Brendan Jansen MW

In the movie, The Devil Wears Prada, the character played by Meryl Streep chastises her underling (played by Anne Hathaway) for criticising the importance of fashion. She points out that the cerulean coloured sweater she is wearing has come about by the trickle down effect of high fashion, plotting where the colour originated, and how much influence designers, fashion moguls and magazine editors, have on the styles and tastes of the day. Meryl Streep’s character is making a business statement, highlighting the power of marketing.

I have heard it said the wine industry is also a fashion industry, in the sense that tastes and styles in favour at a particular time, by a particular group of people, are influenced by factors other than the product itself, in this case the wine.

I am aware I am treading into dangerous territory here, in that many would argue that the merits of a wine can be objectively assessed, and will “speak for themselves”, as it were. While I agree that this is the case to an extent, and have argued in a previous wine musings article that some objective assessment of the quality of a wine, along certain parameters, IS possible. 

However, I am also of the belief that other factors influence market trends. In a sense, this statement seems self evident, but what factors are at play? And do they influence purchasing decisions more that the innate quality of a wine?

Let us lay out the ground rules first. There is more than one “market”, and even several “markets” in the same geographical location. Each market has its own relevant price point, level of engagement with the product, and “maturity”. By the last point I mean that some more established markets may seek novelty, newness.

Who then are the players in this fashion tussle? Several groups emerge as important – firstly, producers and winemakers themselves. Secondly, so-called “industry experts”, comprising, in the main, sommeliers, wine writers and commentators. Thirdly, there are results from wine shows and competitions. Finally, and perhaps most importantly, are consumers themselves.

It would be naïve to think that the above players do not influence each other, and that their influences can be synergistic and even antagonistic. It is likely that is some markets, and for some products, different players “hold the power” at different times.

What do you think? Who drives fashions and trends in wine?

Brendan Jansen: 17 February 2018

In a previous Wine Musing, I discussed the notions of “typicity” and innovation, and how they may relate to each other. I briefly discussed the concept of wine quality also.

As mentioned, wine quality is difficult to define, but is often spoken about in terms of the degree of complexity of wine bouquet and flavours, the length and persistence of these flavours on the palate, the intensity of aromas and taste, and the overall balance of the core elements of the wine. These core elements, depending upon the style of wine, variably comprise alcohol, acidity, fruit flavours, tannins and sweetness. This notion of balance is also key to the concept of ageability, or the ageworthiness of a wine, though this multiplex issue is also linked to other aspects of quality mentioned here. In addition, we might infer a wine’s quality by the quality of oak we perceive in the wine, acknowledging the cost associated with the use of high quality barrels (though aforementioned balance is also salient). The development of a wine as it sits before us in the glass, when it evolves to emanate varied primary, secondary and even tertiary aromas, also adds to our enjoyment and appreciation of a wine. Finally, the notion of the “typicity” of a wine is often viewed as one of the indicators of a wine’s quality. By this is meant the degree to which a wine is representative, “classic”, distinguishing, prototypical, even archetypal, of a particular wine. Though sometimes referred to a variety, the term more fittingly describes, I believe, the “whole package” – of variety, style, winemaking, origin – dare I say, terroir.

In assessing a wine, we rely on some of the above descriptive terms, but can wine appraisal ever be truly objective? There are two extremes in the argument: the first is that wine appreciation is wholly subjective – “You know what you like, and that is the only important thing…”  This position holds that, it does not matter what others think, what the individual enjoys, and regards as desirable, is all that matters.

The alternative view, in the extreme, is that wine quality assessment is a wholly objective exercise: that, if sufficiently trained, “experts” can assess, with reliability and precision, how good (or not) a wine is.

Of course, arguments for and against both positions can be mounted. The area broadly fits into the philosophical question of aesthetics. In support of the former (subjective) position, many of my most enjoyable wine experiences have been based upon company, ambience, occasion – and have not always been with expensive wines or those (objectively regarded) of quality. Yet can quality assessment be divorced from enjoyment?

This is an area that, understandably, often polarises. I am of the view that, even though there are certain styles of wine that I prefer, the objective assessment of wine quality along the lines of length, balance, intensity and complexity, is possible. I can appreciate the quality of a wine style I do not personally enjoy and would not ordinarily purchase to drink.

In further support of the latter argument, just as a student of music or architecture can appreciate the nuances of a great symphony and the artistic details of a wonderful cathedral, and use a language to describe them, so too, I think, can a student of wine assess and describe a wine. There is some tacit support of this in the way that wine scores from so-called “experts” are sought by consumers, and wine show results used as a marketing tool.

That is not to say that individuals without any theoretical knowledge of, say, music or architecture, cannot appreciate a wonderful piece of music or stunning edifice. Yet we know that the likes of Beethoven, Bach and Mozart are all recognised “objectively” as creative geniuses. We may prefer the Baroque epoch to the Classical or Romantic, but that is the realm of personal taste – the genius of Beethoven or Mozart is unarguable.

I tend, however, to add two other dimensions to my tasting notes: the first is “quality-price ratio”, and the second, “drinkability”. I find that, when assessing wines in an industrial or commercial setting, these two aspects most influence the likelihood I will go on to purchase.

My most thrilling wine moments have been, however, when I have been moved by a wine, when it has so captured my senses as to transport me to another place….without, I might add, the excuse of intoxication!

More wine musings to come…!