120 years of Swarovski with Nadja Swarovski

By Hershey Pascual

There’s so much to be said about Nadja Swarovski. She’s the great-great-granddaughter of Daniel Swarovski, who founded the company 120 years ago, and it must have been an eye-opener as a child growing up with a family of industrialists. She grew up hearing stories of how her great-great-grandfather, Daniel, supplied Swarovski crystals to embellish Queen Victoria’s dresses; and how her grandfather worked with Christian Dior to create the aurora borealis crystal stone effect, and how her father Helmut Swarovski ensured that Swarovski remained at the forefront of technological advances and new market opportunities, including marketing iconic crystal figurines.

Nadja Swarovski is the first female member of the executive board who joined the family firm in 1995, a hundred years after it was founded in 1895 in Wattens Austria. But despite being a powerful business woman, who is clearly passionate about her family heritage, she’s also a mum of three and a wife to hedge fund manger Rupert Adams.

I met Nadja at Harvey Nichols, in Dubai, due to the launch of The Swarovski Archive Design Exhibition that takes place there until the 23rd December 2015. I was ushered into a private suite surrounded by Nadja’s team from New York and London. She was pleasant and attractive in appearance. She has a svelte, slight frame with blonde, shoulder length tresses, piercing blue eyes and baby doll-like features with full lips and big eyes. But it is not really her appearance you notice but more her sharp, astute nature and general positivity and determination that fills a room. She is a woman who clearly leads and innovates. I doubt anything gets past her. I imagine she’s tough in the boardroom: quick-witted, intelligent, upbeat, imaginative and also funny. She’s full of stories from her childhood and her heritage.

Swarovski, the product and brand, have made its mark in history. It’s no wonder they came up with a new book to mark 120 years of their history. Swarovski have been supporting the silver screen, the cinematic film industry, for decades. It was in fact their crystals that created the unforgettable Breakfast at Tiffany’s tiara that Audery Hepburn wore. They were the ones who made Cinderella’s famous glass slippers; and, not to mention, they made Michael Jackson’s memorable crystallised glove.

When it comes to fashion, like her great grandfather who worked with icons like Christian Dior, Nadja’s overseen collaborations with fashion designers including Alexander McQueen, Philip Treacy, Hussein Chalayan, Erdem, Giles Deacon and Mary Katrantzou to name a few.  Swarovski continues to support emerging and established design talent and that is even what makes her so interested in the Middle East where she believes creative new talent is brewing and growing.

They have also made a mark in the world of interiors, highlights include original crystal chandelier lighting commissions for The Metropolitan Opera House in New York and large-scale installations by top designers and architects Zaha Hadid, Ron Arad and Yves Béhar.

Tell us how Swarovski was founded?

The company was founded in 1895, so that makes us 120 years old. I think my forefathers were focused in creating an amazing product namely jewellery stones. Daniel Swarovski, my great-great-grandfather, said diamonds were for royalty and he’d take care of the rest of the world. He really wanted every woman to know what it feels like to wear a diamond. He invented an ultimate crystal cutting machine in Bohemia which was an area really indigenous to crystal manufacturing and cutting. But he took his machine and moved to Austria which was very lucky for him because the Iron Curtain fell and Bohemia subsequently became part of the Czech Republic so that is what made Swarovski the monopolist in the supply of the jewellery stones which supplied the fashion and jewellery industries. Amongst his first customers were Queen Victoria through her dress maker called Frederick Worth, who was the father of Haute Couture. He was based in Paris.

There were so many things that happened in history, society and human evolution. The flapper era emerged which called for major beading and it really put us in business. The Art Deco era happened and crystals really mirrored geometric shapes of that period. We saw merchants in the 1940s and style icons: Coco Chanel, Elsa Schiaparelli and Christian Dior. All these people worked closely with my grandfather Manfred Swarovski. They came to visit him at the factory and he also went to visit them in their studios. They requested special stones and cuts which we were able to create for them.

The silver screen started and everything in the silver screen that was meant to be a diamond was nothing but a Swarovski crystal, so we shipped our products to LA. This included Dorothy’s slippers from The Wizard of Oz and Audrey Hepburn’s tiara from Breakfast at Tiffany’s. They were nothing but Swarovski crystals.

I come from a family of engineers who wanted to craft a stone but they didn’t really market the name. Subsequently we were called ‘The cut crystals of Tyrol,’ in Austria. Then the expression paved the way to rhinestones. It was nothing but Swarovski crystals but we never did anything to change that then. We just sold our fantastic cut crystals. Then eventually the oil crisis occurred in the 1970s and we really felt sales go back and we started creating out first consumer product namely the crystals that consisted of glued together chandelier components, the round chandelier ball with two teardrop shaped components glued together. We suddenly had a figurine, a mouse with two ears, and that is how Swarovski became a consumer product. We went from trade to being a consumer product and that is how the name Swarovski really emerged. Then customers started to know us through our retail stores after the late 1970s. And in the 1980s we started to make our own jewellery branded under the name Swarovski.

