I first came across the Cocoon pen by Jan Zander quite a long time ago. Its design and unconventional character immediately caught my attention, and I added it to my wishlist almost instantly. In fact, it was probably the only pen from a lesser-known independent brand that truly stood out to me at the time. What I did not yet know was the story behind Janzanderdesign — and eventually, the unexpected connection it had with Montblanc.
That realization only came later, when I returned to the brand again thanks to the very first fountain pen wishlist I had ever written for myself.
What fascinates me is that most of us are probably wired the same way: instead of exploring unknown artisanal brands, we instinctively gravitate toward the names everyone already knows. I am no different. For years, I fulfilled my dreams primarily through Montblanc. There is probably a significant amount of marketing psychology and neuropsychology behind this behavior, but that is not what I want to focus on here.
What I really mean is this: why was I stupid enough not to look deeper into independent brands much earlier? Why? Because I can easily imagine a pen like this having already experienced far more adventures with me on my travels.
The Cocoon is probably Jan Zander’s most recognizable and most accessible model, but once I started exploring the rest of his work, I became genuinely fascinated. Whether it is the Alter Ego with its beautifully clean and restrained design language, the pens inspired by vintage Mercedes cars — where you can only access the pen by unscrewing the bolts of the presentation box itself (which, to me, is on an entirely different level) — or even creations inspired by Kill Bill.
Honestly, Jan Zander completely hit my taste profile with the things that inspire him. This is exactly the kind of aesthetic, storytelling, and object design I deeply connect with.
I would also like to ask you for a short introduction at the beginning—who you are, what you have worked on, and what you do today.
I was born and raised in Hamburg. After completing my apprenticeship as a jeweller and goldsmith and gaining several years of professional experience, I studied jewellery design at the Faculty of Design at Pforzheim University. After 22 years with MONTBLANC, I set up my own design studio in Hamburg, JANZANDER DESIGN. In 2019, I established a small workshop and launched my first own range of writing instruments, limited editions and bespoke pieces.
You worked as a designer for Montblanc for over 22 years. What did the real process of creating a pen at Montblanc look like—from the first idea to the final product?
It usually begins with a design briefing from the product management team. Following research, which can sometimes be very time-consuming, a design concept and initial sketches are developed. Once the initial decisions have been made, a design direction is worked out and finalised with renderings. After the initial presentations and further design refinements, the design and technical specifications are passed on to the technical department.
How many people were typically involved in developing a single model?
About 6 to 10 people
Who had the final say—the designer or the business side?
The final go comes from the CEO
How many prototypes were created for one pen before it went into production? Roughly what percentage of designs or ideas are discarded and never make it to market?
It depends on the complexity of the design. Normally, we make one or two prototypes. It’s hard to say for sure, but I think two out of the six ideas will make the shortlist.
What happens to prototypes that are never used?
They are kept in the archive
Were there moments when the creative process didn’t go as planned and it was difficult to select a final design? Was there ever a design that turned out to be a misstep for Montblanc?
There were moments when technical implementation proved difficult and we had to create a new design. But that happens when you want to push a design to its limits. There wasn’t really a true misstep, but certainly disappointment over unmet sales targets.
Do you remember a project that was personally meaningful to you but ultimately rejected?
Oh yes. I was commissioned to create a limited edition for a Spanish sculptor. I even traveled to Spain specifically to do my research on location, which didn’t happen very often. I was personally introduced to his father’s work by his son, who had already been dead for 20 years at that point. The son and the foundation went to great lengths to give me the deepest possible insight into the artist’s work. After a few weeks, I developed and presented some very beautiful designs. Following a discussion, the management decided against the entire project, as they felt the artist wasn’t well-known enough worldwide. It’s a real shame, but I had a great time in Spain.
Why do such projects get stopped—technology, cost, or internal politics?
Yes, those are probably the main reasons. It has also happened that other projects were given priority, and then they didn’t want to pursue it.
What were the biggest limitations when designing for Montblanc?
The biggest constraint is certainly having to adapt the design to technical and cost considerations. As a designer, you always want to see the most beautiful design brought to life.
Were there moments when you had to consciously simplify a design due to market demands or pricing constraints?
Of course, quite often, in fact. That’s part of the job. But you should keep that in mind when creating the design.
How strongly does marketing influence the design of a luxury pen?
Marketing aims to maintain and expand the brand’s attractiveness with new products and therefore sets the direction. Ideally, the designer trusts the expertise of the marketing team, and vice versa. Everyone wants the greatest possible success.
Is there something that can no longer be manufactured today the way it used to be?
Celluloid fountain pens immediately come to mind. It’s a beautiful material, but it can no longer be used because it’s flammable when processed. I’ve always regretted that.
Where does quality most often break down—between design and manufacturing?
It always takes extra effort to implement a design when highly complex ideas are involved, such as a unique clip or a technique or material that has never been used before.
Which pen from your Montblanc era are you most proud of, and why?
I think it’s the Fyodor Dostoyevsky Writers Edition. It was my first limited-edition design for Montblanc. The entire process, from the sketch to production, was very exciting. I was a newcomer to the field and first had to understand and take into account the technical requirements. Presenting it to the executive management was also a new experience for me. And when I later saw the edition in stores in other countries, I was very proud and happy…my first design that can be purchased all over the world
What is one thing about Montblanc that an average customer would never guess?
