01 Rossella Tarabini features crystal in her bustier for Anna Molinari 02 Sofa by Squint, shoes by Jonathan Kelsey, crystals by Swarovski The Swarovskis began to work closely with designers such as Chanel, Schiaparelli, Balenciaga and then, later Christian Dior. In the 1920s, the Jazz Age, Swarovski crystal became an es- sential fashion component for shimmering dance dresses, as well as the strings of crystal beads that often accompanied them. Crystal began to appear on the costumes of music hall and cabaret artists, including the singers Mistinguette and Josephine Baker. In 1931, Swarovski launched a fabric band of crystals for cocktail dresses, shoes, belts, bridal gowns and cabaret costumes. Drawing from a rich history Until the mid 1970s, Swarovski did not sell to customers, but rather to other businesses. Then the crystal-figurine collection was launched, followed by the Daniel Swarovski couture line. The company had not been using its name prominently, but rather sold its products mostly under “Pierre Taillees du Tyrol.” In 1976 the company changed this and began to emphasize “Swarovski.” Outlook 02/2008 11
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