Studio Dillon’s initial experiments and prototypes were about the idea of graphic decoration being distorted whilst glass is blown. Their ideas quickly turned to utilising two ancient Muranese techniques, zanfirico and reticello. 

Before the blowing of the pieces can start a very elaborate cane work is needed to create the desired pattern using zanfirico canes (spiralling twisted wires of glass). Zanfirico bears the name after a Venetian antiques dealer, Antonio Sanquirico whom ordered numerous items made using this highly decorative and intricate technique in the first half of the 19th century. Studio Dillon had the freedom in designing their own version of zanfirico canes that were pulled into lengths of up to 10 metres.

Initially the canes are wrapped around a clear glass bulb form and worked into it. Blowing and shaping of the vase starts under Dillon’s directions and midway an additional trail of clear glass is poured onto the glass surface and worked into the glass. As blowing continues this extra glass acts as a lens and magnifies the symmetrical cane pattern to reveal and highlight its natural distortions. The shape is then blown and pushed to its limits in size and hand shaped to the desired asymmetrical form. When cooled the centre of gravity is identified and the base and top is cut and polished by the maestros in the cold working department. Some of the pieces in the collection have a ‘velato’ surface treatment that has been finished with oil.