Author: Vy Nguyen

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.

 

Florence Jaroniak, © Frio

 

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

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”.

Florence Jaroniak. © CHATEAU_CASTERA_Web©ClaudeClin-1061008

From the Clos Montmartre to plantings in Avignon’s Palais des Papes, vines are gradually returning to towns and cities. Though small, the vineyards symbolise living heritage and a sense of community and ecology, giving new-found meaning and visibility to urban viticulture.

Contents:

• Montmartre, full of symbolism
• An open-air laboratory
• Avignon and its heritage vines
• A movement gaining traction
• A cultural and ecological revival

Montmartre, full of symbolism

From 8 to 12 October, amidst tastings and folk groups, Paris celebrated the harvest at the Clos Montmartre, an event that now attracts an astounding 500,000 visitors. “The first event, in 1934, was immediately hugely popular due to its prestigious patrons, the entertainers Mistinguett and Fernandel. At the time, it was more a celebration of grapes because winemaking only began in 1953”, stresses Éric Sureau, chairman of the Fete and Social Schemes Committee in Paris’ 18th arrondissement, which manages the Clos. “The vineyard is a symbol of sharing. The 2,400 bottles produced annually are sold and the proceeds are donated to welfare charities, perpetuating the rebellious but inclusive spirit of Montmartre”

An open-air laboratory

Behind the picture-postcard city scape are 1,800 vines perched 130 metres high, which require painstaking management. “They face north, are surrounded by buildings and are planted on light, gypsum soils – the conditions are far from ideal. To comply with city policies, the primary challenge is to outlaw the use of plant protection products, which are particularly visible and controversial in an urban environment”, explains Sylviane Leplâtre, the Clos’ winemaker. The vines are also very prone to disease and over the past decade have gradually been replaced by resistant varieties: the number of visitors to the vineyard make it impossible to grub up the vines in one fell swoop. Calice, Divico, Muscat bleu, Cabernet Jura, Pinotin and Monarch have been imported from Switzerland and other countries. “The quality of their flavours is far superior to the post-phylloxera direct producer vines, one row of which has been preserved as a memorial to the past. In sunny years, ripeness reaches 12% ABV, producing a fruity red and highly prized rosé”.

Avignon and its heritage vines

Another example of urban viticulture can be found at the storied Palais des Papes in Avignon, which is France’s only appellation-designated vineyard located within city walls and also the only one situated in a Unesco-listed world heritage site. “Planted in 1997 to produce its first wine in 2000, the year Avignon became European Capital of Culture, the vineyard is home to 544 vines and a dozen Côtes‑du‑Rhône grape varieties. It is a ‘real’ vineyard that is farmed sustainably. The aim is to secure HVE certification”, explains David Bérard, chairman of the Compagnons des Côtes-du-Rhône, which maintains the vineyard along with the Orange viticulture college and the town’s park services. “Both are very involved. They test, for example, different types of mulch. Farming vines in town is like working with a tiny vineyard block”. Every year, a winegrower belonging to the Compagnons produces the boutique wine which is subsequently gifted to charity. “We now want each one of these urban vines to be sponsored by people from around the world”, says Bérard. The mission is of paramount importance to local winegrowers because the vines – which are also planted in other parts of Avignon – confirm the town’s identity as the capital of the Côtes-du-Rhône.

A movement gaining traction

These French initiatives hide a broader movement. “Montmartre’s success inspired Luca Balbiano, the owner of a vineyard in Turin, to found the Urban Vineyards Association in 2019”, explains Éric Sureau, the organisation’s vice-chairman. “Around fifty historic urban vineyards in twenty countries now belong to the UVA, which helps restore them, raise cultural awareness of them and promote them to tourists. In France, too, the trend is gaining momentum. “With Montmartre and Lyon, we founded France’s Urban Vine Society which will bring together French towns and cities so that good practices can be shared and new plantings encouraged”, points out Bérard. The foundation agreement of the association – which already boasts twenty-five members – will become official on 19 November, during the French mayors’ congress in Paris. Construction group NGE is providing financial support and has also created a Landscape division to include vines in projects it puts forward to local authorities.

A cultural and ecological revival

Ultimately, what could be more natural than planting vines in urban settings? In the Middle Ages, virtually every town had vines, often near abbeys as in Montmartre. Urban sprawl led to their disappearance in the 19^th century and their revival today has been prompted by a number of incentives. “For local authorities, urban vines are primarily seen as a calling card and a teaching resource for history and biology, for instance. They are also a conduit for social interactions”, feels Leplâtre. “On top of the cultural aspect, vines are also a testament to food production within towns themselves, they safeguard historic grape varieties, provide a garden area and haven for biodiversity, and also represent a tool for ecological resilience, acting as a carbon sink and limiting artificialisation of soils”, adds Bérard. From Paris to Avignon, the wine industry is not looking nostalgically in the rear-view mirror – by weaving a green thread between the past and the future, it is perhaps defining the contours of tomorrow’s towns and cities.

