Author: Vy Nguyen

When wine meets the scroll

Choosing a bottle of wine no longer depends solely on the advice of a wine merchant or a guide. Social media, content creators and artificial intelligence are reshaping the customer journey, with every stage now playing out through a screen.

Contents:

The digital revolution
The digital-only illusion
Driving sales or building trust?
The power of keeping it natural
Digital as a tool

The digital revolution

In late 2025, one story perfectly illustrated the changing landscape: a Sancerre featured in a Taylor Swift documentary went viral on American social media after eagle-eyed fans identified the bottle. It was more than a viral anecdote – it symbolised a broader transformation, where a wine recommendation can originate from a viral social media moment. The 2026 Sowine/Dynata barometer confirms the trend is gaining traction. This year, 39% of the French stated they had bought wine online, with higher average basket values (€51-70) suggesting growing confidence in e-commerce channels. More tellingly, 47% of people who follow content creators value their advice, with one in five French consumers saying they have already purchased a wine recommended on social media. Artificial intelligence is also becoming part of the wine-buying journey: 30% of consumers (rising to 58% of 18-25 year olds) have already used it to find out more about wine. Digital technologies are no longer a simple purchase channel: they are redefining the way opinions are formed and given. Traditional search engine optimisation (SEO) on Google is evolving towards AI search optimisation. Ranking first on a search results page is no longer enough. Comprehensive, accurate website content is becoming essential for brands hoping to be referenced by AI assistants such as ChatGPT and Gemini.

The digital-only illusion

“Only eight years ago, demand centred on website creation, and websites were often seen simply as showcases”, recalls Bastien Delteil, managing director and brand division manager at marketing and communications agency Beewine. Since then, websites have become transactional platforms while social media has shifted from a nice-to-have to an essential business tool. “Many winegrowers were initially reluctant to embrace digital technologies. Now, there is a genuine awareness of their importance”, stresses company president and digital manager Alexandre Sauzeau. “Although they seek strategic support, they are also reverting to a degree of in-house management”. Expectations have evolved too. “Highly polished, institutional, brand-led content is now merely the baseline. It is human content that generates interaction”, adds Delteil. Video has become the format of choice and a behind-the-scenes glimpse of life at a winery prompts greater engagement than picture-perfect artwork. “There is no shortage of choice for consumers, so the real challenge is to stand out. The story, the personality of the winegrower and the way the wine is made are becoming key differentiators”.

Driving sales or building trust?

Nevertheless, social media does not automatically translate into sales. “Compared with paid online advertising, the return on investment is often lower. Social media’s main role is to build awareness and reassure consumers”, explains Sauzeau. Consumers often discover a wine elsewhere before checking its online presence – an active, consistent and personalised online presence reinforces its credibility. The most common mistake is lack of strategy. “Many producers post content simply because they feel they have to, but they don’t think about the message they want to convey”, says Delteil. When it comes to AI, the two experts recommend using it selectively to help develop a content strategy or editorial calendar. “Wine is an artisanal product with a genuine sense of place so it is difficult to promote an image rooted in the land using AI-generated imagery”. That is the paradox: the more sophisticated digital tools become,the more consumers value authenticity.

The power of keeping it natural

29-year-old Émile Coddens began experimenting with these techniques during the pandemic, when people could no longer visit wineries. “I started using my phone to talk about my profession. And it worked”, recalls the winegrower whose TikTok following grew to 515,000. At the time, the platform was still in its infancy and no-one was talking about wine. “Anything that helps reach younger audiences is worth trying and video is clearly one of the most effective ways to do this. For years, the wine industry spoke mainly to connoisseurs. When facing an entire wall of wine bottles in stores, a video featuring someone who explains what they do simply breaks down the barriers”. His success lies in visual cues that have become his hallmark: his cap worn backwards and his sleeveless body warmer. “On social media where people scroll through content, seeing the same appearance creates an instantly recognisable identity”. His method prioritises a natural approach: “I shoot everything on my smartphone without any professional equipment. A video that’s too polished creates the same distance as television, whereas a clip filmed on the spot, even if it’s a little shaky, can go viral. You have to post authentically rather than try to outsmart the algorithm”.

Digital as a tool

Explaining vine pruning or the role of closures simply in just 30 seconds remains a real balancing act. “You have to reach out to everyone, without talking them down or assuming they’re experts”. His advice to reluctant winegrowers is simple: “Dive in. Choose someone who embodies the winery and don’t try to manufacture a carefully staged image. Don’t copy others. Be true to yourself”. Coddens now farms three hectares of vines in the Layon region. He has scaled back his social media activity to spend more time tending his vines. The price is steep: in just two years, he lost 100,000 followers. “Things happen extremely quickly”, he comments, with no regrets. “I could have become a full-time influencer and earned a lot of money, but I chose to pursue the career I had always dreamed of. Social media is just a tool – it’s not my life”.

Florence Jaroniak.

©canva.

Beyond the frame – where wine meets art

From sculptures emerging from the vines and writers lending their pen to a vintage to paintings displayed in the heart of wineries, art is finding a home in wine estates around the world. It has become more than just a magnet for visitors, offering a different way of telling the story of wine and its creators, engaging both the palette and the palate.

Contents:

Stepping beyond sculpture
As old as wine itself
The same patience, and the same goal
Look before you taste

Look before you tast

Stepping beyond sculpture

Three metres tall. Green, and made from rubber. Set in the very heart of the grounds at Château Chasse-Spleen, in Moulis-en-Médoc, this pair of oversized boots designed by Lilian Bourgeat sets the tone. The first piece of artwork acquired by Céline Villars-Foubet and her husband in 2009, it immediately invites visitors to follow in the footsteps of art enthusiasts. “These are the exact same ones worn by workers in our vineyards and in the winery. When we stumbled across them, we knew immediately that we had to have them”, explains Villars-Foubet, an architect by profession who grew up next to a contemporary art museum. Since those first steps, the couple’s foray into the art world has continued. An anamorphic installation by Felice Varini transforms the cellar, while a contemporary art centre opened in 2017. As for the boots, they have become Chasse-Spleen’s emblem. “Everybody takes photos of themselves in front of the boots. They have become so iconic that we have included them on our label. The artwork is instantly understandable, sparks interest and adds to the estate’s aesthetic appeal”. For nearly twenty years, an original phrase written by a contemporary author has also been appended to every vintage. “Our property has one of the most literary chateau names there is. We wanted to take the same approach as Mouton Rothschild with artists on its labels, but with literature”. For Céline Villars-Foubet, the approach is neither a marketing gimmick nor part of a wine tourism strategy. “We have a profound love of art and feel it is important to offer it in a rural location. It is neither a way of popularising wine nor of making it more elitist. It quite simply adds a touch of soul and connection”.

