In the 1950s, Venini established itself as a major laboratory of modern glass. Heirs to the experiments carried out during the interwar period, the artistic collaborations and technical research gave rise to bold, luminous, and polychrome forms.

While entrusting the artistic direction of his company to Carlo Scarpa in 1934, Paolo Venini (1895-1959) himself became involved in creation from that period onwards. The famous Diamante vase, produced between 1934 and 1936, bears witness to this direct involvement. This desire to explore new paths is also reflected in the opening of the workshop to outside artists. In 1938, Venini invited the Swedish ceramist Tyra Lundgren (1897-1979) to design a collection of glass objects and animals, transposing into this translucent material the fantasy and freedom of her decorative universe.

After the war, this dynamic intensified and collaborations multiplied. They encouraged new chromatic research as well as an inventive reinterpretation of the traditional techniques of filigree and murrine. The objects gained in brightness, contrast, and formal audacity.

In this context, Paolo Venini repeatedly invited the Milanese architect and designer Gio Ponti (1891-1979) to create, between 1946 and 1948, series of vases and bottles in blown glass with alternating colored canes. Their slender silhouettes and vibrant polychromy convey an elegance that is both graphic and light. The painter Riccardo Licata (1929-2014) also created vases with a central band of colored murrines, true glass mosaics that extend his pictorial universe.

Moreover, Paolo Venini becomes even more closely involved in creation. He develops several object models using filigree techniques with mesh (mosaico tessuto) or twisted (mosaico zanfirico), as well as with murrine dots (puntini a murrine). Through the mastery of rhythms and colors, he renews and modernizes these age-old methods.

Finally, the most remarkable collaboration of the decade is that of the Milanese graphic designer and illustrator Fulvio Bianconi (1915-1996). His figurines, stylized animals, and above all his vases with bold polychrome patterns (Macchie, Tesserae pezzati, horizontal and vertical bands, Tartans) fully embody the spirit of innovation of Venini glassworks. Through their sometimes asymmetrical shapes and vibrant decorations, these works made the workshop one of the major centers of the revival of Italian glass in the 1950s.