Of course, I can’t say that, but for me, it’s the amount of time and expertise that goes into quality control. It’s amazing how much time is—and must be—dedicated to monitoring the manufacturing processes so that the customer receives a product with a long lifespan. The customer doesn’t realize that; to them, it goes without saying.
What is the biggest compromise that customers never see, yet is present in almost every pen?
Don´t get it.
Why does Montblanc hold on so strongly to icons like the 149—is it strategy or a fear of innovation?
Of course, it’s a strategy that makes sense. You don’t let THE iconic writing instrument die out. It`s a living legend. If Montblanc wants to focus on new technologies, it has done so, for example, with its “Augmented Paper.”
What was the moment when you decided to go your own way?
There wasn’t a specific moment. It was a process that took about two years, during which I decided to take a new path in 2017.
Was it driven more by creative limitations or the desire for control?
There were a number of reasons why I decided to start my own business. Mainly, I’ve always missed working with my hands. As a trained goldsmith and someone who likes to bring my own ideas to life, I wanted to get back to doing more of that. I also wanted to do something meaningful that I could still do as I get older. But you can’t just start something like that when you retire. And the desire for a new challenge is, of course, another factor.
What is the biggest difference between working for a brand like Montblanc and running your own brand?
I make every decision myself, and I decide exactly how to do it. It’s a wonderful feeling.
Is that freedom real, or is it replaced by different kinds of challenges?
When I work on my own products, challenges can also be a form of freedom. After all, I make decisions that can be either easier or harder. When I design for a company, I face different challenges that are presented to me. And I really enjoy coming up with solutions.
How does one of your pens come to life today—from the initial idea to the final piece?
The design process is actually quite similar to the one I’m familiar with at Montblanc. I sketch new ideas for a writing instrument on paper, then the ideas are further developed and visualized on the computer. In my workshop, I craft prototypes from the original materials and evaluate and refine the writing instruments until I’m satisfied.
Is your process faster or slower compared to working in a corporation?
That’s hard to say. It depends on the project. The time pressure in a company is, of course, extremely high. For my own products, I can take more time to achieve the best possible design. But when I have a very specific idea, it goes faster because there’s no one else who has to approve it.
I’ve noticed your pens are often thematic—what triggers this process? Is it something personally meaningful to you?
I really like it when a writing instrument has a theme. It adds an extra dimension and opens up more possibilities for an interesting design. Of course, every theme is chosen for personal reasons. Sometimes you want to express a personal passion, like with Quentin Tarantino, or celebrate a special event in Paris, like with Hector Guimard
Does the story come first, or the form?
First comes the story and the research that goes with it. That alone can lead to an interesting idea for a form.
How do you ensure the theme is not just decorative, but truly integrated?
Thorough research is the foundation for compelling stories that are reflected in the design. The creative execution then requires a great deal of experience and expertise to ensure that the writing instrument meaningfully reflects the theme. I prefer simple designs that aren’t overloaded with decorative elements. But sometimes you have to stick to the original style, as with the Hector Guimard Edition.
Which detail on a pen is invisible to most people, yet extremely demanding to execute?
I craft my writing instruments by hand. That includes the internal and external threads. The process requires a great deal of attention and time to ensure that the cap and barrel screw together perfectly.
Is Janzanderdesign more about design, storytelling, or rarity?
I believe the appeal of my writing instruments lies in their design and the craftsmanship that goes into them.
How do you determine the price of such a pen?
The retail price is based on the time required, the materials used, and whether it is a limited edition.
Are customers more willing to pay for the story or for the material?
It’s hard to say. Customers who bought the “Inspired by…” Edition Silver Arrow W 125 love the story. But that naturally includes the aluminum material. I think it’s both the story and the material. The two go hand in hand.
What has been your biggest failure since leaving Montblanc?
The realization that I didn’t start my own business sooner.
Was there a design you loved, but the market rejected?
No, there wasn’t—I haven’t created that many designs yet.
Where do you see the world of luxury fountain pens heading?
I think things will continue as they are for some time. Conservative customers will continue to buy from well-known companies, and customers looking for something more special will buy products like the ones I offer. Of course, the economic environment certainly shapes the development of individual companies. Everyone needs a strategy for that. I will continue to focus on exceptional design and perfect craftsmanship.
What material do you personally prefer for the body of a pen?
I really like natural materials like wood or ebonite
Why did you choose to work with Bock nibs?
I chose Bock nibs because, after comparing them to other companies, I found that Bock offers the best writing experience. The company has a long history and a wealth of experience. They also offer all the types of nibs my customers request.
Are there any modern pens that have disappointed you?
Yes, there are some. But I don’t want to go into that. ( you can reject the question as I don´t want tell something negative.)
Is there any upcoming design you’re working on—could you give us a hint?
I’m currently working on a new concept for a series with multiple editions. The basic idea is a sculpture that writes. Different materials and craft techniques come together to form an unusual writing instrument that you’ve probably never seen before. Each edition will be limited to a maximum of three pieces. I’ll be showcasing the first edition at the Dutch Pen Show in Utrecht in early June. I’m really looking forward to it.
What are your future plans for the brand?
I think JANZANDER DESIGN needs to gain more visibility and become better known. Not everyone is aware of its potential. So I need to promote the brand in other countries and expand my social media presence.
Do you create custom pens on request? If so, are they one-off pieces or small sets?
I really enjoy designing and crafting writing instruments on request. Every piece has its own story and, with that, its own challenges. They are mostly one-of-a-kind pieces. For Steinway & Sons, it was a batch of 8 x 8 pieces.