As old as wine itself

On closer inspection, the dialogue between wine and the arts is nothing new. “Dionysos, the god of wine, is also the god of theatre and patron of the arts. In other words, the connection is already well-established in the mythology of our Greco-Roman civilisations”, stresses historian and author Florence Monferran, who also grows wine at Clos de Miège, in Languedoc. Down through the centuries, wine has inspired artists, writers and poets. In the 1920s, Philippe de Rothschild breathed new life into this relationship by commissioning artists like Picasso, Dalí and Warhol to design the labels of his fine wines. “He offered a very practical expression of the bond between wine and artistic creation. In a way, he made a statement about wine also being art”. The ties between the two became even closer when prominent financiers and captains of industry entered the wine world. “They are often patrons and keen lovers of art and therefore brought the two worlds together quite naturally”, notes Monferran. Yet culture can also be found outside the prestigious art centres at Smith Haut Lafitte, Château La Coste and Peyrassol. From exhibitions and concerts to readings and land art festivals, the range of experiences is broadening and going more mainstream. “They are extremely fashionable and have become accessible to a wider audience, offering a gateway into wine, particularly for novices”, adds Monferran.

Look before you taste

This vibrancy is exactly what grips Champagne during Vign’Art. Facing the hills of Cuchery, a young man contemplates the landscape. Titled ‘En Face’ or ‘Opposite’, the sculpture is by wood carver Antonin Martineau, a recipient of the prestigious ‘Meilleur Ouvrier de France’ award. This monumental piece of art was installed as part of the 2026 festival. “It can be interpreted on three levels: the face-to-face encounter between the spectator and the sculpture, between the sculpture and the landscape, or the encounter with oneself”, the artist explains. It is also an invitation to slow down in a location he found to be teeming with life. “I was struck by the number of people working in the vineyards, they’re a true hive of activity. My sculpture invites you to take time out for contemplation and to realise that wine is so much more than just a bottle. It is also all the work that goes into it”. Martineau feels that art amongst the vineyards serves as a bridge, forging an instant connection between producers and their terroir.

The same patience, and the same goal

Artists shape materials, while winegrowers compose with nature. Their techniques may differ, but Antonin Martineau establishes an obvious parallel between the two: “Sculpture is a labour of patience, a process of creation that echoes the work of the winegrower. In both cases, the result stems from a legacy and expertise”. For Florence Monferran, the same quest for excellence defines them. “To quote Philippe de Rothschild: “Fine wine is an art.Many winegrowers are engaged in this pursuit, like Laurent Vaillé, the creator of La Grange des Pères, dubbed the ‘Mozart of wine’”. Céline Villars-Foubet prefers to quote renowned consultant oenologist Denis Dubourdieu: “Wine is both an aesthetic and sensory pursuit”.

While she does not liken winegrowers to artists, she admits there are similarities in the creative process: “There is the same pursuit of balance, sensitivity and high standards.

Wine is extremely subtle, it is woven into a very long history, carries with it a culture and a quest for beauty”. Ultimately, perhaps wine and art have the same ambition – to strike an emotional chord in us. “Art makes me happy and I feel that beauty is absolutely essential because it helps us through life’s difficult times”, concludesCéline Villars-Foubet. “I hope that visitors feel some of this, that their encounter with art adds something special to the curiosity, the pleasure and the emotions they feel when they discover the estate”.

Florence Jaroniak. © Château Chasse-Spleen.

Medals: still influencing the buying decision

There have never been so many wine competitions. Despite this crowded landscape, medal stickers remain a powerful purchasing cue – provided they guarantee the wines have been rigorously selected. We take a behind-the-scenes look at an ecosystem that continues to evolve and reinvent itself.

Contents:

A crowded marketplace, governed by strict rules
Demonstrating the credibility of medals
Practical insights
A stepping stone towards recognition
Awards that call for discernment
Medals still matter

A crowded marketplace, governed by strict rules

From the Concours Général Agricole, established in 1870, to the European Red & Rosé Wine Contest launched this year, the world of wine competitions is constantly evolving. France is currently home to 131 officially approved competitions. Yet, while they all share the same mission – to single out quality wines from an ever-expanding range of offerings – their growing number also underscores increasing specialisation around specific grape varieties, colours or regions. Victor-Pierre Gomez runs Armonia, a company that organises competitions in Europe. He believes competitions serve different objectives depending on their scope, from local level to the international stage. “Not all of them target the same judges or markets. What sets France apart, however, is its particularly strict regulatory framework”. Since 2013, officially recognised competitions have been required to guarantee anonymous tastings, full traceability of samples and the impartiality of judges. The medal quota is also capped at one third of total entries. Some competitions rely exclusively on professional judges, such as the Mâcon Wine Competition, while others, including the Independent Winegrowers’ Competition, are judged solely by trained consumers. Others still prioritise complementary panels. “A medal should reward a wine that appeals to a broad consensus”, Gomez explains. “Professional judges ensure that a wine displays characteristics expected of a particular grape variety or appellation, while wine enthusiasts provide a perspective that is often close to that of the end consumers”. He adds that he is often impressed by the level of expertise demonstrated by some amateur wine tasters.

Demonstrating the credibility of medals

For competition organisers, the challenge is no longer simply to award medals, but to demonstrate their credibility. “Consumers are not always aware of the process behind a medal sticker”, notes Gomez. As a result, greater emphasis is being placed on education, alongside increasingly finely-tuned selection procedures for panel members. At the International Competition in Lyon, for example, nearly 3,000 applications are scrutinised to assemble a panel of around 1,000 judges. Professional applicants are selected on the basis of their credentials, while wine enthusiasts undergo a screening interview by telephone often supplemented by training sessions focused on scoring methods. “The key is being able to prove that the wines have been assessed by proficient judges using a rigorous methodology”, stresses Gomez.

