The Wiener Werkstätte ("Vienna Workshop"), established in 1903 by the graphic designer and painter Koloman Moser, the architect Josef Hoffmann and the patron Fritz Waerndorfer, was a productive association in Vienna, Austria that brought together architects, artists, designers and artisans working in ceramics, fashion, silver, furniture and the graphic arts. The Workshop was "dedicated to the artistic production of utilitarian items in a wide range of media, including metalwork, leatherwork, bookbinding, woodworking, ceramics, postcards and graphic art, and jewelry." This often existed in the domestic space and created a significant interaction with feminine culture. It is regarded as a pioneer of modern design, and its influence can be seen in later styles such as Bauhaus and Art Deco.

Following World War I, the workshop was beset by financial troubles and material shortages. Attempts to expand the workshop's base were unsuccessful, as was a reorganization under the direction of Austrian artist Philipp Häusler. In 1926, Workshop financier Otto Primavesi's bank failed and the Workshop limped through the stock market crash in 1929. Ultimately it was forced to close in 1932.

The enterprise evolved from the Vienna Secession, founded in 1897 as a progressive alliance of artists and designers. From the start, the Secession had placed special emphasis on the applied arts, and its 1900 exhibition surveying the work of contemporary European design workshops prompted the young architect Josef Hoffmann and his artist friend Koloman Moser to consider establishing a similar enterprise.

Finally in 1903, with backing from the industrialist Fritz Wärndorfer, the Wiener Werkstätte began operations in three small rooms; it soon expanded to fill a three-story building with separate, specially designed facilities for metalwork, leatherwork, bookbinding, furniture and a paint shop. The range of product lines also included leather goods, enamel, jewellery, textiles, millinery fashion, lace, postcards and ceramics.

The Workshop "derived inspiration from the rich tradition of the glorious past" with fine workmanship and high attention to detail, hearkening back to a more civilized, and secure, time. Beginning with the 14th Exhibition of the Vienna Secession in 1902, the radical distinctiveness of certain Viennese artists began to emerge, setting a foundation for the widespread Modernist movement; this became known as Wiener-Werkstätte-Stil (literally, the Vienna Workshops Style). Among the innovators were the Austrian designers Gisela Falke von Lilienstein and Else Unger, and the Viennese architect Josef Hoffmann. The latter's cubist sculpture created in 1902 marked a break into independence for many Viennese artists. His works from this period are especially remarkable when one considers that the term "cubism" only found its way into the art lexicon around 1907 to describe the work of Pablo Picasso.

Dresses by Eduard Josef Wimmer-Wisgrill inspired Paul Poiret's when the latter visited the Workshop's Berlin exhibition in 1913. The work was considered both highly fashionable as well as functional. Other pieces at the exhibition included day and evening clothes, housedresses and negligees. Some of the earliest productions of the fashion workshop were artists smocks for Klimt and sculptor Anton Hanack.

Josef Hoffman wrote in a 1928 retrospective on the 25th anniversary of the Workshop that:

"The Wiener Werkstatte... is an undertaking that furthers and nurtures all artistic and qualitative endeavors in the field of modern craftsmanship."