IZ OBRTNIČKE RADIONICE Dominique Jurić Kakša

Guest Dominique Jurić KakšaMay 3, 2026

Dominique Jurić Kakša

About this episode

What you'll hear in this conversation

The story of a craft often begins with a family, a name, and a passion passed down. But what happens when that craft, once central to a region, becomes an endangered art form? Dominique Jurić Kakša inherited her father's glass workshop, 'Staklić,' transforming it from a traditional business into an artistic atelier. She brings a fine art education in stained glass – a technique so rare in Croatia she had to study it abroad – to an enduring family legacy. This conversation explores the unique challenges of sustaining a traditional craft in the modern economy, where artistic integrity meets the daily fight for survival. Dominique shares how she redefines the ancient art of vitraj, from grand ecclesiastical installations to charming Zagreb-themed souvenirs, all while navigating the practicalities of a one-person artistic enterprise. Her story is a testament to the resilience required to keep a specialized art form alive, and what it means to find 'pure art to survive' in a small business.

Insights from the conversation

What to take from this episode

Her father's nickname, 'Staklić,' became the name of the glass workshop he founded in 1984. This personal touch, rooted in his love for the craft, laid the foundation for a business that would later pass to his daughter. The most resilient businesses often have deep personal roots and multi-generational commitment, where the name itself carries the legacy.

Dominique is the only person to have graduated from the Academy of Fine Arts in Zagreb with a specialization in stained glass. To master the technique, she had to study in France and Switzerland, bringing that rare expertise back to Croatia. True specialization sometimes means going where the knowledge is, even if it's not locally supported, and then cultivating that expertise at home.

While stained glass is historically linked to sacred architecture, Dominique actively redefines its place in contemporary spaces. She creates pieces for modern interiors and as decorative art, moving beyond its traditional religious context. To expand a traditional craft's market, redefine its context and utility beyond its historical constraints.

The 'Zagreb in Glass' souvenir collection began as a personal project to decorate her Christmas tree with unique glass ornaments. This small, practical idea evolved into a line of city-themed souvenirs like the Stone Gate or Lotrščak Tower, designed to be easily carried by tourists. The most commercial ideas often spring from solving a personal need or delight, then expanding that delight to a wider audience.

Dominique describes the daily struggle of her artistic small business by saying, 'Sometimes it becomes pure art to survive.' She details the challenge of continuously funding visibility and marketing efforts that larger entities can afford. For creative entrepreneurs, the daily fight for survival often overshadows the artistic pursuit itself, demanding business acumen as much as craft.

Despite receiving advice to specialize, Dominique intentionally diversifies her offerings, from custom vitrajs to workshops for children and adults, and souvenirs. This 'doing everything' approach is her strategy for sustaining the business and keeping the traditional craft viable. While conventional wisdom preaches focus, for small artistic businesses, diversification can be the survival strategy that keeps the core craft alive.

The children's stained glass workshops consistently generate 'infectious positive energy,' especially when the finished colorful works catch the light. This spontaneous joy from participants, both children and accompanying adults, is a powerful motivator for Dominique. The most potent feedback for experiential businesses isn't profit, but the unadulterated joy and engagement it sparks, which then attracts others.

Dominique notes that women in her society face a 'specific crosswind,' hinting at systemic challenges, particularly in her inability to lead the glass course at the Academy. Even in niche artistic fields, systemic biases can limit opportunities, requiring persistent individual effort to sustain a craft despite institutional hurdles.

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