Practical insights

The days when competition entrants simply received a medal – or not – are largely over. Increasingly, organisers now rely on transparency and feedback. “We provide each winegrower with a detailed tasting report, enabling them to benchmark their wines against other entries and gain better insight into the judges’ assessments”. The approach also helps soften the disappointment that can accompany competition results. “A wine may achieve an excellent score without receiving a medal when the overall standard of entries is exceptionally high”, he notes. Winegrower Laura Balsan, at Mas Origine in Montpeyroux, believes the feedback offers useful insight, without undermining the estate’s identity. “It’s always interesting to hear what judges think of our wines. But it is just as important to stay true to our vision”.

A stepping stone towards recognition

Since its founding in 2022, Mas Origine has entered the Hérault Valley wine competition. The strategy has paid off – four of the estate’s wines have received awards across three different competitions. “When you’re starting from scratch and have yet to build a sales network, medals can help put you in the spotlight”, explains Balsan, who also highlights the wider promotional ecosystem surrounding the competition. “Award-winning wines are showcased at the local tourist information office and featured in promotional campaigns. This helps attract private customers and visitors who explore local estates over the summer”. For Mas Origine, however, entering the competition is about more than individual recognition: “It helps promote the reputation of the Terrasses du Larzac, Montpeyroux and Languedoc appellations. This is a collective initiative in which most local winegrowers take part”.

Awards that call for discernment

Between entry fees, sample shipments and the cost of bottle stickers, entering wine competitions represents a significant investment, requiring producers to be selective. “We spend time identifying the competitions and scoring systems that best align with our sales objectives. In the United States and Canada, in particular, certain awards carry particular weight and can be expected”, admits Balsan. While knowledgeable wine enthusiasts deliberately steer clear of medals, preferring to seek advice from specialist wine merchants, mainstream consumers use them as a quality cue, especially in supermarkets. “The customer journey is often very short and highly subjective. Consumers choose an appellation, look at the label, then the price. When they are hesitating between two bottles, a medal can make all the difference”, observes Gomez.

Medals still matter

The metrics confirm that medals continue to influence purchasing decisions. According to Viavoice research conducted in 2022, 59 % of shoppers said they pay attention to medal stickers when choosing a bottle of wine. For 85 % of French consumers, medals are seen as a guarantee of quality, while 76 % say it reassures them and can encourage them to buy. Nearly six in ten also feel it is acceptable to pay a premium for an award-winning wine. The Vinalies competition, hosted by the French Oenologists’ Association, similarly reports an average 33% increase in sales for their medal-winners in 2024 and 2025. For Laura Balsan, however, medals are only element of a broader narrative. “The first thing consumers are receptive to is our story. Then come our environmental commitments as organic producers and the appellation concept. Together, these elements create a coherent whole”. Medals may no longer be the sole compass guiding consumers through the wine aisle, but they remain a trusted marker of quality and a valuable tool for enhancing visibility.

Florence Jaroniak

‘Blouge’ finds its groove

Neither white nor red, ‘blouge’ is carving out a place for itself in wineries. Behind its playful portmanteau name lies a revived co-fermentation technique that has emerged as a response to climate challenges and a new-found thirst for light wines.

Contents:

The revival of an age-old practice
Co-fermentation: fusion in the tank
A response to climate change
The challenge of ripeness
Vin De France: a creative playground
New tasting vocabulary
Culinary curiosity

The revival of an age-old practice

The name may sound thoroughly modern, but the technique itself is centuries-old. By fermenting white and red grapes in the same tank, ‘blouge’ harks back to a time – long before ampelography made its mark – when winegrowers cultivated mixed vineyard plantings. Known as field blends, they combined multiple grape varieties from the same crop. Once used to soften the structure of certain wines in regions such as Rioja and Tuscany, the practice all but disappeared from European vineyards, save for a few enduring exceptions like Côte-Rôtie. In the northern Rhone Valley appellation, Syrah may still be co-fermented with a small proportion of Viognier, a long-established practice enshrined in the appellation’s production rules since the AOC was created in 1940. Today, Viognier may account for up to 20% of the blend.

Co-fermentation: fusion in the tank

The term ‘blouge’, though neither official nor regulated, can refer to several winemaking techniques, even if co-fermentation of red and white grapes remains the most widespread. While the practice itself is far from new, it is now being deployed with greater intent to craft distinctive wine styles. Unlike blends assembled after vinification, co-fermentation allows skins, sugars, acids and yeast to interact from the very start of fermentation. The resultant wines display unique characters which are difficult to replicate in any other way. Adding white grapes can amplify the floral and fresh fruit notes, refine the tannins and stabilise the colour.

A response to climate change

For many winegrowers, blouge also offers a pragmatic response to climate change. That was certainly the thinking for Alexia Piaï, winemaker at Château Guilhem (Aude), when she ventured into blouge territory with a Merlot and Sauvignon Blanc blend from the 2024 vintage. “People occasionally refer to the benefits of adding white varieties to reds to counterbalance a lack of acidity. This was not our primary motivation”, she explains. “Our main goal was to lower alcohol content. In Languedoc, some red wines can easily reach 14% ABV. By incorporating a white grape variety, we can produce a wine at 11.5% ABV, which is a real advantage”.

The challenge of ripeness

In the glass, the wine shows a light crimson hue with aromas of morello cherry and raspberry, lifted by a fresh finish. Reaching that point, however, requires a delicate balancing act at harvest: “You have to find the right compromise between two grape varieties that do not ripen at the same pace,” explains Piaï. “The Sauvignon needs to be ripe enough while still retaining acidity, whereas the Merlot cannot be picked too green”. Once this hurdle has been overcome, the winemaking process follows classic procedures: “Very light skin contact in the press, quick pressing to achieve the desired colour, followed by white wine fermentation techniques”.

Vins De France: a creative playground

By venturing into uncharted territory, blouge often falls under the Vin De France category. At Wine Paris 2026, Valérie Pajotin, director of Anivin*, pointed to the growth of a category that offers winegrowers “a space free from rigid regulations, allowing them to experiment with styles that were previously out of reach”. Château Guilhem shares that interpretation: “The framework allows us to create wines that would not be permitted under AOP or IGP rules, without confusing customers who are more mindful of the tasting experience than of the label”. Blouge has also begun carving out a place for itself in export markets, although the estate’s Malepère appellation wines remain its primary touchstone.

New tasting vocabulary

In Bordeaux, Marie Olivier, sommelier at the wine shop and eatery Echo, has a front-row seat to this shape-shifting category: “A blouge can be extremely interesting… or not. But some of them can be genuinely exciting from a stylistic perspective”. She sees clear parallels with orange wines: “In much the same way, the balance in these hybrid wines creates an interplay between the structure of red wine and the freshness of white, opening up new avenues to explore in terms of food and wine pairings.” When featured on wine lists, the term sparks curiosity and often calls for explanation. “Some knowledgeable customers make an informed choice, but most are driven by curiosity. The consumer profiles are actually very diverse, ranging from groups of friends to couples and people in their thirties”, she observes.

