EMON MAASHO, CEO AND PRESIDENT OF ORREFORS, NORTH AMERICA, is representative of the exciting trajectory in this 125-year operation. The über-exec joined the New Wave Group in 2013, a time when Orrefors and Kosta Boda (OKB) were underperforming assets in the portfolio. "Our crystal brands are national treasures and a part of Swedish history," Maasho affirms. And he wanted a front row seat in their revitalization. Maasho was placed in charge of the new hotel and restaurant division and shortly thereafter promoted to director of corporate sales, comfortably increasing the size and profitability of the division. In 2020, Maasho was ready for the next challenge: he was interested in captaining the 100-year-old OKB North American subsidiary. "We had been through tough times since the 2008 financial crisis," he says. "Many small businesses who carried our brands went bankrupt and never came back. Some of our major department store partners closed hundreds of outlets. Things were looking bleak." He arrived in New York in the fall of 2019, just a few months to acclimate before the pandemic struck.
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ORREFORS CELEBRATING 125 YEARS It's a banner year for the celebrated Swedish glass producer - ORREFORS celebrates its 125th year in production and its 100th year of U.S. distribution.
Known for its iconic Scandinavian design, ORREFORS has always been about craftsmanship, innovation, heritage, a timeless aesthetic, sustainability, and forging new directions in glass.
................................ "I design for all the senses. The glass should emphasize the drink, have good balance, and also be a delight to the eye. I've always been fascinated by the sensual experience of holding the glass in your hand, the feeling, balance, and the liquid that meets the mouth and taste buds. I'm very proud of what I've achieved through Orrefors and how I've been able to influence the brand's identity."
– ERIKA LAGERBIELKE
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But he made quick work of it, expeditiously trimming the fat and repositioning Orrefors and Kosta Boda as premium brands. "I've now celebrated ten years with the company," says the 34-year-old, "and I'm proud to say we've done so much, creating new products and streamlining distribution channels." Since January 2020, sales have increased 45%. "We couldn't be in a better place," he enthuses. "It's been an extremely fantastic journey, and now, just in time for our anniversaries, we have new branding which includes a return to our 1960's logo with an elevated upgrade that pays homage to our heritage, we have more sustainable packaging, and we're well into growing brand awareness across the American market."
The U.S., in fact, is a key focus for the operation. "In Sweden, we have quite a head start because everybody knows who we are and what we stand for," says Maasho. "That is not yet the case in North America, even after 100 years here, so we have to take the time to introduce ourselves and our brand values." That introduction includes a spotlight on sustainability, an issue Orrefors management has been passionate about before it became a chic cause. In the 1970s, Orrefors was among the first European glassworks to remove lead from its crystal. No glass is ever discarded; it's all reused in new products, even colored glass. For each tree used to make gift boxes, a new tree is planted. These are the rousing bullet points Maasho, and the entire Orrefors team here and abroad, are talking up as they celebrate an exalted quasquicentennial. "It's an honor to have a brand with the heritage we have," says Maasho. "We've been part of important family occasions and made peoples' homes a little more beautiful for 125 years."
................................ "I was 32 when I was approached by Orrefors. It was a huge moment when you consider the history of the company and its impact on Swedish design. I was excited to be part of a new generation of designers and the opportunity to team up with the incredibly skilled craftsmen in the hot shop. Their longtime expertise and creativity is what makes Orrefors so special. Getting the chance to experience the 100th, and now 125th, anniversaries is very special to me."