Do you think you are known more for your fashion or homeware pieces?

10 years ago you would see 80 per cent figurines and 20 per cent jewellery. Nowadays, it is exactly the other way around. Our business is 20 per cent figurines and 80 per cent jewellery and that is just the consumer element of Swarovski. It flipped because we saw there was more of a need and consumer demand. That’s why it is important for us to be here in the Middle East because we are trying to be relevant to the Middle Eastern consumers. They are different from the European, North American and Asian consumers. We are big enough and flexible enough to cater for all different needs across the entire globe.

Atelier Swarovski started in 2007, it’s a luxury jewellery and accessories line that explores new and exciting ways of working with Swarovski crystals through carefully chosen designer collaborations. We are so excited to be in Harvey Nichols in Dubai. We also sell them at our Swarovski stores and in independent retailers. From a branding point of view, it’s important to have this type of Swarovski branded product represented amongst different types of fashion brands that are on par with Swarovski. We have worked with Peter Pilotto, Mary Katrantzou and Phillip Lim. These are designers that have already created an Atelier Swarovski jewellery collection. This is emphasising our goal to create a fashion jewellery line. Not a costume jewellery line but a fashion jewellery line.

Atelier Swarovski is also pleased to present a new collaboration with Edie Parker, whose founder and designer Brett Heyman has created an exclusive limited-edition evening bag using Swarovski crystals. Only 120 of these bejewelled clutch bags will be available globally and Harvey Nichols Dubai will carry an exclusive selection in three different styles.

How do you decide who to collaborate with?

We watch the designers in fashion schools. We pay attention to them. Then they encounter us and we encounter them. We come together somehow. We do research and find names we are interested to work with. We also look at their repertoire, their past works and we try to gauge whether they will have a good sensitivity towards working with crystal or not. We find only the ones that are very sensitive working with the materials. They are the ones usually very successful creating something strong. For instance, consider Fredrikson and Stallard’s three dimensional designs. We created the stone and they had the concept of the crystal wrapped gently around the stone whilst still being able to see the stone. It was a very different concept and one that we have never seen before.

How would you describe your Middle Eastern consumer?

We feel there is certainly a need for female self expression here. Also, accessories are very important here. We really want to play up to that and be able to provide our customer with something she really wants and needs. I don’t know if it is the sunshine or the cultural heritage that really calls for the use of jewellery in general in this region. But there’s been great adornment historically. That is something that we want to highlight and be able to support.

We had an exhibition recently where we invited amazing different, various couture designers and it’s amazing to see how multi faceted their designs were. They were very old couture designs but really relevant to the consumer here. There’s something extra special that you can really wear here and that is really desired. It’s amazing to see. There’s an East meets West and for this intimacy that already exist; and crystal is just such an important ingredient to emphasise such details.

Our offices have been open in Dubai since the 1980s. It’s an important market in terms of the lighting business, the interior design business and in particular the project business. But we definitely feel the greater emergence of fashion design. I don’t think we could have found this type of design in this region five years ago. I think it’s incredibly sophisticated and elegant. I think as communication is improving there is definitely an idea of morphing that we are seeing but I think these designs show very strong Middle Eastern Arabic roots. That is certainly something to celebrate, that individualism. We want to do more with design. It’s interesting to see the local designers and who they are and what they studied. There are a lot of female designers and we certainly want to support them. We are still looking and searching for talent to work with in those particular areas of the industry.

What regions are particularly strong for Swarovski in terms of sales and business?

Europe is still our number one region. In terms of fashion design, Italy and France are huge. They so have it in their DNA. Britain is also strong. It is such an incredible cultural melting pot. They have great design schools and talent and creatively is strong and nurtured there. This is also reflective in our sales figures there.

North America is strong because the country is so big but I actually believe it can be a stronger market, particularly in jewellery. And China is strong because it is constantly growing. We have been there since the 1970s and we certainly saw a huge pick up in sales in the 1990s when the Chinese were able to drop their Mao suits and women were able to adorn themselves. What an easy way to adorn themselves with jewellery that is affordable. If we are catering for that need of self expression I think that is an effective thing to do.

How is business for Swarovski in terms of furniture and interior design in the Middle East?

I have to say, I look around here and I see a lot of these chandeliers knocked off. That just gives me an indication that we need to be more active and work really closely with architects and developers in the region to implement our products here. Architecturally chandeliers are such a highlight within a building. In terms of design, let’s see what we can do with Dubai Design District, d3. Regarding Swarovski Crystal Palace Installation, globally we have designers that have the same briefing but are creating something totally different from one other. The thing about the chandeliers is that they play so well with light and space. They create magic in the atmosphere they really form and add positive energy to an atmosphere and that is why this product is so relevant in this market in the Middle East. New buildings are just popping up every minute.

Tell us about the new Swarovski book. What made you decide to create this book?