Florence Jaroniak, ©: Compagnons des Côtes-du-Rhône.

To find out more:

La Fête des Vendanges de Montmartre

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Long overshadowed by barrels, amphorae are starting to make a statement in modern wineries. With its natural materials, variety of shapes and minimum intervention ethos, this ancient vessel is increasingly popular with winegrowers in search of authenticity and precision.

Contents:

• 6,000 years of history
• A breath of purity
• Vessels that come in a variety of shapes
• A niche headed mainstream
• When tradition and innovation resonate with each other

6,000 years of history

Recognisable by their sleek shape and characteristic handles, amphorae first emerged in the Middle East around 4000 BC. By 1500 BC the Phoenicians had adopted them and they became the Romans’ preferred means of transporting their wines. At the time, every vessel bore its own distinctive identity – a shape, stamp or mark – which in effect were the forerunners of the modern-day tracking system. But amphorae were more than just a means of transport. Their porous clay sealed by resin and their cork closures topped with another closure made from clay or pozzolan, created ideal conditions for storing wine. Subsequently superseded by barrels, they are now experiencing a remarkable revival.

A breath of purity

“Amphorae or earthenware jars and their various iterations are particularly popular with estates that farm organically or biodynamically. They fit naturally into a holistic philosophy of winemaking and maturation where the aim is to protect fruit quality, use a natural and sustainable material and intervene as little as possible by restricting or avoiding use of inputs”,explains Volga Voronovskaïa, head of communications at V&T Amphores, a company that specialises in selecting, developing and distributing the vessels in Gradignan, near Bordeaux. For Maxence Weck, amphorae’s natural micro-oxygenation lends wine “genuine clean characters and great purity”. At the helm of a family estate in Gueberschwihr whose roots date back to 1696, he has chosen to work with a natural stoneware model “which is less porous and more robust than terracotta” to ferment small batches of fruit from designated vineyard sites and individual blocks. “We use a 500-litre version for the Grand Cru Florimont and another 1,000-litre format for the Grand Cru Hatschbourg. Our aim is to offer a different interpretation of terroir, by crafting skin contact wines where red winemaking techniques are applied to whites, producing an orange wine.”

Vessels that come in a variety of shapes

Every material puts its own distinctive stamp on the wines. “Terracotta, being porous, is  well-suited to powerful grape varieties and short maturation periods whereas stoneware is more neutral and enhances white wines and delicate reds with low tannin content; technical ceramics, which are stable and easy to handle, can even incorporate accessories like a tasting tap”, adds Voronovskaïa. Granite, which is virtually impermeable and rich in quarz, “adds a special touch to ice wines and age-worthy bottlings, by preserving their acidity”. Some winegrowers also turn to amphora-like vessels such as Spanish tinajas and Georgian kvevris, often buried in keeping with local traditions, which foster different fermentation and maturation dynamics. Shape and volume matter too: convex jars, vertical or horizontal eggs and rounder dolia that taper at the base have differing contours that create distinctive convection patterns, influencing the way the lees are put back into suspension – an important factor in the stability and texture of a wine.

A niche headed mainstream

To meet modern needs, amphorae are now equipped with practical accessories, though their cost, fragility and labour demands remain significant challenges. “The limitations mainly involve their size”, notes Weck. “Amphorae are ideal for small vineyard blocks, but too cumbersome for an entire vineyard”. The initial investment is admittedly high yet amphorae pay for themselves over time – with careful cleaning and protection from sudden temperature shifts, they can remain a winegrowers’ ally for life. Oxygen management, however, requires special caution. As a result, amphorae are gradually becoming a deliberate choice for premium labels often crafted in small batches or used in combination with barrels and stainless steel. “This is not a short-lived trend”, claims Voronovskaïa. “The most ardent supporters make them their winemaking focus, whilst others try them out on a clutch of wines”. Comparative tastings confirm that within the same vintage, the differences between amphorae, barrels and stainless steel are noticeable.

When tradition and innovation resonate with each other

Most importantly, wines made in amphorae are attracting new consumers whilst also piquing the interest of a more traditional consumer base. “Many people instinctively associate jars with the Romans. They are tempted to try the wines out of curiosity, and are often pleasantly surprised by the taste. When made in amphorae, Gewurztraminer, which is usually perceived as a sweet wine, becomes dry, tense, aromatic and powerful”, recounts Weck. Though amphorae require careful handling, they also allow producers to get their creative juices flowing. “The best advice”, concludes Voronovskaïa, “is to try them. Anyone who has is invariably won over”. Ultimately, amphorae serve as a bridge between ancient heritage and more modern-day experimentations. They’re also a reminder that with wine, the future is always rooted in the past. 

Florence Jaroniak.

© V&T Amphores.

Find out more (in French):

https://archeologie-vin.inrap.fr/Archeologie-du-vin/Histoire-du-vin/Antiquite-Culture-et-societe

https://www.museecapdagde.com/le-musee/departement-navigation-antique/amphores

Volcanic wines have finally got their own signature endorsement. ‘Volcanic Origin’ places the French region of Auvergne at the epicentre of global recognition, combining rigorous science, outstanding vineyard sites and the magnetism of storytelling.

