What does the launch of the Robinson x Brendon Precision Glass tell us about the glassware market?
The Robinson x Brendon Precision Glass is the latest wine glass to aspire to make the best of all possible wines. But where does that leave the market for hyper-specific glassware? Eleanor McNeill investigates.
Earlier this summer, Jancis Robinson OBE MW and Richard Brendon added a new glass to their collection. The Precision Glass has the same design as their Original Glass, but is machine made, and is a response to the latter’s success: “We have listened to what the people want,” says Robinson, “that is, all the precise wine expression offered by our beautiful wine glass, plus a bit more durability and the value possible with a machine-made version. Et voilà: the Precision Glass.”
The Original Glass was crafted around the idea that a single glass type could accommodate every variety of wine, ranging from port to prosecco. Anne Krebiehl MW, reflecting on her experiences at the Judgment of London event, states that it indeed meets these expectations. The Precision Glass, which is machine-made as opposed to the handcrafted Original, offers comparable versatility at a lower cost of $116 for a set of four, whereas the Original costs the same for just a pair. The Precision’s name reflects the consistency achieved through machine production, unlike the Original, which also prides itself on the uniqueness of each hand-blown piece. Despite its advantages in uniformity and durability, the Precision Glass lacks the delicate finesse of the Original Glass. Nonetheless, considering its price, the Precision provides a very satisfactory quality for its cost.
The Precision Glass is not just a beautifully designed item worthy of acquisition; it also highlights an emerging pattern within the domain of glassware. This trend isn’t exclusive to this product; in 2022, Riedel released the Veloce All Purpose tumbler, acclaimed for its versatility across various beverages. Similarly, Schott Zwiesel recently introduced the MioVino red wine glass—erroneously named as it suits both still reds and sparkling wines—and a plethora of ‘allround’ glasses. Spiegelau has been marketing a Universal Glass across multiple lines, and both of Joseph Zalto’s collections for Zalto and Josephinenhütte include such a glass. Moreover, Conterno’s Sensory Glass is portrayed by The Rare Wine Company as being exceptional for different high-profile wines. Leaders at Schott Zwiesel and Spiegelau acknowledge this growing inclination towards multi-purpose glassware, with comments indicating that while this trend is prominent, it might not persist indefinitely.
Repeatedly, we are witnessing firms traditionally advocating for specialized wine glasses, venturing into designs intended to be all-encompassing. This shift marks an opportune moment to reflect on the notion of a universal wine glass.
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Riedel has established its reputation on the belief that various wines require specific glasses: one for Champagne, one for Old World Pinot Noir, another for unoaked Chardonnay, another for New World Shiraz, and so on, ad infinitum. This concept might seem excessive and easily viewed as a brilliant marketing strategy, asking whether one really needs a specialized glass for every type of wine they might enjoy. For instance, if one has a glass specially made for New World Shiraz, is it necessary to have another for a specific vintage difference, like the lighter 2017 Henscheke Shiraz compared to its 2016 counterpart? This attention to detail only adds another layer to the already intricate winemaking process. But then, has fine wine ever really adhered to the constraints of practicality? The design of a glass indeed influences the wine’s taste by altering how aromas are concentrated and how the wine interacts with air. Considering the care given to the blend, age, terroir, and barrel in the industry, why compromise on the vessel for drinking? While it may seem impossible to find the ideal wine glass match, this challenge should not deter our pursuit. Being a fine wine aficionado is about constantly chasing elusive perfection, whether it relates to terroir, vintage, or glassware, and this quest is both challenging and rewarding.
Thus, there is a strong argument that the fine wine community should seriously consider the glassware it uses. Riedel even proposes renaming them as “wine instruments,” a term that, though unlikely to become mainstream, emphasizes the crucial role of the glass in enhancing the wine drinking experience much like how a wind instrument enriches the music produced by air. However, despite the demand for glasses targeting specific wines, the average person may not have the luxury of space, budget, or interest to accommodate such a vast collection. Compromises are necessary.
These compromises are evident in the offerings of major industry players who promote more universally applicable glasses. The allure of not needing to choose between a Burgundy bulb or a conical crystal, a flute or a coupe, resonates strongly. Companies like Spiegelau, voiced by Richard Voit, acknowledge that while they uphold the principle of distinct glasses for different wines, they also cater to customers preferring a singular style of glass. Similarly, Zwiesel Kristallglas manages two lines: Zwiesel Glas, which specializes in high-end glasses, and Schott-Zwiesel, aimed at entry-level consumers, particularly appealing to the youth with their versatile options. They recognize the market for both specialized and versatile approaches. Yet despite the obvious utility of these universal glasses and sound reasoning for their production, they may present a contradiction. On the websites of Zalto, Schott Zwiesel, Spiegelau, and Riedel, alongside the very targeted glasses, are “universal” glasses which often seem less capable than their name implies. For instance, the Zalto Universal is recommended specifically for expressive wines with noticeable minerality like Riesling, Grüner Veltliner, Chianti, mineral-edged Chardonnay, and complex sparkling wines. This specificity somewhat limits what is meant by “universal,” almost like musicians whose “world” tours only include North America, Western Europe, and Melbourne. The concept of universality appears as a marketing strategy appealing to simplicity and clarity rather than a true embodiment of versatility.
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This discussion takes us back to the glass that initiated this narrative. Jance Robinson MW and Richard Brendon’s Precision Glass certainly possesses boldness—the boldness to strive to showcase all wines optimally (as opposed to the most wines decently), and the boldness to be marketed solely by the pair (choosing between it and the Original Glass involves different price levels, not different glass styles). This audacity is feasible because of Richard Brendon’s unique business structure: unlike other companies, it operates primarily as a tableware entity with a subsection in glassware. This arrangement frees them from needing to appease a broad spectrum of consumer groups, from connoisseurs to casual drinkers. Hence, the Original/Precision Glass justifies its claim of being the sole necessary wine glass shape by, quite simply, being the only wine glass shape they offer: This is a portrayal of universality as an ideal, not merely a marketing slogan. The pursuit to create such a universal glass, whether or not one believes in its pragmatic existence, highlights a commendable focus and dedication to the concept which contrasts sharply with others who offer multiple styles or stipulations on their versions of universal glasses.
The concept of universality has always been integral to Richard Brendon. The brand was originally launched with a line of reflective tea cups that effortlessly matched any saucer, thereby ensuring a perfect pairing. How appropriate, then, that this same company would craft the Precision Wine Glass, envisioned to harmonize seamlessly with any wine variety.