Alexia Piaï believes that the discovery element provides an interesting lever. “This is a style that particularly appeals to consumers who are less familiar with red wines, while also opening up niche markets”.

Culinary curiosity

Even so, the wines remain oddballs that defy standardisation: “Liking one blouge doesn’t mean you’ll like them all. A blend of Gamay and Chardonnay from Auvergne bears no resemblance to a Bordeaux Cabernet-Sémillon pairing”, stresses Marie Olivier. Beyond these contrasting features, the wines – many with a predominance of red grapes – can evoke structured, even profound rosés that will effortlessly grace a table: “Delicately-flavoured fish or white meats – vitello tonnato for example – make a particularly good match”. Blouge transcends passing fashions and marketing ploys, truly epitomising an industry that has the ability to reinvent itself. Combining structure with lightness, these wines seem destined to carve out a place as pleasure-driven styles offering immediacy and accessibility. They are also a reminder that, in wine as in life, the most serendipitous encounters are often the most rewarding.

By Florence Jaroniak.

Photo: pxhere. © Nikola Spasenoski/AdobeStock

* Vins De France wine marketing board.

Further reading: https://www.cote-rotie.com

https://www.vindefrance.com/pro/reglementation/obligations

when bio waste becomes a resource

From pruned wood to grape pomace, waste from vineyards and wineries is being turned into power, plant-based leather and natural protection solutions, to name a few. This circular revolution is enabling the industry to reduce its carbon footprint whilst also supplying bio-based raw materials to other sectors.

Contents:

Regulatory milestones
Soil salvation
Where wood meets biological control
From grape pomace to high-performance materials
A narrative rooted in the vine

Regulatory milestones

Vine canes, pomace and lees were long regarded as waste products that were difficult to dispose of. Increasingly, however, vine and wine by-products are being recognised as a strategic source of biomass whose recovery and reuse are now being examined from environmental, agricultural and economic perspectives alike. Since a 2011 memorandum establishing guidelines for the open burning of green waste, winegrowers have been encouraged to explore more sustainable alternatives. A 2014 decree further expedited the shift by easing the requirement to send pomace and lees exclusively to distilleries, paving the way for composting, anaerobic digestion and vineyard spraying. To fully harness this potential, however, resources had to be located. “In 2016, a national programme coordinated by the French Vine & Wine Institute IFV mapped available resources and recovery facilities in four major wine regions” explains Émilie Adoir, Environmental Assessment Project Manager at IFV. The project initially covered Bordeaux-Aquitaine, Burgundy-Beaujolais-Savoy-Jura, Charente-Cognac and Champagne, and has since been extended to South-West France, Languedoc-Roussillon and the Loire Valley. Today, it provides a clearer picture of the innovative pathways emerging for the reuse of vine and wine by-products.

Soil salvation

One promising avenue being explored takes researchers to the very heart of vineyard soils. IFV is exploring the potential of biochar – a plant-based charcoal produced through the pyrolysis of distilled pomace, which can help improve water retention. An experimental programme is scheduled to run from 2026 to 2029, funded under the National Vine Die-Back Plan. “The initial idea is to return to the soil what it produces, by harnessing free resources”, adds Adoir, who also highlights compost made from pomace or vine canes as natural alternatives to chemical fertilisers. Along similar lines, the multi-stakeholder project Valoceps, launched in March in the Loire Valley, focuses on uprooted vines. The aim between now and 2028 is to organise the collection of this substantial resource – estimated at 9,700 tonnes of dry matter annually in the Loire region – so that it can be channelled towards recovery pathways such as energy production via pyrogasification and the extraction of polyphenols for use in cosmetics and pharmaceutical applications.

Where wood meets biological control

In Meursault, Vitis Valorem has already made the recycling of pruning wood its core business. To prevent wastage of nearly “two tonnes of dry material per hectare” generated across the vineyards of France – much of which is still burnt – the company produces Sarmine®, a micronised flour derived from vine canes that can replace certain plastic components and composite materials. Rather than simply returning to vineyards in the form of trellising posts or biodegradable stakes, this material also opens up applications in the automotive, construction and packaging sectors. Plant protection products are also benefiting from this momentum in research and development. Antoférine is a biological control fungicide developed by partners Antofénol and Gowan. It uses an innovative eco-extraction process to isolate natural defence molecules in vine canes, helping reduce reliance on synthetic inputs in the fight against downy mildew.

From grape pomace to high-performance materials

The circular economy is also extending into the luxury goods sector. Nisiar, a patented material produced from distilled pomace, is the brainchild of Mondin, a start-up company jointly founded near Bayonne by Rodolphe Mondin and Julien Houssiaux. “In France, where over 850,000 tonnes of grape pomace are collected in some years, the wine industry already benefits from established recovery infrastructures. Unlike other emerging bio-materials, there was no need to build a collection network from the ground up”, explains Rodolphe Mondin. The process forms part of a dual recovery approach: “Distilleries first extract alcohol and other compounds, after which we use the remaining residue by adding natural treatments before converting it into powder”. When combined with a bio-polymer, the pomace is transformed into a mono-layer material composed of 73% of plant-based content, with no textile reinforcements or synthetic pigments. Unlike alternatives made from cactus or pineapple fibres – which are closer to leather substitutes – Nisiar offers mechanical properties comparable to leather. It is supple, thermoformable and resistant to water and abrasion. Its intended applications include small leather goods, luxury packaging and watchmaking.

A narrative rooted in the vine

For Rodolphe Mondin, these developments also carry a strong storytelling dimension. “For some projects, we ensure traceability of the pomace right back to the wine estate, allowing winegrowers to highlight how their by-products are being reused”. Each grape variety captures the essence of its terroir, further enriching the narrative. “Shades vary slightly depending on the grape varieties. The manufacturing process also releases a natural aroma, creating a distinctive signature”. For larger estates, there may also be opportunities to reuse their own pomace to design gift boxes or accessories, creating a local eco-design loop. Ultimately, Mondin aims to push the boundaries even farther and “design a material made entirely from vineyard by-products”. By combining high-tech innovation with a return to vineyard-based resources, the French wine industry and its stakeholders are demonstrating that their future also lies in their ability to transform waste into opportunity.

