Czech beer finally finds its way back into Czech glasses
Beer is one of the most iconic symbols of the Czech Republic. Yet since the 1990s, it has rarely been served in Czech-made glasses — a surprising reality in a country also renowned for its glassmaking. Now, after 30 years, Czech beer is set to be poured once again into Czech-designed and Czech-produced "půllitry."
The new "půllitry" were designed by students from the Academy of Arts, Architecture and Design in Prague (UMPRUM). Michal Froněk, head of the university’s Product Design studio and one of the project’s initiators, aims to reconnect the country’s renowned beer culture with its long-standing glassmaking tradition. In an interview with Radio Prague International, he explained why the two had drifted apart in the first place.
“Already in the 1990s, competition came from Germany. They could offer individual designs to breweries and beer brands, but the glasses were supplied from Germany. Meanwhile, the inflexible Czechoslovak (and later Czech) companies went bankrupt.”
By “inflexible,” Froňek refers to Czech glassmakers using pressed glass, which is harder to produce in customised batches than the mass-produced glassware offered by German companies. As a result, pressed glass "půllitry" disappeared from the market, even though they are, according to Froňek, most suited for beer.
“Pressed glass works well because it’s a bit thicker, which helps keep the beer cold for longer. And if a beer is to be truly good, it’s not just about proper sanitation, how it’s poured from the tap, or even how it’s brewed. It’s also about maintaining that chill for as long as possible – so you’re not left finishing the last few sips warm and flat.”
Froněk emphasises that the project was never intended as a mere exercise for students. The effort to bring Czech pressed glass "půllitry" back to the market also involved Tomáš Karpíšek, founder of the restaurant group Ambiente, and Jiří Trtík, head of the glass manufacturer Bomma. Regarding the role of the design academy, Froňek stresses that the university focuses on practical, real-world projects:
“Our institution and its studios don’t create artificial academic assignments that the world doesn’t need. We are able to identify topics that are relevant and applicable — in social contexts or in industry. I work closely with Ambiente, which runs a large number of excellent restaurants and pubs here. Through that close contact, I knew the management wanted their own drinking glasses in their establishments.”
The students had to design the "půllitry" with production constraints in mind, Froněk adds. At Bomma’s plant in Světlá nad Sázavou, the pressing process is highly specialised, requiring the glasses to be light enough while leaving sufficient space for the mould to be removed during production.
The UMPRUM students appear to have struck the right balance. From nearly 20 proposals, the project partners selected two designs for production. The standout students were Tereza Bláhová, with a rounded design, and Jáchym Kubů, with a simpler design featuring a stylised face. The glasses are now being produced for use in Ambiente’s restaurants and pubs, including the well-known Lokál chain.
“We’re now beginning a series run of 50,000 glasses. For true mass production – where a beer glass could retail for one or two euros – you would need to manufacture millions of units. But with the current project, we are operating on a local market, where the aim is to stand out through something distinctive. And since we are in the Czech Republic, where glass is made, it would be a shame not to have our own beer glasses – even if they are a bit more expensive.”
Specifically, restaurants and pubs will pay roughly twice as much for the designer glasses as they would for standard mass-produced models.
The Czech-made beer glasses are just one example of the many projects undertaken by the UMPRUM Product Design studio and Froněk highlights the success of its graduates:
“We strive to design things that can actually be used. Our students are trained to master the full range of products, and this approach has been highly successful. Around 90 to 95 per cent of our graduates remain in the industry. Some take on roles as brand managers or work for multinational corporations, but many go on to establish their own studios. They are often very successful and have even become our competitors. I’ve run my own design studio for 35 years, and I frequently come up against my former students in competitions — and sometimes they even beat me.”
