Glass craft since 1742

The glass factory in Kosta has characterized Sweden and Småland since the 18th century. Through the centuries, the mill has played an important role both artistically and industrially. The business has of course also been affected by the development of society, Kosta has been down several times, but has risen thanks to far-sighted business leaders, creative artists and skilled glass workers.

Hat and free beer

Anders Koskull and Georg Bogislaus Staël von Holstein received Kronoberg and Kalmar respectively after their efforts in the war for Charles the XII. The two well-traveled gentlemen saw the need for window glass in frozen Sweden, acquired the rights to the village of Dåvedshult and built a glass factory. The place was named Kosta after the first syllables of the surnames Koskull and Staël.

On July 26, 1742, the ovens were lit for the first time. The mill produced window and utility glass for a mainly local market in Småland and Skåne. The glassblowers came from Germany. To persuade them to stay in Sweden, they were offered privileges – for example, they were allowed to wear a hat and own a dog, rights that had until now been reserved for the land share. They were also entitled to free beer at work. The German masters guarded their professional secrets closely, but towards the end of the 18th century some unqualified Swedish workers were accidentally allowed to take part in the glassblowing. It became the basis for a Swedish professional corps of skilled glassblowers.

The forest saved the glass

With the industrial revolution in the 19th century, conditions changed, many new glassworks were started and competition intensified. Kosta stood on the slope of the ruin. The rescue was the forest, by selling timber they raised capital which was used to modernize the mill. In 1888, a narrow-gauge railway was opened that connected to the railway network in Lessebo, it became decisive for Kostas' ability to distribute his products. Outside influences increased and an emerging middle class wanted service glasses for their dinner tables. It gave room to employ experts also in grinding and engraving.

Chosen exclusive path

Towards the end of the 19th century, talented young artists were hired to profile Kosta. Even here, Kosta chose the path towards the more exclusive glass in order to distinguish itself from competitors in Europe. Now domestic and international business had been built up. Kosta Glasbruk was a modern industry where about half of the production was exported to Europe and the USA, Asia and South America. Swedish glass experienced a heyday. The mill had long been the domain of the young men, but by this time a certain equality was beginning to emerge and the power of the trade unions was increasing. The glass factory often had a harsh personnel policy and many craftsmen resigned after conflicts over wages and working conditions. The company's attitude softened over time, and by the time World War II broke out, the spirit had shifted to a more constructive dialogue. One effect of the war was that exports ceased. The mill survived by converting to the production of jam jars and storage containers for the Swedish market.

During the 50s, global purchasing power increased, consumption of both everyday and luxury products rose. The designers' contribution to the glass industry became more important than ever. Competition from rebuilt mills abroad intensified and a new material entered the world market – plastic. During the 1960s, the expression 'thrift-and-throw' came to illustrate the new behavior around consumption; to buy cheap, throw away when it was used up and buy new again. It had major consequences for the glass industry. High-quality products with a long lifespan were rated for products of lower quality.

Crazy 60s

Ideological and political unrest prevailed during the 60s when the youth rebelled against conventions and norms. So also in the glass industry. Designers within the revolting generation experimented with new forms in glass production. Erik Rosén became CEO of Kosta in 1964. This meant a major artistic change, Rosén showed patience and gave his designers a lot of leeway. A new tradition where the artists settled in the Kingdom of Glass began. Erik Höglund at Boda glassworks became the central figure in a dynamic and creative group, with young innovative forces such as Bertil Vallien, Ann and Göran Wärff, Monica Backström and Ulrica Hydman-Vallien. In Boda, everything that was considered "nice" was violated.

In 1976, Kosta and Boda merged, adding color and playfulness to the more classically oriented Kosta. Tableware and art glass received international attention and sold well in the hot yuppie era of the 80s. At the beginning of the 90s, there were 16 glassworks in the Kingdom of Glass and the decade can be considered a second heyday for Swedish glass. Towards the end of the 90s, times became more difficult, glass was no longer trendy. In 2005, the group New Wave Group, with the main owner and founder Torsten Jansson, joined as new owners. A few years later, a global economic crisis was triggered, which also had repercussions for Kosta, where a number of people had to be made redundant.

From window glass to the One Million Dollar Boat

Today, Kosta has embarked on the road to the future by being open to external impulses and letting in innovative designers who once again break the norms. Bertil Vallien, Kjell Engman and Göran Wärff now stand for the established. Their legacy is visible in Kosta's new products, where young designers such as Sara Persson, Frida Fjellman and Hanna Hansdotter find their expression with roots in design from the 70s.

History repeats itself, but in a new way and craft glass continues to develop. Kosta glassworks has an unbroken tradition of manual production since 1742 and it still glows in the cabin. The mill has survived fires, strikes, world wars, global financial crises and threats of closure. Thanks to creative artists, skilled craftsmen and responsible company management. Thanks to an ability to innovate. Kosta Glasbruk is a living Swedish cultural heritage.