Contents:

• An industry bubbling with anticipation
• Auvergne, the central vent
• In the beginning was lava
• A sensory eruption
• A geological interpretation of wine
• A new continent for winegrowing

An industry bubbling with anticipation

Could wine’s unique features stem from the Earth’s core? Vines thrive on soils that have emerged from eruptions, from Etna to Auvergne’s volcanic peaks or Puys. The purpose of the new Volcanic Origin endorsement is to certify their distinctive identity. This newly-minted label – which has been registered with France’s National Institute of Industrial Property INPI – was launched on June 24 in Clermont-Ferrand at the Vinora Forum, where producers of volcanic wines from across the globe hold their ‘summit meeting’. “This is not a marketing gimmick but a true guarantee of origin rooted in strict specifications to avoid any opportunistic exploitation of the concept”, stresses Pierre Desprat who runs Despret-Saint-Verny and is vice-chairman of Vinora, the organisation that spawned the project. To warrant the endorsement, wines have to contain at least 85% grapes from certified volcanic vineyard sites that have been validated by geological mapping and soil analyses. Artificial inputs are banned and each wine undergoes two levels of inspection, both internal and external. 

Auvergne, the central vent

Vinora’s idea stems from a lack of awareness compared with prominent industry names such as Chablis and Meursault. “You cannot simply say that our wine is good or different – you need to be able to explain why”, adds Desprat. The catalyst for the project was the initial indifference shown towards wines from Auvergne by a buyer from the SAQ in Montreal. When he found out they came from volcanic soils, he changed his mind. “I realised that we had outstanding vineyard sites that we were unable to promote”. The Vinora association was founded seven years ago by a group of winegrowers, distributors and researchers. By 2019, it had partnered with the French Vine & Wine Institute IFV to launch a research programme with the universities of Dijon and Montreal. Three studies later and the findings are clear: volcanic soil undeniably leaves its mark on wine, whilst at the same time bolstering vines’resilience.

In the beginning was lava

But what are the actual specifics of the soil? “There is no such thing as volcanic soil per se but rather incredible geological diversity”, explains geologist Charles Frankel. Gabbro, scoria, pozzolan and pumice stone are “Porous, fractured rocks stemming from lava which promote root development and retain water. A case in point is Santorini, where vines grow on pumice stone produced by an eruption in 1612 BC in a desert-like climate”. Some rocks break down to form clay or peperites, a mixture of basalt and limestone which provides a rare abundance of minerals, particularly in Auvergne. “Growing vines on an active volcano is a bit like playing Russian roulette”, admits Frankel. “But the occasional risk is more than compensated for by the advantages afforded by volcanic landforms. Altitude, aspect, incline and microclimates turn them into an open-air laboratory, especially for coping with climate change ”.

A sensory eruption

Despite this, “it would be pretentious to claim that you can recognise a volcanic wine in a blind tasting”, admits John Szabo. A Master Sommelier who is one of the world’s foremost authorities on the subject, he prefers to cite common traits. “Salt, grit and power”, are the three words he uses, quoting from the title of his book on volcanic wines. Frankel adds some subtleties: “Each volcano has birthed its own grape varieties that are born of a long-standing combined development between man and soils. Nerello Mascalese on Etna is one such example”. A single volcano can produce different styles depending on the elevation, aspect and winemaking methods. This makes it like comparing apples and oranges, “aside from some exceptions like Oregon, where the same Pinot noir planted at similar altitudes yields a fruity style of wine on basalt and more complex profiles on limestone”. One thing, though, is for sure – volcanic wines excel with food. “More importantly, they tell a story that sommeliers love to share and wine enthusiasts love to hear. This significantly enhances the tasting experience”, points out Szabo.

A geological interpretation of wine

“The volcanic lens offers a new approach to tasting that is not horizontal or vertical but cross-cutting”, comments Frankel. Szabo feels that Volcanic Origin introduces “a smart way of viewing wine, which is meaningful for new or younger consumers.  Of all the possible geological markers, volcanic is undoubtedly the most engaging because it fascinates a broad-ranging audience”. The movement is gaining traction. “I have been writing about volcanic wines for 15 years. Recognition of them is exploding. This is no longer a niche but a full-fledged category”. Markets are reflecting this popularity: Côtes-d’Auvergne (350 hectares) sells 100% of its wines every year. Demand is outpacing supply and prices have surged by 26% in 7 years. In both Parisian wine stores and on the wine lists of top restaurants, the ‘volcanic wine’ section is expanding.

