David: I would also like to mention this project titled Feature (a video of Feature is available at the beginning of this article). It is in fact a vase measuring approximately 85 centimetres in height. We create this kind of project perhaps once a year. Most of them were originally projects for Moser, and the majority were sold to clients in the Middle East, usually as limited editions of around fifty pieces. They exist on the threshold between design and art; they already possess a distinctly artistic character.
These vases are open through the centre, so they can hold flowers nearly a metre in length. At trade fairs, they were often installed already arranged with flowers.
Before that, we would, for example, present Moser with five different design proposals for a glass vase, and they would select the best one - meaning the one with the strongest balance between visual impact and technical feasibility in glass. The realisation of such a piece would then usually take up to a year.
Author’s note: Studio IRDS has long focused on convex and concave cuts which, in combination with Moser’s characteristic colour palette - often with colour gradations - create optical effects that change according to the angle of view. Moser’s typical colour palette is a world-class original, defined by Leo Moser, the founder’s son, in the 1920s. These colours are inspired by precious stones and are created by melting lead-free crystal with rare earths and metal oxides.
This palette includes six colours named after gemstones:
Alexandrite - a light violet with a magical quality, changing according to the light from lilac in artificial light to pale blue in daylight. Beryl - a clear blue-green turquoise, evocative of the sea. Eldor - a lemon yellow distinguished by its brightness and pastel character. Rosalin - a delicate, romantic pink that, in thicker layers of glass, shifts towards brick-like tones. Topaz - a honey-brown or golden hue reminiscent of glowing glass. Aquamarine - a dark blue embodiment of the element of water.
David: Today, however, we produce these vases ourselves, without collaboration with other companies, although of course this is far more costly for us. A factory, over the course of a year, would have all the moulds, blown segments, raw materials, and storage capacity already in place, with everything available whenever needed for grinding and further finishing.
When I do it myself, I may create as many as thirty proposals and select only one. The costs of independent production are naturally much higher. That means the single piece is more expensive, but on the other hand it is entirely tailor-made. A client may come to us and say, “I need an interesting design vase for this interior.” We then sit down with them, prepare drawings, and skewer models, which are important because they help the client visualise the object more clearly.
It is always about pushing the boundaries of how far we can go, while taking into account our knowledge, experience, and skills. It is a challenge that we enjoy and one that keeps moving us forward.
David: I also have here one model to show you. As for the vase itself, it too was created for Moser in an edition of only five pieces. It is essentially all about the cut and the curve.
It was made for the 150th anniversary of Moser.
Part 2 has taken us deeper into the artistic journey of Studio IRDS, revealing how their shared path has been shaped by experimentation, collaboration, and the gradual development of their unique language in glass. In the next chapter, to be released next week, we will continue to explore the inspirations, processes, and ideas that define their remarkable artwork.