Florence Jaroniak, © Nisiar/Mondin.

How wine must navigate the generation clash

The findings of two recent international studies leave no room for doubt: when it comes to the wine market, the under 40s are now firmly in the saddle. By shaking up traditional codes, the new guard is forcing the wine industry to reinvent its narrative to reach out to a generation in search of meaning, transparency and a sense of belonging.

Contents:

Millennials come of age
Transparency, wellness and bubbles
The end of parental determinism
Unexplored potential
When collecting is akin to gaming
The art of surprise

Millennials come of age

In the United States, a new generation has assumed the wine drinking mantle. For the first time, Millennials (26-40 year-olds) have officially overtaken Baby Boomers to become the largest group of wine consumers (31 % versus 26 %) according to a study by the Wine Market Council (WMC) published in December 2025. The generational handover, however, feels more like a Pyrrhic victory: the American market actually lost 9 million regular drinkers over two years. Only 29 % of adults say they consume wine at least every two or three months: for over 40 % of those surveyed, wine makes occasions feel more ‘special’. “Weekday dinner and relaxing at-home occasions have declined”, warns WMC President Liz Thach.

Transparency, wellness and bubbles

Millennials and Generation Z (18-25 year-olds) have now seized power, bringing with them a whole new set of codes. Over one third of American Millennials claim not to enjoy the taste of wine, preferring that of spirits and beer. Liz Thach describes the observation as “a big wake-up call” for the industry, emphasising the need for clearer communication about flavour, style and what’s inside the bottle, “because many consumers believe wine has high sugar or unnecessary additives”. Olivier Roblin, who runs Caves du Panthéon in Paris, confirms her statement: “My 20-30-year-old customers virtually always look for natural wine. They demand transparency and look for healthy, light products”. This generation sees wine as part of an instant well-being approach and willingly changes its habits to improve its mood or sleep. Although their tastes are eclectic, Millennials and Gen Z drink a lot more sparkling wines than their predecessors.

The end of parental determinism

This transformation also comes with a shift in values. The fine wine sector in particular seems to have moved forward with false assumptions about the motivations of new consumers. This, at least, is the conclusion reached by think tank Areni Global in the research it presented at Wine Paris 2026. Its experts analysed under-40s buyer behaviour in six key global markets. Its first finding was that, contrary to the received wisdom, becoming a fine wine enthusiast because your parents are, is not supported by the data. The commitment stems from a “defining moment” with friends, and needs to be validated by peers to become a part of someone’s life. Olivier Roblin shares his experience: “When young people enter the shop, they often come as a group or based on the recommendation of a friend. They are not interested in the classic “daddy’s label””. The assumption that young consumers trade up with age and higher income is also dispelled: they are primarily looking for a genuine community and their commitment deepens through direct connections with wine merchants. Lastly, over the age of 25, they associate social media with mass consumption, which is the exact opposite of the prestige they seek.

Unexplored potential

Areni’s research also highlights a significant ‘blind spot’: the sharp fall in participation by women. Although women enter fine wine almost in equal numbers with men in the 25 and under bracket (44 % versus 56 %), their engagement falls sharply when they enter their 30s. Only a quarter of them go on to become regular fine wine buyers, compared with three-quarters of men. By the time they reach 56 +, they represent just 13 % of fine wine enthusiasts, despite 43 % of women saying they are interested in becoming ‘active buyers’. The issue is not about lack of interest, but rather the industry’s current inability to keep women engaged as their lifestyles change.

When collecting is akin to gaming

Another finidng is that for the 30 % of young people who have a predisposition to collect fine wine, collecting is akin to gaming: a game must offer thrill, clear rules, gratifying progression and also high digital integration. The window of opportunity, however, is small: “if you haven’t become a collector by the age of 40, you won’t become one”, claims Pauline Vicard, co-founder of Areni Global. Budget is also a stumbling block: “To appeal to this generation, the price tag has to be between 10 and 20 euros. Anything over that and they pass”, warns Roblin, who confirms the “bottleneck in the pipeline” identified by Areni Global. “Building up a wine cellar is an exception. Among my customers, I only have one example – a young waiter who pours all his tips into building up a stock. Everyone else focuses on immediate consumption”.

The art of surprise

Drawing on these shifts, the Bordeaux wine marketing board has already drafted its roadmap for 2026-2029, targeting the 25-40 bracket through wine merchants, restaurateurs and wine bars. The challenge is to reach out to an audience that has purchasing power but whose drinking habits are not yet cast in stone. This is when advice is paramount. Olivier Roblin believes that the ability to surprise people is key: “I wrong-foot them. If they come in with a specific expectation, I try and guide them towards a grape variety or a region they would never have explored. I surprise them with a wine that matches their palate, but often costs €15 instead of the €20 they’d planned to spend. That’s how you turn simple curiosity into a long-lasting relationship”. The new guard is ready. And the game is about to begin.

By Florence Jaroniak, ©: pxhere.

Unity makes the wine industry stronger

Across both boutique vineyards and France’s most established wine regions, winegrowers are pooling their skills and resources to safeguard their careers and ensure the long-term sustainability of their estates. Whether through associations, agricultural equipment co-operatives or shared winemaking facilities, these collaborative models are emerging as powerful drivers for future-proofing the industry.

Contents:

A united front in isolated areas
A flexible model
Strength in numbers
A shield against adversity
A safety net and a shared resource
When a winery becomes a talent incubator
Shared beliefs

A united front in isolated areas

Beyond France’s major wine regions, vine growing is rarely a solitary endeavour. At the end of 2024, a dozen winegrowers in southern Aveyron and Cantal founded the Contre-Pente association, officially presented to the media in January. “We work in isolated rural areas where some farming practices border on obsolescence and where vine growing has never been deeply rooted”, explains Pauline Broqua, a winegrower at Domaine des Buis in Entraygues-sur-Truyère. What unites the group is “a vision of the countryside grounded in respect for life using natural winemaking practices with no inputs – or as few as possible”. Yet they struggled to find an existing framework that truly reflected their identity. “Neither appellations nor organic farming were able to fully express our ethos”.

A flexible model

The situation was further compounded by a series of adverse events: frost in 2019 and 2021, mildew in 2023 and black frost in 2024. “As hazardous weather became more frequent and the geopolitical climate added further pressure on our farms, it became clear that we needed to act collectively”. While remaining fairly loose-knit, the group adheres to “a flexible charter built around broad guiding principles, such as prioritising manual labour and manageably-sized farms”. Contre-Pente has already implemented several practical tools: a collective label designed to feed an emergency fund for a rainy day, a shared customer database and coordinated communications including a common logo on bottles and collective stands at local events.