A new continent for winegrowing

The wines’ popularity is being replicated among producers. Forty wineries have already applied for the Volcanic Origin endorsement and the aim is to reach around one hundred by the end of 2025. John Szabo is channelling the trend in North America whilst Vinora is laying the groundwork in Europe. The next step is a presentation of scientific research in New York at the start of 2026, followed by an international exhibition in the Canary Islands. “In a wine world that is sometimes considered to be complex, volcanic wines offer appealing clarity. They emphasise the supremacy of terroir over grape variety but also tap into powerful, accessible imagery”, stresses Pierre Desprat. Six French wine regions (Alsace, Ardèche, Auvergne, Beaujolais, Languedoc and Provence) produce volcanic wines, which represent 2 % of global vineyard acreage. This may well be a drop in the wine ocean, but the trend is one that could set the world on fire.

Florence Jaroniak © vins volcaniques/Maison Desprat Saint-Verny

Visit these websites to find out more:

Etudes scientifiques

www.volcanicwinesinternational.com/szabo

www.dunod.com/vie-pratique/vins-feu-decouverte-terroirs-volcans-celebres

Cork closures, made from a noble, natural material, are more than just bottle stoppers. They actually have an unsuspected second life through initiatives by concerned citizens, manufacturers and artists. We take a closer look at a story of recycling that is both a model and an inspiration.

 

Contents:

• Cork, the low-profile champion of environmental responsibility

• A purpose-driven industry with community at its core

• Logistical hurdles

• France’s lone recycling plant

• When cork becomes art

• A simple gesture with a real impact

Cork, the low-profile champion of environmental responsibility

Small but mighty, cork stoppers quietly play the role of guardian angels for wine. Compressible, watertight and with low gas permeability, they protect wine while allowing it to breathe. But their benefits go way beyond the bottle: cork is naturally resistant to moisture, fire, insects and wear and offers excellent thermal and acoustic insulation. It is harvested without felling any trees and is 100% natural, biodegradable and recyclable. Cork’s adaptability has sparked an entire industry dedicated to reimagining its use – an effort championed since 2010 by the French Cork Federation. “France is currently the global leader for cork recycling, with 15% of resources recycled, equating to nearly 400 tonnes a year”, explains the federation’s general secretary Jean-Marie Aracil.

A purpose-driven industry with community at its core

Over 2,000 permanent collection boxes are now dotted across the country – at wine merchants, wineries, grocery stores and even the Mézin cork and closure museum – complemented by one-off collection points. Cork closures collected are sold to industry with the proceeds donated to charity and for environmental initiatives. Over one million euros have been donated to participating associations and more than 15,000 cork oaks have been planted as a result. The initiative’s scale reflects a broader shift: consumers are increasingly mindful of choosing natural, reusable materials and companies are keen to reduce their environmental impact. The popularity of cork closures helps too – they are used on seven out of every ten bottles of wine sold in France (Nielsen, 2022).

Logistical hurdles

Once it has been turned into granules, recycled cork has over a hundred usages, from aviation to fashion, including thirty or so applications in the building industry. However, recycled cork can never be turned back into cork closures: “Every cork manufacturer applies its own specific formulae and rigorous testing to guarantee compliance with food-grade norms. Such high standards mean that recycled cork is not compatible with use as closures”, stresses Aracil. Although cork collection has made significant strides, the system faces challenges. “Roughly 50,000 corks – or one pallet’s worth – are required to ensure transportation is environmentally-friendly and cost-effective. And even when the 4,000 tonnes that are annually available are recycled, volumes are still too small to sustain a domestic industry. The cork is therefore shipped to Portugal where it is recycled with other consignments from around Europe”, adds Aracil.

France’s lone recycling plant

One exception stands out: Agglolux-CBL, a cork processor based in Soustons (Landes). “Since 1929, our company has been turning cork into a wide range of products”, explains its director PierreBiénabe. “Some of the raw materials come from cork manufacturing waste along with recycled cork closures bought from associations across France”. Agglolux-CBL is the only cork manufacturing company that recycles corks in France, producing insulation panels, rolls and decorative items. The company also works with socially-driven organisations such as COHAB*, with which it has developed bioclimatic nesting boxes insulated with recycled cork. “Our strength lies in our ability to meet the needs of project developers, particularly where there is a CSR incentive”, says Biénabe.

When cork becomes art

Cork also inspires creativity. American artist and Francophile David Mishkin feels that cork closures carry the memory of wine and serve as powerful life symbols. “In my opinion, used cork closures are far more meaningful than new ones”. Mishkin’s art blends sculpture, mosaics and three-dimensional forms, with an interplay of shapes and volume. One of his most striking pieces is a monumental cross made from 3,000 Burgundy corks once used on bottles of wine from the Child Christ or Enfant Jésus vineyard. Another noteworthy piece uses Vouvray corks retrieved from a troglodyte cave that was walled up during the war to protect it from the Nazis. “I sorted through 25,000 corks to find the 3,000 that were still usable”, he recounts. A 52-year member of the Chevaliers du Tastevin brotherhood, he also saves corks from his own wine tastings: “Wine introduced me to cork, helped me appreciate its value and turn it into something beautiful”. He likes to remind people that Dom Pérignon was the first to reveal cork’s ability to contain the pressure of Champagne. “I once had the honour of tasting a wine that was over 180 years old and had been recovered from a shipwreck. Thanks to the cork, the wine was still in perfect condition”.

