A gift box set designed in 1954 and released in the autumn of the same year.
Named “TOIVE PAKKAUS,” this gift box was designed by Kaj Franck, who adapted a cylindrical paper container originally used for marmalade into packaging suited to conical glasses.
At the time, transparent packaging that revealed the contents was the norm, making this closed package a remarkably innovative design. The cylindrical paper container not only surprised buyers with its graphic design, which concealed the contents, but also played an important practical role by efficiently housing the conical glasses and protecting them during transport and storage.
The set contains six examples of tumbler 2744 (200 ml), a mold-blown model designed in 1953. As with other mold-blown pieces, slight variations in size and glass thickness can be found from one glass to another.
* The glasses are in good condition with no noticeable damage. From the time of manufacture, one section of the rim on the BLUE VIOLET glass is slightly curved inward. The box shows some sun fading and traces where tape has been removed, but the printed color areas remain bright, and overall it is in good condition.
KAJ FRANCK｜1911–1989｜FINLAND
Kaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.
In 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.
In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.
Often described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”
Among the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.
From 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.