Strength in numbers

“By standing together, we can promote a coherent narrative. Each of us can speak about our wines but also about those of our fellow winegrowers without diluting the identity of individual estates. This enhances visibility and makes us stronger”. The rationale is pragmatic: “Harvest losses make it difficult to guarantee consistent volumes in the market”. Until recently, mutual support remained informal – today, it is becoming more structured, ensuring that customers can always find wines from Aveyron or Cantal in their cellars. “It would be misleading to claim that the association has suddenly led to pallets of wine flying out the door”. Yet the benefits extend beyond sales: “Talking about money, setbacks or doubts is never easy. Here, there is no judgment and no exclusion”.

A shield against adversity

In the Loire Valley, three major frost episodes in five years prompted around fifteen winegrowers to join forces within the Bourgueil Viti Antigel agricultural equipment co-operative (Cuma). “Several of us farm in areas with tremendous quality potential, but they are also among the most frost-prone. Often, the next generation is lined up to take over the property, so we needed a long-term solution”, explains Michel Delanoue, chairman of the co-operative and winegrower at Domaine de la Noiraie. Since 2023, 55 hectares have been protected using targeted sprinkler systems and fixed anti-frost towers.

A safety net and a shared resource

The €800,000 investment – financed through a twenty-year loan – would have been unthinkable on an individual basis, particularly given the fragmented layout of the vineyard blocks. “You need a structured group to approach a bank with this type of project. A young winegrower on their own – however motivated – would struggle to be heard. As a co-operative, we also qualify for grants covering 35% of the total cost”. Yet the Cuma is more than a stock of shared equipment – it also serves as a social safety net. “We are colleagues more than competitors. Sharing experience fosters healthy competition and leaves no room for the idea of survival of the fittest”, adds Delanoue, who established his first Cuma in 1985, at just 24 years old, to purchase a grape harvester.

When a winery becomes a talent incubator

In Aubignan, Vaucluse, collaboration takes on yet another dimension. Since 2010, Laurent Cornud has welcomed around twenty local winegrowers into his winery. “This isn’t a place where you simply drop off your grapes and return later to collect finished wine. I need to visit the vineyards, talk with the winegrowers and understand their vision and their quality objectives”, explains Cornud, a winemaker who also heads LC Vini-Service. Here, every winegrower retains full control of their project while sharing space by renting tanks on an annual basis – renewable or not – backed by an employers’ group. “I recruit, train and coordinate the teams, which guarantees rigour and consistency. If every winegrower intervened independently, they would all want to carry out pump-overs at the same time, which would mean more pumps and equipment. And we would simply end up recreating a conventional winery”.

Shared beliefs

Pooling resources helps reduce costs and mitigate financial risk. Laurent Cornud points to the example of a young winegrower who still belongs to a co-operative winery while producing small batches on site: he tests the market and is considering scaling up before, perhaps, building his own facilities. The winery also fulfils an educational role. “Some winegrowers come here without even basic knowledge of winemaking. They are welcome to taste wines, exchange ideas and better understand technical choices”. Cornud has also met with struggling winegrowers. “We look for solutions together – sometimes beyond the winery itself – to ensure their business remains viable”. Whether the challenge is frost protection, market access or winemaking itself, the underlying motivation remains the same. As Pauline Broqua concludes: “Only collective responses can meet today’s crises”.

By Florence Jaroniak © Union Contre-Pente

Liquid gold, fresh from the barrel

After a much-needed hiatus, the Percée du Vin Jaune in France’s Jura region is set to make a long-awaited return on 31 January and 1 February 2026 in Lons-le-Saunier. Striking a careful balance between popular enthusiasm and growing professionalisation, Jura is poised to unveil its most coveted treasure once again, determined to reaffirm the international stature of its vineyards.

Contents:

A fresh take on a long-standing event
When patience becomes an art form
Letting time take its course
A characterful vintage
An archipelago of flavours

A fresh take on a long-standing event

The Jura wine region might be France’s smallest, at times it can have a seismic impact on the nation’s wine scene. After record attendance – with up to 60,000 visitors in 2016 – the Percée du Vin Jaune festival, which celebrates the tapping of the first barrels, took a break in 2025 to allow the event to reinvent itself. Having long relied on a group of dedicated volunteers, the association behind the festival recruited the help of an events manager tasked with coordinating its 28 working groups. This additional support allowed the winegrowers to refocus on their core craft, while enabling Victor Feuvrier to shoulder the responsibility of 2026 ambassador with confidence. “Succeeding figures such as Pierre Rolet and Georges Vandelle is both a great source of pride and an experience that is as rewarding as it is unexpected”, he admits. A winegrower, vice-chairman of the Byards cellar door facilities in Le Vernois and a wine merchant, Feuvrier views the event as far more than a preview of the latest vintage. “The public is looking for an all-round experience – one that embraces wine, celebration, history and the region”. By continually expanding its programme of activities and regularly changing host locations, “The Percée has reached out to a broader, younger audience”, with each event recounting the story of a different village and vineyard site, guided by a single-minded ambition: “To make people want to come back”.

When patience becomes an art form

The centrepiece of this celebration is “the wine of kings and king of wines”. Made from single varietal Savagnin, it accounts for a minuscule share of Jura wine production, yet gleams in the glass like a nugget of gold. Justfour Jura appellations are entitled to produce Vin Jaune: Château-Chalon, Arbois, Côtes-du-Jura and l’Étoile. As for its origins, they are shrouded in legend, divided between two enduring tales. One tells of the absent-minded winegrower who rediscovered the contents of a forgotten barrel after many years. The other credits the abbesses of Château-Chalon with devising the technique of maturing wine under a veil of yeast. Whatever the truth, ‘vin jaune’ is, above all, a lesson in patience.