A simple gesture with a real impact

Concerned citizens, associations and industry members have joined forces to give cork closures a second lease of life. Europe’s 30% recycling target may seem ambitious but in France, optimism runs high. “We are already in excess of 15% with our current system”, says Aracil. So the next time you open a bottle, don’t throw away the cork – drop it into a collection point. That small gesture may help grow a forest, insulate a home or even inspire a work of art…

Florence Jaroniak, © nataliazakharova/Adobestock

* COHAB is an association that develops solutions aimed at promoting biodiversity in urban environments

https://planeteliege.com

As climate change reshapes the global landscape, the French wine industry is taking proactive steps through its Vitilience programme — a forward-thinking initiative that combines strategy with practical action. At the programme’s core lies a network of demonstration sites, where region-specific solutions are tested in real-world conditions, in close collaboration with local stakeholders.

Contents:

• A growing network
• Real-world laboratories
• Thrifty, sustainable and replicable
• Collective intelligence at work
• Paving the way for sustainable change

A growing network

Four new demonstration sites have joined the national network* coordinated by the Vitilience programme which is managed by the French Vine & Wine Institute (IFV) and funded by FranceAgriMer (7.5 million euros in 2024-2028). This brings the total number of sites to eight. The avowed aim is to reach around twenty experimentation platforms by 2028 spread across all of the country’s wine regions. “New applications are currently being examined by the scientific committee. As per the recommendations of the INRAE-LACCAVE metaprogramme which was the catalyst for the national climate change mitigation plan in 2021, Vitilience focuses on a strong regional rooting as a critical way of responding to the range of regional climate effects”, explains IFV engineer Mélissa Merdy who is the programme’s national coordinator. Another major shift is that, whereas previously research work often involved isolated levers, this project prioritises winning combinations. “The aim is to adjust practices but also to mitigate their environmental impact, by pivoting from single-factor approaches to systems thinking and from fundamental research to experiments that are ready to be shared and replicated”.

Real-world laboratories

Each demonstration site is both a technical and a collective tool, combining vineyard plots, an experimental winery and local governance that is representative of stakeholders and tasked with defining priorities, selecting practices to be tested and managing trials. In Beaujolais–Jura–Savoy, the Vitopia 2051 project, rolled out by SICAREX Beaujolais**, illustrates this rationale. “In 2018, we experimented with several agronomic levers – hail nets that also provide shade, adjusting the height of the grapevine trunk to reduce heat stress, reducing leaf surface and selecting later-budding Gamay to avoid harvesting too early”, explains SICAREX director Sophie Penavayre, who is also technical manager at Inter Beaujolais and project advisor. “But these levers were tested individually. Vitilience means that we can now combine them in a way that aligns with winegrowers’ practices”

Thrifty, sustainable and replicable

Starting in September, Vitopia 2051 will launch a new chapter focusing on ‘thrifty’ winemaking – using less water, less energy and fewer inputs. Several avenues are being explored from temperature control to hygiene, sulphur and yeast. A trail involving bottle reuse will complement the programme, embracing the entire production chain. Alongside this, SICAREX is working on the vineyard of the future. A dedicated plot will host trials of new grape varieties, rootstock, training systems and layouts that promote agro-ecology. “The aim is to design a replicable model whilst also factoring in the uncertainties that inevitably arise with any innovation. This is a responsibility that winegrowers cannot always shoulder on their own”, stresses Penavayre.

Collective intelligence at work

Designed from the outset as a collective project, Vitilience brings together around twenty national partners (INRAE, INAO, CNIV, etc.) and revolves around a specialist and an advisor in every region so that targets can be adapted to align with local realities. In Champagne, efforts are focused on preserving aromatic integrity; in Occitanie, on water management; in the Loire Valley, on adapting techniques… “Some adaptations, like planting densities, imply long-term choices. These are difficult decisions to change once they have been introduced”, stresses Merdy. Hence the importance of long-term support.

Paving the way for sustainable change

Four years, however, is very little on the scale of a perennial crop. In order to go beyond this timeframe, a simulation engineer is due to be recruited in conjunction with INRAE to produce long-term projections and assess the robustness of the solutions tested. “Vitilience is a starting point not an end point”, points out Merdy. The programme includes technical days, field visits, workshops, videos and conferences to disseminate the findings and encourage on-boarding. “Ultimately, our research could also fuel changes to production specifications or assessment systems for innovations. If this works, that would be great news. If not, it would at least be a response by research!” concludes Penavayre. As viticulture reinvents itself, experimentation is providing the compass so that winegrowers can hold on to their grapes, and their sanity.

Florence Jaroniak. ©lorenza62/ AdobeStock

To find out more: www.vignevin.com/vitilience/le-projet/

www.vignevin.com/vitilience/les-demonstrateurs/vitopia-2051

*Viticors’Alti (CRVI, Corse), Demoniacc (Gironde chamber of agriculture), Vitopia 2051 (SICAREX, Beaujolais-Jura-Savoie), Résiloire (IFV Montreuil-Bellay), Combioclim (Occitanie regional chamber of agriculture), 3C (BNIC, Cognac), Adam (Centre du Rosé) and Motives (IFV Orange).

