Jan Plecháč on Moser’s New Era: Glass Must Speak the Language of Today

He stepped into a place where light breaks into a thousand reflections and tradition carries the weight of centuries. Yet he brought a fresh breeze – the courage to ask questions, to change the rhythm and the language of beauty. As Creative Director, Jan Plecháč has transformed Moser’s historical ethos into a brand unafraid of growth. We spoke about three years that have turned tradition into an open dialogue – with time, with craft, and with the vision of the future.

You’ve been the Creative Director at Moser for three years now. Do you remember your first impressions when you started?
I arrived with respect, but without chains. I’ve been working with glass for about 12 years, but Moser didn’t really hold relevance for me – I wasn’t part of its target audience. And that’s exactly what drew me in. I sensed a huge potential within the brand. I wanted to awaken it.

"Moser has 170 years of history, but still the same technology. The challenge was to bring something truly new." Jan Plecháč, Moser

What attracted you most to the role of Creative Director?
The desire to lead, not just design. I knew creating products alone wouldn’t be enough for me – I wanted to shape the brand’s language itself. I felt the time was right. And I consciously stepped into the role without being weighed down by academic background – I never studied glass, and that’s precisely why I dare to read it differently and push its boundaries.

Moser is one of the most traditional Czech brands with a long-standing heritage. How do you relate to tradition?
Tradition is a living organism – it grows, changes, absorbs the present. To me, it means respect for the roots, but also the courage to water those roots with something new. At Moser, I had to define for myself what tradition really is. Does it mean doing things for a long time, or doing them the same way over and over? That question stayed with me as I shaped the brand’s vision. Understanding that was key.

But your beginnings weren’t easy. When you joined Moser, it was a time of uncertainty – the war in Ukraine, skyrocketing energy prices. What was it like to take on creative leadership during such a turbulent period?
Yes, it was right after COVID – a time when we were all expecting calm. And instead, war broke out, prices soared, tensions rose. But crises force you to think differently. Suddenly, there’s less room for error and more need for precision. It was tough – but also liberating. It taught me to focus on what really matters for the brand.

Has your perspective on the brand changed over the past three years? Would you do anything differently?

I wouldn’t change a thing. I didn’t take a trial-and-error approach – I gave myself time, several months, to clarify the vision. And once I presented it, I stuck to it. Every step had its place. And we’re still following the plan I laid out back then.

"Tradition is a living organism – it grows, transforms, and absorbs the present."
— Jan Plecháč, Moser

How difficult was it to combine creativity with managerial responsibility?

It’s true, I imagined it a bit differently – I thought it would be more about creativity. But this role is about the whole picture: the vision, the team, listening. And I’ve come to love that combination. I love creating – and I equally love leading. That’s my added value.

How did the glassmakers – the heart of Moser – receive you?

Like in any relationship. If you want something to work, you have to build trust and respect. Only then does it bear fruit. I rely on these people, and the factory relies on me – on what I come up with, or how we make things together. That relationship is crucial.

Did you run into any boundaries?

At the glassworks, they’re always happy to take on something new and challenging. In other departments, with a few collections, I came across phrases like, “That’s not how we do it here,” or, “This isn’t Moser.” But I believe in movement, in transformation. Without it, the brand would stagnate. Still, I always try to learn something from feedback.

With so many responsibilities, do you manage to switch off?
Sports and nature have always helped me. I used to ride a motorcycle, but there’s no time for that now. These are my filters. And they often reflect in my collections. My fascination with freediving, for example, is clearly visible in my first collection, Abyss. My love for nature in Duše lesa (The Soul of the Forest). And the new Magnus collection? That’s my dialogue with brutalist architecture – raw, powerful, stripped down.

Each of your collections is different, yet together they create harmony. Is that intentional?
Yes. Moser’s portfolio mustn’t be monotonous. Eclecticism is the key – softness alongside strength, shadow next to light. They balance each other out. And when polarity works, tension arises. That’s life.

And the new Magnus collection? That’s my dialogue with brutalist architecture – raw, powerful, stripped down. — Jan Plecháč, Moser

In April, you unveiled the new Magnus collection, which combines the fragility of the material with the strength of brutalist architecture. How should we read it?

Magnus is one of the pillars of Moser’s new vision, which is rooted in contrast. It’s a beautiful juxtaposition – the delicacy and fragility of glass with brutalist form. Whether in its shapes or smoky hues, it fits seamlessly into this architectural style – it breathes it.

Which of your collections are you personally most proud of, and why?
Abyss. It was the first, fundamental, truly important one. It embodied the vision I brought. Moser has a 170-year-long history, but still uses the same technology. Coming up with something truly different and new was a real challenge.

On the other hand, Magnus bridges the old and the new Moser. I use all the classic Moser attributes – cutting, colored crystal, large faceted forms – but the aesthetic is new.

And finally – who is your greatest inspiration?
It used to be a family friend – a designer, his aura, his presence. Today, it’s the work itself. What I do is my driving force, my fascination, my calling. It’s the whole world I live in.