– LENA BERGSTRÖM
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It's a history they'd be wise to promote more. Glass production in Sweden developed surprisingly early, in the Middle Ages when window glass for churches and monasteries was made locally. (It was likely glassmakers from the Netherlands who brought this newly acquired knowledge to the north.) Sweden's fast-growing coniferous forests made production possible, an essential renewable resource for glass production. Glassworks proliferated in the late 19th century thanks to the downturn for iron ore, a once thriving commodity. That's what happened to the 174-year-old Småland steel mill (five hours south of Stockholm); when profitability flattened the foundry, Johan August Samuelsson capitalized by opening a glass studio, in 1898, producing window glass and bottles. (The smithy is situated next to a river that flows into Lake Orrenas, so the glassworks was dubbed Orrefors, which means Orre rapids.) In 1913, Johan Ekman acquired the company - he really only wanted the forest for paper production - and decided to produce drinking glasses, vases, and other functional housewares. Within the decade, design became a mandate, with the hiring of an aesthetics consultant and artistic director. Export quickly followed to points around the globe, including the American market, in 1923. (Today the brand is sold in 40 countries; the top is the home market followed by the U.S., which contributes 25% to the export coffers. Australia, China, and Norway round out the top five global markets.)
Successful exhibitions across the continent - including a high profile display at the 1925 Paris World's Fair - helped created a boom for Swedish art glass. "Orrefors won the Grand Prix award which helped set them on the international stage," says Maasho. "We became a world famous brand." Minor and major blips throughout the 20th century (the depression, WWII, depleted resources, changing consumer tastes - eerily similar to modern day challenges) had a noticeable effect on the bottom line. But a saving grace was when American Gls left the war-torn continent for home and wanted to bring souvenirs with them; the beautiful Swedish modern glass was on its way to finding an American home. Success led to the arrival of new designers and a renaissance was afoot. In 1947, Ingeborg Lundin became the first female designer at Orrefors. Gunnar Cyren came to Orrefors in 1959 and remained a prolific and admired designer until 2013. (Cyren created Nobel in 1991, designed for the Nobel Banquet and still in use at the annual awards ceremony, but also available at retail.) Orrefors designers are practically royalty. "The way we treat our artists is unique," agrees Maasho. "They're our rock stars."
................................ Ingegerd Råman worked for several distinguished glassworks before she began collaborating with Orrefors in the late 1990s. Today, she is one of the designers who has had the greatest impact on the development of Orrefors as a brand, and her elegant style continues to be an objective for the future.
"To me, glass is poetic. It has a sensual power and beauty."
– INGEGERD RÅMAN
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One of Orrefors' greatest talents is Erika Lagerbielke, who joined the glassworks whilst still at college, in 1982. The wunderkind glassmaker had a seismic breakthrough two years later, at 24, with Intermezzo, the iconic franchise design with the blue teardrop stem. "It was an exciting time to be part of a movement when design conquered a new position," Lagerbielke says. "Orrefors was part of this wave. It was a fantastic start." The award-winning artist recently unveiled a 40th anniversary edition of Intermezzo, in gold. While she has the most designs in Orrefors' current portfolio (Intermezzo, Difference, Metropol, Beer, Merlot, Enjoy, More), she is happy to be part of an inspiring design team. "Today the group of Orrefors' designers is quite large and that includes designers that have been with the company many years, like me, who have an ongoing relation to the brand, as well as skilled designers that contribute on a less regular basis. We're all joined by our appreciation for the brand and when we meet there is always a good spirit between us." The Orrefors design culture is stimulating. "I believe most designers are attracted to the high standard in design and this has been consistent since the early years," says Lagerbielke. "Physical expressions change over time, but the core values remain the same. To me, innovation and elegance sums it up pretty well. Orrefors is a design company with the ambition to be leading in its field."
Her friend and colleague Lena Bergström, who has seven collections in the current catalog, came to Orrefors in 1993. "The history of Orrefors is, of course, an important factor why designers love working here, but more than anything I think it's the passion for creativity and glass as a material that we all love," she says. "Orrefors is a place where you get the opportunity to write a new chapter in history as a team alongside glass experts, product management, and fellow designers. To get a chance to work and prove yourself in such a dynamic environment is appealing to most creative minds." And a healthy competitive spirit doesn't hurt. "It's a combination of mutual respect, shared encouragement, and a feeling of joint responsibility," Bergström says. "Orrefors is our common cause and though we are all unique individuals with our own aspirations, these special qualities continue to shape a united Orrefors' design identity which I really like."