** SICAREX Beaujolais is a centre for applied research in viticulture and oenology that was established by the industry and has its own experimental vineyards and winery at Domaine du Château de l’Éclair.

‘Blanc de noirs’ was once the prerogative of sparkling wines, but is now increasingly gracing tables in its still iteration. Taking a completely opposite approach to its fizzy counterparts in terms of techniques and marketing, it is gaining traction with both winegrowers and wine merchants.

Contents:

• Different wines, from the same vines
• The South of France sets the tempo
• Innovation rooted in common sense
• Technically challenging
• Wines that pique consumers’ interest
• A versatile companion for food
• A groundswell of interest

Different wines, from the same vines

The boundaries are shifting in the wine space, but rather than switch sides, some wineries are opting to redesign it with the materials they have to hand. Basically, this is how you could describe the new tack taken by winegrowers who are leveraging their red grape varieties to produce ‘blancs de noirs’, without having to pull vines or focus on bubbles. A technique once limited to Champagne, it involves taking black-skinned grapes direct-to-press then fermenting them as you would a white wine. The resultant wines are both an effective means of diversifying and also a skilful response to the decline in consumer demand for red wines, and they’re gaining ground, particularly across vineyards in the South of France.

The South of France sets the tempo

In Roussillon, for instance, winegrowers have begun to plant white cultivars, but restoring balance takes time – white AOP Collioure was only recognised in 2003. To complement this strategy, some wineries are focusing on ‘blanc de noirs’. A case in point is Maison Parcé Frères, who pioneered the concept in 2019, along with Domaine Augustin and La Préceptorie. “Historically, our wine region was skewed towards red wines, particularly dessert wines that gradually shifted to dry styles. Although we have coverage of that market, we were already lacking in white wine, which has now become the favourite colour of French consumers”, explains Vincent Parcé.

Innovation rooted in common sense

Another advantage is being able to throw off the shackles of seasonality. The region is a long-time producer of deep-hued rosés but it has seen its typicity undermined by the surge in pale styles. “We preferred not to slavishly follow the trend and deliver “wines on demand”. If a rosé is out of stock on August 1, people complain; if there’s any left on August 31, nobody wants it. Blanc de noirs, on the other hand, sells all year round”, stresses Parcé. The approach also offers agronomic benefits in the face of climate change: it allows growers to harvest earlier, starting in August, without having to wait for peak phenolic ripeness and yet producing wines with an ABV of 12.5 to 13%, which are lighter and strike a chord with current tastes.

Technically challenging

Although the technique is familiar to producers, it is challenging, starting with the choice of grape variety. Forget Syrah and Carignan – which are deemed to add too much colour – the suitable grapes here are Grenache noir and Lladoner Pelut. “We harvest very healthy fruit that is slightly under-ripe then press it gently to avoid extracting colour. Right from the outset, our aim was to ferment the wines with no decolourising agents such as charcoal”, explains Parcé. “The challenge was to combine juice clarity and economically viable yields. We perfected the technique over time – through pressing protocols and malolactic fermentation – which we did not use for our whites but which reduce colour slightly more, followed by barrel maturation for 7 months with daily lees stirring”.

Wines that pique consumers’ interest

These efforts have paid off – production has risen from 1,000 bottles in 2019 to nearly 10,000 today. Romy Touchet, manager of the Cave des Chouans wine store in Jard-sur-Mer, says she has seen growing interest in the category: “We introduced a still blanc de noirs wine to our selection because of its uniqueness. There is a distinct interest in unusual wines among 30–40 year-olds. Over 50s tend to stick to what they know”. To date, no customers have spontaneously asked for this type of wine, due to lack of awareness. “We have to provide more explanations about the winemaking method, grape varieties, style etc. It requires some real education”, adds the wine merchant.

A versatile companion for food

Unlike its sparkling version, still ‘blanc de noirs’ offers a more accessible, everyday approach with trademark typicity. “The Pinot Noir that we list is still very expressive – its vinous mouthfeel is counterbalanced by freshness, subtle minerality and noticeable fruitiness. Blancs de noirs wines therefore broaden the range of pairing possibilities beyond dishes associated with traditional white wines. People enjoy the style and we are considering extending our portfolio with similar wines”, concludes Touchet.

A groundswell of interest

Although there are still obstacles to overcome – particularly lower juice yields and occasionally a lack of clarity in the winemaking techniques used – the movement is picking up steam and has spilled out beyond the borders of Roussillon. From Corsica (Domaine Giudicelli, Comte Peraldi…) to the Loire (Domaines Mourat,Couly-Dutheil….), via Bordeaux (Château Peybonhomme-les-Tours, Château Castera, Domaines Bourotte-Audy…) and Provence (Château Grand Boise, Clos des B…), there is no shortage of initiatives, the rationale being to add value to the range. Still ‘blanc de noirs’ is no longer an oddity in the wine space but is gradually carving out a place for itself – it is effectively a chameleon that can muddy the waters, without compromising on precision.

