The "Suprematist graft" which, according to the art historian Lydia Andreyeva, Suyetin had applied to the porcelain factory, became apparent in the work of younger artists who joined the factory in the mid-1980s.

Even the first service forms created by Mikhail Sorokin marked him out as a very talented artist, with his own characteristic signature and a profound knowledge of the traditions and the sculptural potential of the material. He knew how to produce pieces, which were perfect in them, harmonious in form and decoration. His last work, the service "Inversion", with his own decoration, "Line", was nominated as a true discovery in the modern architecture of small forms at the first, and alas last, competition for ceramics painters in the USSR. The work by Sergei Sokolov, full of temperament in its composition, graphic line and coloring, widened the range of contemporary themes for porcelain by subjects taken from sport and a pictorial perception of the world of music and of townscapes.

The creative individuality of every single artist working in the porcelain factory found expression in the patterns of its products and gave the serial production porcelain a range of variety and emotional content. Despite the individual ideas at play in the design of pieces, the porcelain factory today is a collective business, and the translation of forms created by the artist into porcelain would be impossible without specialized experts like those who have contributed to the factory's fame throughout the centuries. Experience has accumulated over the generations of modellers, casters and porcelain painters, the people who possess unique expertise, inventiveness, a feel for the designer's intention and a thorough knowledge of the characteristics of porcelain. For decades past and to this day, the creators of form and color have worked side by side in the factory's artistic laboratory with first-rate casters and modellers, such as Ivan Beryoskin, Irina Trumpit, Anna Pavlova, Alexander Nikitin, Yury Troizki, Sergei Veryutin, Valentina Selina, Raisa Semyonova, the "gold hand" painters Olga Lebedeva and Maya Arefyeva, Anna Nosova and Olga Ryseva, Maya Grishchenko and Ludmila Sinovyeva, Alexandra Savushkina, Yury Gribov, Tatiana Uvarova and many others whose craft enables them to reproduce difficult pieces by modern masters and to copy imperial porcelain, to execute orders from government and institutions, to make prizes and decorations for festivals and competitions at home and abroad, to manufacture porcelain for foreign firms, as well as for sale in the factory's own shop, that has now been reopened, for the third time in its history, on Nevski Prospect. To mark 1000 years of Christian Russia, the Russian Orthodox Church commissioned a ceremonial service for the Patriarch's residence, consisting of almost one thousand pieces. The painter K. Kosenkova incorporated elements of church symbolism into the decoration of this votive service and the use of gold on a green background gave the pieces a look at once elegant and festive. The painter Alexander Volkov, renowned cultural worker of the RSFSR, continued the tradition of portraiture on porcelain. He created an entire gallery of statesmen, party leaders, cosmonauts, military figures, actors and writers on ceremonial vases, porcelain plaques and decorative dishes. Lenin's portrait, painted by Volkov to mark the 60th anniversary of the October revolution, is considered to be one of the best among porcelain paintings of Lenin. A representation of the General Secretary of the Central Committee of the Communist Party, Leonid Brezhnev, was ordered with particular frequency. He had honored the factory with a visit. The former General Secretary not only collected his portraits, wearing a new order on each new one, but he also liked to give them away to visiting foreign heads of state at receptions. Volkov's townscapes, with the panorama of the Moscow Kremlin and views of Leningrad, were also given as official presents. The double function of the Leningrad factory, as a centre of ceramic art and as a modern industry, made it necessary to find new means of internal communication. Nina Slavina, the head of decoration, and Sinaida Meteliza, the director of the porcelain factory, was able to find a common language. Sinaida Meteliza, a trained chemical engineer, is the first director in the factory's history who has not been brought in as a "foreign governor". She has done all jobs in the factory, from apprentice caster to head of the company. At the beginning of the 1980s, the Leningrad factory produced more than 17 million items annually. The range consisted of nearly 500 lines, different in form and decoration; porcelain with the LFZ stamp was sold in the Soviet Union and exported to some 20 other countries. In 1980 the Lomonosov factory was awarded the international "Golden Mercury" prize in "special recognition of its contribution to the development of production and to international cooperation". It ranked among the most highly profitable companies. During the second half of the 1970s the factory underwent a second phase of modernization. Without interrupting the main production, a new hall for the preparation of paste was established, the firing unit was modernized, the old tunnel kilns were replaced by modern ones from the well-known firm of Ried-hammer and the antiquated oven kilns had to make room for electrical chamber kilns for the firing of under glaze items, the pride of LFZ. The entire collective of employees, which today numbers around 2000, is remarkable for its high proportion of long-serving workers. The most important new development, however, is that it has been agreed to install a new casting shop. The introduction of this will lend new impetus to production, so that the factory will be able to widen considerably its range of products, adding modern articles of complex shape and not merely new forms of china. The variety and artistic standard of serially produced porcelain will thus be increased. This outlook inspires hope. The decoration collective, which includes young artists, will be able to continue its work, whereas many other enterprises, owing to the change to a market economy, are worried about their continued existence and are concerned that artistic considerations have fallen by the wayside. Gorbachev's "Perestroika", proclaimed as a "renewal of socialism", led to the dissolution of the Soviet Union, to crisis and economic chaos, and a change to profit and commercialism. The LFZ was able to continue its work, however, even under these complex social conditions, maintaining its profile and producing articles of a high artistic standard. The Russian government's new economic policies, the change-over to market conditions and the privatization of nationalized property, brought adjustments to the statutes of the Lomonosov factory. The factory management and the entire workers' collective decided to transform the enterprise into a joint-stock company, the "Lomonosov Porcelain Factory", so as to ensure continued existence as an entity, to preserve the unique museum collection, and to safeguard the continuity and traditions in the art of porcelain making. Its 2000 workers became the founder members of this new enterprise.

In 1993 Russia's oldest porcelain factory thus entered a new phase in its history as a private company.

One may assume that the Lomonosov Porcelain Factory - with its history spanning more than two centuries, so closely interwoven with the history of our country, and with its remarkable synthesis of industry and art and its rich historic, scientific and cultural heritage - will take its place in a reborn and renewed Russia.

Russian porcelain, born on the banks of the Neva and now an indivisible part of majestic St. Petersburg, will continue to set the standard by which the classical mood and freshness of art of this Palmyra of the north will be judged. In other words: the LFZ represents the true national wealth of our fatherland.