I have to admit that I have not been a fan of Godiva. Although possessed of an excellent reputation and one of the most iconic packages in America (the signature gold ballotin is right up there with Tiffany’s blue box), the chocolate itself no longer lived up to the tradition in my opinion. (Read my original article.)

Type(s): Prestige Chocolatier
Style: Nouvelle American
Taste Rating: Very Good to Superior
Overall Value Rating: Very Good

Original Review Posting Date: January 19, 1004

When I first heard that Godiva (which has been a wholly-owned subsidary of the Campbell Soup company since 1972) was planning a new high-end line of chocolates rumored to be priced at around $100 a pound (the normal line is in the mid-$30s) I had no idea what to expect. After its astonishingly successful introduction this past holiday season (2003 - close to half-a-million pieces sold in about two weeks) it’s fair to say that Godiva has staked a legitimate claim on the high end of the, for want of a better term at the moment, “nouvelle American” artisan chocolate market.

What is most astonishing is the risks Godiva took in developing this new product line. The company is almost single-handedly responsible for the connection in American’s minds between high quality chocolate and Belgium and their decision to use a young American chocolatier (really, an American, not someone born in Europe working in America), Norman Love, who uses Swiss chocolate (Felchlin) is seemingly totally at odds with core elements of the Godiva brand. In addition, this new line (dubbed simply “G") is packed in a box that bears absolutely no resemblance to the iconic gold ballotin.

But they made it work using a brilliant combination of marketing, customer knowledge, and good product.

Many chocolatiers might have turned down an assignment like this, figuring that the brand was too tarnished to bring back to full luster and that association with the brand might harm their career. Norman Love, however, saw it for the challenge that it was, believing that he had the ethic and aesthetic to make it work. Norman, the ex- Executive Pastry Chef for the Ritz-Carlton #### and founder of Ganache Chocolates in Fort Myers, Florida, starts each day’s work with the goal of doing better than he did yesterday. In the Godiva project he saw not only an interesting challenge but an opportunity to become a better chocolatier.

One example of this is Godiva’s approach to food safety. Many chocolatiers will tell you that the shelf life of their product is three weeks—but few (if any) know what the shelf life really is. Because Campbell Soup is a large publicly-traded company, food safety is a very important aspect of its business. Part of the development team for the “G” collection included food scientists and safety experts who took a look at the production process and suggested changes to Norman to meet the shelf-life goals for the line: three weeks at room temperature with no preservatives. Part of this process involved testing pieces for the growth of bacteria (harmful to taste as well as potentially harmful to people) to determine how long a shelf life a piece actually had and then adjusting the manufacturing process until this goal was achieved for each of the fifteen flavors in the collection.

Production of all of the pieces (some 400,000 to 500,000 in all) for the introduction took place over an eight-week period at the Ganache Chocolates workshop in Fort Myers, FL. In all, fewer than ten people were involved in the actual production of the pieces and every single piece was made and finished by hand (machinery such as temperers, vibration tables, and cooling tunnels is used of course, but no highly automated machines such as one-shot injection molders), allowing the line to retain its essential artisan nature.

Finished pieces were stored near freezing in a portable refrigeration unit parked out back until they were shipped to stores in time for the launch.

An essential part of Godiva’s marketing strategy is what I refer to using a term I coined in 1998 - artifical scarcity. In order to provide an extra aura of exclusivity to the line, Godiva brought it out in very limited release. Rather than making it available in all its boutiques (there are something like 200 in the US), the “G” collection was available in fewer than 20 stores in (8 Godiva boutiques (only two in New York City), and 10 Neiman Marcus stores). Within the boutiques that carried it, the “G” line was showcased in a handsome but very modest self-standing display. The “G” line was also available off the Godiva web site. In addition the line (currently completely sold out) was to be available from December 1 2003 through Valentine’s Day 2004. This combination of factors led to a rush on the product—people who were interested bought it while the could (and what they could) not know when they might be able to get any more.

The “G” collection was available only in pre-pack boxes of 9 pieces ($25), 15 pieces ($40), and 30 pieces ($70). In the store where I purchased my box (in the Met Life building), the store staff was not very knowledgeable about the differences between “G” and the regular line, knowing only Norman’s name, the price, and the fact that is was selling like hotcakes. I initially thought that this lack of training might be a hindrance to sales, but it was not. Ultimately, I think, people liked the product and its non-Godiva look—new and fresh.

Not suprisingly, given Godiva’s parentage (Campbell Soup is a very savvy consumer products manufcaturing company), what seems like risks to outsiders were in fact a series of very carefully considered decisions. Recognizing that the environment of the high-end chocolate market had changed around them and that no one product coupld possible meet all consumer needs, Godiva set out very deliberately to determine how to make its products and its brand relevant to consumers who had abandoned it for pricier European imports and the new generation of American chocolatiers.