Florence Jaroniak © Pexels (Cup of Couple)

From its design to its marketing strategy and the sensory perception it prompts, a wine label has become so much more than just packaging. As a conveyor of meaning, it tells a story, influences consumers and acts as an effective selling point.

Contents:

• A distinctive feature… as old as wine itself
• A buying cue and a medium for expressing identity
• Identify your target and find the right words
• A search for both meaning and nature
• Strategic innovation

A distinctive feature… as old as wine itself

Even before the first paper labels emerged in the 18^th century, wine merchants were already promoting the contents of their amphorae. At the Louvre, a fragment dating back to the era of Ramses II (1279 to 1213 BC), found in Egypt, indicates the origin of the wine it contained. Present-day labels do not just provide information, they are eye-catching and guide consumers’ hands when choosing a wine. According to a survey by OpinionWay for French Independent Winegrowers (2023), seven out of ten French people view them as an important buying cue at point of sale. Recent research by Washington State University also reveals that label design influences our perceptions and our buying intentions.

A buying cue and a medium for expressing identity

The American female consumers surveyed preferred labels with visual cues described as feminine – flowers and faces for example. “They were also expecting their overall sensory experience to be better, and they were more likely to purchase the wine”, comments Ruiying Cai, the study’s main author. This is also true of the most knowledgeable consumers: “The gender cue influence was so strong, it trumped the effect of that knowledge,” said co-author Christina Chi. During a blind test, the same wine was perceived as fruity and sweet with a  feminine label and more mineral with a masculine version. “The label is a genuine medium for expressing an identity. Just as you stick it on the bottle, so too do you symbolically display what the wine represents, which is so much more than just a product” confirms Sophie Javel, co-founder of Exceptio, a design studio specialising in wine and spirits in Gradignan.

Identify your target and find the right words

As the first visual contact with the consumer, the label is a marker designed to reflect the uniqueness of the product. “The packaging implies coherency between what you see and what you drink and more broadly speaking is part of an overall communications strategy. The issue is about telling a story but without necessarily inventing anything. Storytelling does not imply making up stories but rather making what you do meaningful”. Consequently, the right label needs to speak to the right audience, in the right way. “You have to define your target and stick to it. The packaging is not the same for a heritage wine steeped in history as it is for a young, more accessible wine designed for everyday drinking”, adds Javel. The tone, the colours, the shapes and the typography need to be adapted. And that goes for the sales outlets themselves – wine merchants, super/hypermarkets…

A search for both meaning and nature

So can a fine wine use fanciful labelling cues? Can a natural wine don classic cladding? The answer is yes, but subtly. “In addition to fashion trends, graphic freedom expresses itself within clear pointers for consumers who are mostly tired of a lack of meaning. A truly successful label conveys something legitimate. It recounts the contents of the bottle, how they were made and the intent, irrespective of whether it is colourful or minimalistic”. Another trend is heightened environmental awareness. But shortcuts need to be avoided. Being responsible does not necessarily imply choosing recycled paper with a debatable carbon footprint. “Is your primary ethos about being planet-friendly… or making a good wine which factors in a certain number of parameters?” questions Javel, alluding to a number of options such as thinner paper, water-based inks, lack of gilding and easily removable labels on shapes of bottles that can be recycled. This type of restraint can be invisible but coherent. Even the visual language is changing, with fewer depictions of chateaux, particularly in Bordeaux, and more landscapes “to put vineyards back in an ecosystem and demonstrate their rooting in a living environment”.

Strategic innovation

Technology is also a part of the packaging: the now mandatory QR code for new regulatory information is often coupled with a more narrative QR code leading to a website or augmented reality. But these practices remain marginal. “The link between a physical label and digital technology will probably increase. However, modernity no longer lies in technical innovation but in the way these elements are skilfully combined to make the whole experience more evocative”, concludes Javel. Innovation is becoming an issue of blending, just like wine itself, and labelling now crystallises issues that go far beyond just product presentation. Labels are in no way turning their backs on tradition, rather they are updating it by factoring in newly-minted expectations – more meaning, more sincerity and more responsibility. Some companies have turned them into a stand-alone art form. Every year since 1945, Château Mouton Rothschild has commissioned a different artist to design the label of its latest vintage. For the 2022 vintage, Gérard Garouste rose to the challenge. As a collectible item and a marketing cue, sometimes a simple paper rectangle is worth a thousand words…

Florence Jaroniak© Taka/AdobeStock

For more information:

https://collections.louvre.fr/ark:/53355/cl010073861

https://news.wsu.edu/press-release/2024/10/01/women-more-likely-to-choose-wine-with-feminine-labels

The wine list for premium class passengers is a strategic resource for airlines and one that continues to gain in prestige. A booming market, it mobilises substantial investments, propelling some wineries towards new horizons.