................................ "It's really inspiring to work with a brand with such a strong and glorious history. The legacy of Orrefors is an important part of our brand transformation. The brand's origins and long successful history are seen as a high quality guarantee worldwide. Orrefors is recognized as one of the world's leading glass producers and one of the driving forces behind both Swedish Grace and Scandinavian Design as concepts."
– Ulf Kinneson, CEO Sweden
"It's a great honor to be part of the transformation of this extraordinary heritage brand with such a rich history. As we're on a journey into a new category that can be defined as 'design and interior', all of our designers, new and existing, have to deliver design solutions in line with the updated roadmap. Our goal is that all new products will be relevant and commercial visualizations of the new Orrefors brand platform."
– David Carlson, Creative Director
"Our factory boasts seven generations of legendary glass blowers, cutters, and decorators who work alongside our top-notch designers to create popular collections that are constantly updated and refined. With the U.S. as our largest export market and our increasing presence on social media, we're confident in the direction we're heading. We've made significant changes to our in-house operations to ensure faster handling and a superior customer experience, and I couldn't be prouder of our progress. We're poised for continued success and growth as we push forward with our vision."
– EMON MAASHO, CEO North America
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Ulf Kinneson, the New Wave exec who is the newly named global CEO of Orrefors Kosta Boda, likes it too. "The designers of Orrefors have always been the backbone of the brand and they still are." David Carlson joined the operation in 2019 as creative director after a decades-long career at the fore of the international design scene. "I've worked with brand, product, and communication development for 30 years, and I always admired Orrefors as an important heritage brand," he says. "However, there was a need for a transformation to reach a new and younger audience. So for the last few years we've updated everything from brand platform, to new graphic identity, image, and language tonality, and strategies concerning product development, marketing, and distribution. And we're coming out with a super strong offer."
Carlson recognizes the gravity of appealing to new (often younger) markets. "To be able to understand new audiences it's important to explore social and cultural changes and changing buying patterns around the world, and out of this knowledge define what will be attractive for younger consumers," he says. "Among things we examine is how sustainability, awareness of food and drink, the future of luxury, new rituals, and local culture will affect how our products will be received. We're looking back to go forward and are bringing a lot of historic values with us: beauty, innovation, gracefulness, timelessness, and sustainability. We see Orrefors as a Scandinavian design brand with a clear vision to deliver relevant products that attract a young international target group." And that doesn't necessarily mean only drinkware and accessories. In 2015, Volvo launched a car that sports a cool crystal Orrefors gear shift, left. "In Sweden, the winters are hard," says Cecilia Stark, who leads Volvo's color and materials department. "Because it's so dark up here, light is important. What makes crystal so beautiful is the play of light inside. In a country where winter days can have only four or five hours of light, it makes sense to celebrate it."
The Orrefors team loves the idea of celebrating its product, and its attentive parent is providing the tools for further festivities. The Gothenberg-based New Wave Group - with 2,700 employees; 170 are dedicated OKB employees - divides its operations into three
segments: corporate; sports/leisure; and gifts/home furnishings. In 2005, Orrefors and Kosta Boda came under the umbrella. "They've given us a great deal of help and money to be more efficient and move from the red to black," says Maasho. "The help has allowed us to build our brand here. While there are over 300 million people in the U.S., we still have more customers in Sweden than we do here. With our new assortments we have the possibility to reach a new audience that we haven't reached before. That's one of our key objectives. We're working with new types of distribution channels, like interior design and hospitality. The challenge is trying to reach new people, increase our brand recognition, and make crystal interesting to a new generation. We need to get better at understanding how they use our products and we need to be better at telling stories about our craftsmanship that gives our products soul." That elusive soul has long made Orrefors a design forerunner. "To keep this high level of quality and design is quite remarkable over so many years," Maasho says. "And that's with minimalistic crystal which is a confirmation of how great our designs and quality are. You don't have to overdo design. There's magic when light reflects in the glass. It's so well thought out. Drinks always look half-full, not half-empty, because the bottom of the glass lifts up the liquid. That's been one of our success keys."
