After the war, international design trends encouraged French glassworks to mass-produce crystal objects in a minimalist style that emphasized both the material and its transparency.
While the 1929 crisis led to a decline in the production of art objects and the closure of some glassworks in the 1930s, the Second World War definitively ended the Art Deco style. With the rise of mass consumerism in the 1950s, tastes shifted towards mass-produced goods, which showcased new materials more prominently.
In this new context, glassmaking also innovated. After the stylized and geometric ornamentation of the interwar period, it was essentially the intrinsic qualities of glass, such as its transparency, that were sought by postwar manufacturers, designers and glassmakers, who mainly produced objects in a refined style.
In France, glass then gave way to crystal. The former glassworks of Daum, Schneider, and Lalique converted to mass-produce objects in solid, colorless crystal, the material of which was generally drawn and worked by hand. In these establishments and others, artists such as André Thuret and Robert-Henri Schneider also had the opportunity to create unique pieces, frequently decorated with inclusions of metallic oxides within the crystal itself.