It was our 120th anniversary recently and we felt it was a great opportunity to tell our story and really highlight what we have been working on in the last 120 years. It shows how we have evolved, who our customers were and what we have adorned through time in relation to fashion, film and interiors. The coffee table book by Rizzoli is called: ‘Swarovski: A History of Collaborations in Fashion, Jewellery, Performance and Design.’ It is a collection of our really proud moments in history.

It celebrates everything Swarovski has done within the trade industry, fashion industry, jewellery industry, film world, architecture and design industry. That to me is a stronger brand expression than what we see in Swarovski stores. This is really where the branding story started, at the end of the 1980s. We realised the true story was not being reflected so we are really starting initiatives to connect the dots and show the true picture.

In the book, we show how Atelier Swarovski embraces young, emerging designers to create their ultimate jewellery piece. We like to celebrate individual designers who we feel represent a really strong element of our story – in terms of empowering and empowerment to the consumer besides just wearing the jewellery decoratively. It is important that customers know and understand who the designers are behind each piece.

This publication presents Swarovski’s extraordinary contributions to the creative industries, which include the creation of the innovative Aurora Borealis stone and the dazzling Oscars curtain. It showcasing never-before-published contemporary and archival photographs and it tells, for the first time, the illustrious tale of Swarovski’s heritage and the brand’s presence today.

As a child you must have seen and heard of so many memorable stories. Which one stands out the most?

It would be stories of my grandfather working with Coco Chanel and Christian Dior. They stood out the most and they inspired me to follow in my grandfathers footsteps. I found ‘my’ Dior with  with Alexander McQueen.

I remember hearing the story how my grandfather would drive to Paris and it would take him three days from Innsbruck in Austria where he lived. But my grandmother would volunteer to drive him there because she knew that when she got to Paris she would be able to sit with Mr Dior; and not only would she be able to talk to him but she would also convince him to create something special for her (she laughs).

I also learnt so much from my father, who was an engineer and I’ve met so many interesting people in our house. I met amazing engineers interested in creating new things and being innovators. These people have inspired me and they’ve been such incredible role models in my life.

If you could live by a motto what would it be?

Daniel Swarovski’s motto was: “Das Richtige tun und nie zurückschrecken.” That means: “Do the right thing and never shy back.” I personally find a new motto everyday. However, we created the Cinderella slipper for the recent film, in 2015, with costume designer Sandy Powell. The entire team loved watching the movie and how Cinderella’s mother always said, to Cinderella: “Have courage and be kind.” In terms of female empowerment that is such an amazing movie. And Cinderella really sticks to her guns. She is so mistreated. Talk about child abuse but she sticks to her guns and sometimes life is tough but you just have to have courage and be kind.

What are your top three greatest designs and why?

Zaha Hadid Aqua table is one of my favourite designs. He was a forerunner in a whole new style of product design. The shape and use of the fragmented geometry and bold fluid form is truly pushing the boundaries.

On that note, I appreciate Frank Lloyd Wright’s Guggenheim museum because if you look at any exhibition that is in the rotunda (from bottom to top) your concentration is never broken. However, if you go to any other museum your concentration is certainly broken every single time you go into a different, separate room. That functional, architectural form he created is truly amazing.

Finally, I love a particular product of Swarovski. It is called the Nirvana ring. It is a pure solid piece of crystal that has a whole in it and is shaped as a ring.

What are the plans for Swarovski in 2016 and 2017?

We are stepping up our support in the fashion arena globally. Currently we are in discussion to create a Swarovski International Fashion Awards with one of the largest fashion institutions. So stay tuned for that. The industry is so international so we thought it made sense to have one international award ceremony.

We have an amazing collection of home decor items which we will launch in April 2016. It will be called Atelier Swarovski home. We are using the same concept as Atelier Swarovski jewellery but we are focusing on the home. Zaha Hadid, Zac Posen and others have committed to the collection. They won’t be made of just crystal. They will be crystal incorporating silver, metal, leather and wood. There will be a juxtaposition of two different materials so it will add more energy to the creation and of course what is important is to choose different designers who we feel will not disappoint us. This will be a whole new chapter for Swarovski.

We have created a corporate social responsibly program. We’ve made a United Nations bracelet and 30 per cent of the proceeds go to the UN. Usually only 10 or three per cent are given to the UN. We just want to take advantage of the Swarovski channel of communication. We also have a water school that is active in India, China, Africa and Austria. We support teachers who teach children and water will be major topic in 50 years so this is what Swarovski can do to increase the awareness for this issue. It really motivates people to step up and do something about it. That’s just a few things for you to know but the list is very long.

[Photo: Mary Katrantzou Spring/Summer 2012 ©Erik Madigan Heck Trunk Archive]

[Photo: Elie Saab Haute Couture Fall/Winter 2012 ©Sy Delorme]

[Photo: Lanvin evening gown embroidered with circles of multicoloured Swarovski crystals,1969 ©Swarovski Archive]

[Photo: Alexander McQueen backstage Spring/Summer 2009 ©Claire-Robertson]