Although choosing Norman and new packaging may have seemed risky because of seeming abandonment of core attributes of the Godiva brand, it was all part of a re-imagining of the brand for modern time, reflecting other core aspects of the brand, including being known for packaging and the store environment; a total sensory experience rooted in chocolate, a fusion of good taste and aesthetic style. When considered in this light, the risks do not seem all that great. Godiva is seen as a luxurious, traditional, brand and the new packaging and the look of the chocolates themselves, makes a modern statement that will not be confused with others’ products.

One conservative tack that Godiva took was very interesting given market trends. The range of flavors in the initial “G” collection does not include so-called ‘extreme’ flavors. People looking for wasabi, curry, blisteringly-hot chili, and flavor combinations that follow this week’s with-it fusion food trend will be disappointed. Instead, you’ll find flavors that are familiar and comforting to most American palates, well conceived and implemented, cleanly and clearly presented, easy to discern.

Conclusion

The $64,000 question has to be, after the review above, what sort of rating do I give the “G” collection?

In considering the question, I actually had to adjust the rating system to accommodate one of the more important trends to emerge in 2003: “Nouvelle American” chocolates.

Most American chocolate (at least up to the mass-market premium level already in the system), is not at all subtle when it comes to flavor: mint is MINT!! and raspberry is RASBPBERRY!!—you get the idea. On the other hand, much European chocolate, especially the upper tier of the French chocolatiers, is almost too subtle for its own good: What was the flavor in that piece I just ate? And trying to figure out which piece is what can actually take a program.

The Nouvelle American style, on the other hand, balances these two extremes. Flavors are clear and “forward” and easy to figure out, while still exhibiting the rhythm of chocolate-flavor-chocolate in the taste (you first want to taste chocolate, then the flavor of the filling, and the final taste in the mouth to be chocolate again). Many practitioners in the Nouvelle American style tend to decorate their pieces distinctively whether shell-molded or enrobed. In addition to Godiva, Patrick Coston’s The Art of Chocolate, Joan Coukos’ Chocolat Moderne, Jubilee Chocolates, BT McElrath, and Norman Love himself are among the practitioners of this Nouvelle American Style.

It is very difficult (in my estimation impossible) to meaningfully compare the style of chocolate exemplified by Robert Linxe and La Maison du Chocolat with Norman Love’s work for himself and for Godiva. It is like comparing French food with Japanese food and arguing over which is “better.” They’re different. It all may come down to personal taste and mood: one who lilkes La Maison du Chocolate may see Godiva’s “G” as lacking subtlety and nuance; one who likes the forward flavors and balance of “G” may think that La Maison du Chocolate is too subtle for its own good? Who’s right? It’s not an argument worth wasting time on, in my opinion.

My personal favorite in the “G” collection was the Mixed Berry a buttery, caramelly reduction of pureed raspberries, strawberries, wild blackberries, and cherries and butter that is voluptuous and unctuous in its dark chocolate shell. Other standouts for me were the Praline Crunch in which the hazelnut praline was not smoothly ground; the crunch reminded me of old-style pralines in the original tradition, and the Tiramisu with its mascarpone and coffee ganaches. The Passion Orange Heart is particularly beautiful (and is my wife’s favorite).

With the “G’ Line, Godiva has grabbed market leadership in the “Nouvelle American” style of chocolates, and this can only be good for the rest of the high-end chocolate market in the US as more and more people are exposed to artisan-crafted confections. Godiva’s growth may come at the expense of the mid-tier European chocolatiers, especially Belgian brands such as Leonidas and the Swiss Teuscher that have gained Godiva customers who have left the fold, and not smaller artisinal producers. In addition, some of the lessons Godiva learned in the development of “G” will be applied to the rest of its products, raising quality overall, which can only be a good thing.

If there is a downside to the “G” line it is that some of the flavoring compounds that are used do contain hydrogenated oils and artificial vanilla. Going forward, I challenge Godiva to replace these ingredients with ones that do not contain hydrogenated fats and do use natural vanilla in order to meet the true potential of the line.

Weighing in at about $100 per pound, these are among the most expensive confections in the world. Most of the pieces rate “Very Good” to “Superior” on the chocophile.com rating scale with the Mixed Berry piece rated “Extraordinary”. The traditional truffles—coconut and cocoa nib—are among the least successful, in part because bits of the coating flake off with handling and dust other pieces in the box. Pieces would rate more highly, on average, if the ingredients list did not include hydrogenated fats and artificial flavors—especially at this price.

People have asked me if I think the price of the “G” line is too high. Given the successful sales season, I would have to say no. In fact, what it may mean is that other “Nouvelle American” chocolatiers are not actually charging enough for their products.

Company Information:
Website: http://www.godiva.com/