Contents:

• A high-flying magnet for passengers
• Ongoing premiumisation
• A booming market
• Ambitious winery strategies
• Education and expertise

A high-flying magnet for passengers

The seats are reclined and the lighting subdued – in first class, the flight attendant suggests something to drink. Champagne, what else? Since December 2024, Singapore Airlines has been serving 2015 Cristal as part of its agreement with Louis Roederer. Emirates, on the other hand, has remained loyal to its 33-year partnership with Moët Hennessy, holding exclusive rights to eight exceptional vintages. The days when in-flight services stretched no further than a sandwich and soft drink are long gone. But in actual fact, as early as 1927, Air Union – subsequently subsumed into Air France – introduced an innovative gourmet food service on its Paris-London flights that would not have looked out of place on the Orient-Express. Since then, wine has become a signature staple of all high-end travel. By the 1960s, Air France for instance began honing its selection, recruiting the help of independent winemakers. It would subsequently hand over curation of its wine and Champagne list to the Best Sommelier in the World, Paolo Basso, before commissioning Xavier Thuizat, 2022 Best Sommelier of France, 2023 Best French Craftsman (MOF) and the 2024 leading sommelier award-winner in the Michelin Guide.

Ongoing premiumisation

The airline company currently serves over 9 million bottles a year. Its wine list is renewed three times a year and its premium offerings are ever more ambitious. That’s because in-flight comfort is no longer enough to sway travellers – wine now factors significantly into the equation as carriers wage a battle to attract passengers to the most lucrative front-row seats. Such is the race to excellence that competitions such as the Cellars in the Sky Awards and Wines on the Wing award the finest airline selections. “As a major asset in the passenger experience, the wine list is designed to offer travellers a pleasurable moment and let their tastebuds travel by exploring new appellations and new talents. Its aim is to mirror new aspects of wine regions and trends, like the propensity to drink less but better or to favour more palatable, elegant and refreshing red wines” explains Xavier Thuizat, who focuses primarily on wines that have the ability to spark emotions. “I need to feel sense of place and its authenticity when I try a wine”.

A booming market

On the ground, wine consumption is declining, but in the air it is literally soaring. Lufthansa, for example, issues 30 to 35 calls for tender a year involving a dozen tastings by in-house and external wine tasters. The market is bullish and reflects that of the airline sector itself. According to the International Air Transport Association (IATA), airline companies expect to transport 5.2 billion passengers in 2025, up 6.7% on 2024, generating record profits of 36.6 billion dollars (+16.1% year-on-year). For wineries, featuring on an in-flight wine list is a golden opportunity to sell their wines and establish a reputation among an international audience that can subsequently seek out the wines once back on terra firma. Some of them have successfully turned the opportunity into a springboard for their export strategy. To do this, though, they have to get on board first – a single order can total 60,000 bottles, a quantity that few producers have the means or the desire to supply, especially as some airlines tend to drive prices down.

Ambitious winery strategies

Conversely, many have taken the opposite approach and invested significant amounts of money. Since 2006, Emirates has injected over a billion dollars in its vineyard programme. It owns its own winery in Burgundy, where 7.4 million bottles are maturing, some of which will not be served until 2037 and beyond. Each of the company’s four cabins has its own selection, with the Premium range tailored to the taste preferences of passengers in six different regions of the world. To further perfect its service, Emirates even launched a training programme in 2024 titled ‘The art of wine’. Over 1,000 cabin staff have already taken part in the three intensive course levels with a goal of 22,000 by 2026. The initiative illustrates how enhanced personnel skills are increasingly adding value to the customer experience.

Education and expertise

“Just like the chefs who make the food served on board, I put together training resources for the crew with the teams at Air France. These are short videos explaining the wine list and providing advice and anecdotes about the wineries and appellations”, stresses Thuizat. Singapore Airlines trains its staff with Wine and Spirit Education Trust (WSET) certifications, whilst Delta has introduced its Sky Sommelier programme with Andrea Robinson. Pushing the boundaries even further, British Airways even has a wine club, The Wine Flyer, where passengers can buy wines online after experiencing them on BA flights. And New Zealand has spread its wings by venturing into winemaking and launching its own label, Thirteen Forty Five, with Villa Maria. As the airline industry hones its skills to improve differentiation, some wineries are ensuring they stay ahead of the curve: Mumm has designed its Cordon Rouge Stellar for future human spaceflights. It’s one more illustration how wine continues to push back the final frontier, where no man has gone before…  

Florence Jaroniak.

© Air France.

Sources:

https://corporate.airfrance.com/fr/actualites/xavier-thuizat-devient-le-nouveau-chef-sommelier-dair-france

https://www.emirates.com/media-centre

https://www.lufthansa.com/fr/fr/decouvrez-l-offre-de-vins

https://www.businesstraveller.com/features/on-cloud-wine-cellars-in-the-sky-2024

www.globaltravelerusa.com

https://www.iata.org/contentassets/f32de4cd05e2498a824e67fadd658cb7/2024-12-10-01-fr.pdf