Letting time take its course

“Traditionally fermented white wine is placed in wooden casks for a minimum of six years and three months. Winegrowers do not top up the barrels. They never add wine to compensate for natural evaporation. A veil of yeast then forms on the surface, creating a biological barrier which protects the wine against oxidation whilst infusing it with complex aromas, notably walnut and toasted almond”, explains Feuvrier. By the end of this maturation marathon, the ‘angels’ share’ has claimed its dues: from the initial one litre of this ambrosial wine, just 62 centilitres remain. That volume translates precisely to the contents of the Clavelin – the only bottle permitted for this outstanding wine. The process helps explain why this high-end wine commands a premium, typically retailing for between 35 and 40 euros a bottle. It also underscores the importance of education: “Visitors have often heard of Vin Jaune, but are not always aware of its production method. Some like it, some don’t, but it is our responsibility to explain that this is a truly singular wine – one that they might not instantly enjoy. It takes time to understand, and it demands the right food pairings”.

A characterful vintage

The 27^th festival will celebrate the percée or opening of a 228-litre cask from the 2019 vintage. A demanding year marked by spring frosts and a challenging summer, 2019 yielded low volumes but high quality grapes. Victor Feuvrier is already effusive: “We are now seeing beautifully balanced vins jaunes boasting great persistence and remarkable complexity on the palate”. The celebrations in Lons-le-Saunier promise to reward the long wait. At the traditional auction, a bottle from 1895 will remind attendees of vin jaune’s ability to travel through time, staying as young and fresh as ever across the centuries. The event itself is embracing the modern era with a dedicated mobile app helping visitors navigate their way around the 47 cellar door boutiques open to the public. Culinary ‘battles’ will also add a playful dimension to food and wine pairings. The festival’s ambassador maintains that a platter of regional cheeses or Bresse poultry with morel mushrooms remain the ultimate companions, but encourages imbibers to expect the unexpected when pairing vin jaune: “Some exotic dishes work wonderfully, especially spicy, curry-based cuisine”.

An archipelago of flavours

While Vin Jaune may act as a beacon, guiding enthusiasts towards the hillside vineyards of Jura, it by no means eclipses the region’s remarkable diversity. “It fully plays its role as an ambassador, including on the international stage. It draws visitors in, then leads them to discover other wines”, Feuvrier observes. The aim is to introduce the full spectrum, from Crémant du Jura – which is increasingly popular “due to the significant improvement in quality in recent decades” – to light-bodied reds, with MacVin fortified wines completing the picture. “I am genuinely convinced that no-one can leave Jura without finding a wine they enjoy”. In 2026, the region will also celebrate the 90^th anniversary of AOC Arbois and Château-Chalon. Together, these milestones share a common purpose – they lift the veil on this unique viticultural heritage.

Florence Jaroniak

To find out more, visit: www.percee-du-vin-jaune.com

www.jura-vins.com

Wine cabinets – more switched on than ever

Long confined to basements, wine cabinets are stepping into the limelight – in private homes as much as in the on- and off-trade. They have become true design features through aesthetics, technology and new usages. No longer hidden away, they now stand as prominent, smart pieces of equipment that shape the space around them.

Contents:

· An appliance that has matured

· From utility room to living space

· Storage, service and management

· Smart revolution

· Reinventing wine service

· For pleasure…and a global market

An appliance that has matured

What links the wine cabinet of yesterday to the one we know today? An electric cable, and French craftsmanship. In 1976, EuroCave invented the first refrigerated cabinet that could recreate conditions in the winery: stable temperature, controlled humidity, darkness and lack of vibrations. It was a pivotal moment, as the group’s brand director Camille Syren recalls: “Market shifts echo the evolution of our relationship with wine. Enthusiasts, driven by drinking patterns that favour less but better, want to store and serve their wine bottles in the right conditions”. As a result, the wine cabinet has expanded far beyond its traditional circle of professionals and connoisseurs. Two in three French people now have a dedicated space for wine and among those that don’t, a third plan to create one. Above all, the desire to honour and care for wine remains the primary motivation, well ahead of the simple lack of a natural cellar – proof that the wine cabinet is no longer a default option.

From utility room to living space

The wine cabinet has evolved from a purely functional appliance into a genuine element of interior design – a lifestyle statement in its own right. “Design, lighting, noise levels and finishes matter more than ever and most purchases now involve models with glass doors”, notes Syren. The rise of built-in models confirms this shift: “They now account for 30% of the market compared with just 7% in 2015. Wine cabinets have moved into living spaces and, in some cases, have become status symbols”, observes Alyette Lefèvre, product manager at Frio. This new role is influencing the way the appliances are designed, featuring alcove formats, different heights and greater attention to how seamlessly they blend into the home. Today’s cabinets “are as much about display as they are about storage”. Unsurprisingly, more accessible serving cabinets are by far the predominant choice, accounting for 75% of sales in France and 90% internationally.

Storage, service and management

At the same time, the way people use wine cabinets has become far more varied. “Their purpose is no longer limited to maturingwines – they are now used to store them for a few weeks and bring them up to the ideal serving temperature, which is why multi-temperature models are increasingly popular”, explains Syren. Capacities vary from 12 to over 300 bottles. There is an added layer of complexity though: origins and formats have diversified – Burgundy, Champagne, foreign wines, magnums, half-bottles… “The racks have been redesigned to accommodate all these formats while ensuring stability and optimal storage conditions”, adds Syren. Energy efficiency is another issue: “Glass doors do not offer as much insulation as solid doors so we need to work more precisely on electronics, lighting, compressors and glazing to reconcile design and performance”.

The smart revolution

Digital technology is also propelling wine cabinets into a new era. Launched in 2021, the Ecellar by La Sommelière, for example, automates bottle management through connected racks and the Vinotag app. “You photograph the label, the wine is identified and virtually mapped inside the cabinet, tracking movement, updating inventory and even flagging up wines that should be enjoyed first”, explains Lefèvre. The app now counts 80,000 users and is preparing to integrate AI features: food and wine pairings, statistics, winery fact sheets and even a ‘chat’ function designed to mimic the advice of an in-house wine merchant. Some progress is less noticeable but equally essential, such as reducing vibrations or lowering energy consumption. Others are driven by changing habits, such as multi-format racks. “We prioritise innovations that genuinely improve wine storage. The challenge is to preserve quality and sustainability in an era when appliances tend to become obsolete very rapidly”, stresses Syren.

Reinventing wine service

In the hospitality industry, the wine cabinet is increasingly becoming part of the guest experience. “Dining out is about enjoying a special moment. Professionals now prioritise equipment that showcases wine to enhance the range and increase average spend”, says Syren. Wine-by-the-glass programmes follow the same rationale, with their own specific requirements: opened bottles must be stored using adapted racks or anti-oxidation systems. The rise in wine tourism is also prompting more winegrowers to install cabinets; some hotels have replaced minibars with them. New markets are emerging too, such as Champagne-specific cabinets that appeal to certain companies and private clubs. In these settings, innovation is primarily designed to meet serving constraints: “Door switches that stop fans when doors are opened repeatedly, sliding racks for quicker access, label view presentations to identify the bottles at a glance, and reinforced panels that can withstand doors being closed with a foot. Here user-friendliness and durability are key”, adds Lefèvre.