Intermezzo is the company's most famous design, its strongest franchise player, and an international design classic. When the blue drop stem launched, it immediately wowed the industry. Lagerbielke says it was influenced by the '80s trend for colorful details. The process to create the drop (it's really a bubble) wasn't easy. There was simply no available technique to achieve the pulled effect. But the tireless trial and error from one dedicated glassblower Lagerbielke worked with yielded the desired effect. "This process highlights the importance of the blowers, their strong spirits, and an eagerness to make the impossible possible," says Lagerbielke.
A black version, Metropol, launched in 2017, and Intermezzo Gold debuted this year for the 40th anniversary. Lagerbielke says she wanted to fill Intermezzo's characteristic bubble with gold for years but, again, the process wasn't easy. "Only now have they succeeded because they're all perfectionists," she chuckles. "But it was definitely worth the wait. Intermezzo has earned the position of an international design classic. Who could have known that in 1984? I'm naturally very proud about this. Orrefors has always stood firmly behind the product and we have also developed quite a few new additions to the line, even some new colors, which I believe helps the design stay relevant to younger customers. There is a strong entrepreneurial spirit and a respect for the brand's history and traditions." Her role in the success continues to bemuse her. "It's really quite amazing and something to celebrate. It's actually mind boggling that I've been part of the brand for more than 40 years, a substantial part of its history. I'm very proud of my contribution to the brand. It has become such a long-lasting commitment and I really feel that I'm very strongly connected to the brand."
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Orrefors - along with Kosta Boda, which it merged with in 1990 - became part of the New Wave Group in 2005.
At that time, assortments were refined and specialized, and new products were targeted to private buyers, restaurants, and specialty retailers.
All handmade Orrefors' products are made at the Kosta glassworks by superstar artists and innovative new designers who have advanced Orrefors' design heritage for more than a century.
................................ "In 2020 I spent time in Capri in a fantastic studio overlooking the Bay of Naples. During my time there I began to sketch and develop new forms inspired by Capri's fantastic flora, where the idea for REED was born; an interpretation of my own experiences of the landscape, where the grand and the barren meet the small and organic. Orrefors has an incredible quality stamp and history, and the Red Dot Award is fantastic international recognition. It's absolutely vital that Swedish design continues to make headway internationally, and this award provides REED with a great development platform."
– MONICA FÖRSTER
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Bergström, the designer of top sellers like Carat, the annual ornament, and Squeeze, shares Lagerbielke's delight in having a portfolio of classic collections. [Fun fact: the classic Squeeze, launched in 1997, materialized by mistake when Bergström lost control of the heated glass, resulting in a very pleasing asymmetrical inward bend on the surface.] "Having such important designs is wonderful and makes me very proud," she exclaims. "As a designer it's, of course, impossible to know if your product will become a classic. That's something that the consumer decides over time, but it's a great feeling when your work gets that level of recognition." While Bergström and Lagerbielke have the most designs in the catalog (seven and nine respectively), there are 22 designers whose work covers 300 SKUs. "We want to streamline assortments a bit to make sure they're effective and high performing," says Maasho. Drinkware and giftware evenly split sales, although Maasho is looking to further develop Orrefors' drinkware category. "Since 2020 we've launched five new drinkware collections and our mission is for them to stay in our line not less than ten years." he says. "We do a lot of research on a design so when we launch it hits." Glassware ranges from $70 to $400, sets of four. (Nobel is $250 a glass.) Accessories (bowls/dishes/frames/scented candles/candlesticks/light bulbs) range from a $50 votive to a $1,250 vase. The best selling accessory is the Carat globe vase, $200 to $1,250. "It's the number one collection in every country," Maasho enthuses. While the U.S. market remains a runner-up to Sweden, it is, according to CEO Kinneson, integral to future success. "The American market is, side by side with our home market Sweden, extremely important for us as we have a strong history here, a 100-year history," says the chief exec. "Luckily, the interest in home furnishings increased during Covid as people spent more time at home. We can see that this trend is still strong and growing which is why we're positioning the brand towards design and interior and we see a very positive future for Orrefors."