For pleasure…and a global market

France remains a mature market – and still the world’s biggest, with 250,000 cabinets worth 50 million euros sold annually. But growth is now shifting elsewhere, notably to the United States, India and the Emirates. “The widening range of brands, often made in China, has broadened the price spectrum. Our craftsmanship, endorsed by the Entreprise du Patrimoine Vivant label, is what truly sets us apart”, stresses Syren. “Compared with general manufacturers, our specialisation gives us greater influence”, adds Lefèvre. Positioned at the intersection between design and high-tech – whether made in France or not – wine cabinets have secured a 3.2 billion dollar market, with the promise of 5.1% growth between now and 2034. Driven by a growing appetite for enjoyment, this is a purchase poised to conquer future generations of wine enthusiasts.

To find out more:

https://www.ipsos.com/fr-fr/comment-les-francais-conservent-ils-leur-vin

https://www.gminsights.com/fr/industry-analysis/wine-cellar-market

The return of white – the Médoc rounds out its palette

Next April, a new light will shimmer across the Médoc. The first bottles of white AOC Médoc will finally step into the spotlight, a rare glimmer woven into a land famed for its reds. In this quiet act of creation, winegrowers revive forgotten threads of history, while sketching the contours of a bold new future.

Contents:

Recognition, not invention
A signature style
A responsible appellation with high standards
The key role played by the pioneers
A collective momentum inspiring the Right Bank

Recognition, not invention

After decades of reds in the limelight, the Médoc peninsula is now donning lighter hues. Although officially recognised on 5 August 2025, white AOC Médoc has roots stretching back centuries. “Producers making white wine wanted formal recognition and protection. Appellation status now ensures full traceability and systematic checks prior to bottling”, explains Hélène Larrieu, director of the Médoc, Haut-Médoc and Listrac-Médoc producers’ organisation. White wines have been grown in the Médoc since the 18^th century – up until 1929, their volumes reached 16,000 hl, before they were overshadowed by reds. For decades, winegrowers continued to market them under village appellations, a practice INAO ended in the 1960s, requiring them instead to use the broader white AOC Bordeaux. Their revival is part of a drive to strengthen the region’s identity, echoing initiatives such as the certification of the Médoc national park in 2019. “Winegrowers realised that their eight appellations formed a coherent whole, closely tied to a unique terroir”, stresses Larrieu.

A signature style

The project began to take shape in 2017, supported by a detailed review of vineyard and winemaking practices, reflections on new grape varieties, analysis of marketing potential and blind tastings. “The differences were clearly apparent”, comments Larrieu. “Influenced by both the Atlantic Ocean and the Gironde estuary, Médoc white wines display distinctive tension and minerality”. Here, the Bordeaux cultivars – Sauvignon blanc, Sémillon, Sauvignon gris and Muscadelle – express “singular characteristics marked by exotic notes and citrus fruits”. Another powerful marker is oak maturation. “Mandatory for 30% of the batch, it is already employed by 90% of producers. Fermentation in barrels followed by ageing that is often on the lees, imparts roundness, fat and aromatic complexity, without adding overpowering oakiness”.

A responsible appellation with high standards

With yields capped at 55hl/ha, mandatory maturation at the winery until at least March 31 following the harvest, exclusive use of glass packaging and taste checks before bottling, the specifications reflect a demanding quality framework. Environmental requirements are equally strict: blanket weed killers are prohibited and environmental certification is compulsory. “The aim is not to add constraints but to formally acknowledge and promote practices already followed by most growers”, stresses Larrieu. “We have made their pledge to sustainability part of our shared heritage”. The specifications also allow six climate-resilient cultivars (VIFA) – Alvarinho, Liliorila, Viognier, Sauvignac, Floréal and Souvignier gris – to complement the traditional range, ushering in greater diversity in the future. Of the 250 hectares of white varietals grown across the Médoc, 40 are planted to these non-traditional cultivars. “This truly offers scope for experimentation and for assessing how these varieties perform in Médoc conditions under the pressure of climate change”

The key role played by the pioneers

Located in Saint-Germain-d’Esteuil, Cru bourgeois supérieur Château Castera has been a key driver in the revival of white winemaking in the appellation. “Our estate used to produce white wine – 900 hl in 1922, which was half of total volumes”, explains communications director Laura Sorin. Reconnecting with this heritage, a hectare of Sauvignon blanc was replanted on clay-limestone soils in 2016. This yielded the Anthoinette label, a wine that will henceforth be designated white AOC Médoc. The fruit is picked by hand, pressed as whole clusters and undergoes seven months’ barrel maturation. “Our craft requires high-precision techniques”, she stresses. “Ultimately, white wines should cover two hectares but they demand as much attention as our 60 hectares of reds”, she stresses. For wine merchants and sommeliers, these precise white wines that lend themselves effortlessly to gourmet foods, illustrate the “Médoc’s ability to reinvent itself without compromising on its high quality standards”. They also attract private customers fond of fresher yet distinctive wines. “The whites help us reintroduce our reds to an audience that may have held onto outdated clichés. We can reconnect them to newer styles”, Sorin adds.

A collective momentum inspiring the Right Bank

Seventy estates, covering just 170 hectares, are eligible for the white Médoc appellation –less than 2% of the total Médoc wine region. Though statistically marginal, white Médoc nevertheless sends out a powerful signal in challenging times for the wine industry. “The appellation gives our team renewed energy – a breath of fresh air, a groundswell movement stemming from history rather than a marketing initiative. This is not a flash-in-the-pan but the fruits of collective labour, firmly rooted in tradition but with its sights set on the future, with modern tools and greater technical proficiency”, Sorin concludes. The movement has clearly blazed the trail, inspiring the Right Bank: in Saint-Émilion, 71 % of winegrowers surveyed this summer by the Wine Council said they were in favour of creating a white appellation, 82 % for white Lussac-Saint-Émilion and 85 % for white Puisseguin-Saint-Émilion. As eminent oenologist Emile Peynaud once wrote: “At the end of the day, there is nothing more modern than Médoc traditions”.