Author: Vy Nguyen

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 The vines are also very prone to disease and over the past decade have gradually been replaced by resistant varieties: the number of visitors to the vineyard make it impossible to grub up the vines in one fell swoop.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

To address the challenges of climate change, regenerative viticulture is establishing itself as a sustainable alternative. Hinging on the soil, tree and water triangle, it aims to recreate a more resilient and productive ecosystem.

Contents:

• The soil as the model’s core focal point
• Animals and plants
• Regenerative hydrology
• A holistic approach

The soil as the model’s core focal point

If you’re looking for a definition or a single official endorsement you won’t find one. Regenerative viticulture has neither, even though certifications aimed at providing a framework and promoting the practices it embraces are emerging. Foremost among these is the Regenerative Organic Certified (ROC) programme created in 2017 by the Regenerative Organic Alliance in the United States. “Winegrowers interested in the approach take the view that healthy soils produce resistant vines and better quality wines”, explains consultant viticulturist and winemaker Alain Malard (Permavinea), an agro-ecology educator and author. In a bid to restore the qualities in the soil that have been either deteriorated or lost, some producers start by introducing compost, biochar and cover crops. “Sowing grass on soils that have been compacted by tractor passes and harvesting machines, however, is counterproductive”, believes Malard, who stresses the need to break up compact soils beforehand “to allow the roots to go down, the earthworms to come up and water to filter through”.

Animals and plants

Fertilising and aerating the soil also involve introducing animals, and not just sheep or chickens. “Wild fauna also plays a part in organic soil enrichment and sows tomorrow’s grass. Provided, that is, you give careful consideration to the choice of cover crops because birds and rodents do not find rye or vetch very appetising”, points out Malard. Although revitalised soils provide better storage capacity for the water vines need, the choice of resistant plant material also has to be factored into the equation. Malard mentions longer rootstock in future plantings or replacements which guarantee deeper roots, thereby helping vines to improve water and nutrient management. The next consideration is making changes to slow runoff, improve distribution and infiltration and harvest rainwater at block, winery and watershed level. Techniques that can be used include drainage channels, ponds, tiered trenches and even keyline design, a full-fledged strategy for spatially managing water resources.

Regenerative hydrology

“Drainage channels are particularly suitable for planting trees or shrubs in the form of hedges which create a beneficial micro-climate, combat erosion, promote biodiversity, sequester carbon, and recreate the natural water cycle both towards the atmosphere and the soil”, explains Malard. To put it simply, plants literally make it rain, as Simon Ricard, a training consultant with engineering consultancy PermaLab and regenerative hydrology designer stressed during a webinar hosted in July 2023 by the Côtes de Provence wine producers’ organisation. “Two-thirds of continental rainfall comes from evapotranspiration, directly linked to plants and soils, known as green water”. Without it, the water cycle dysfunctions, causing alternate spells of drought and floods. Hence, “in addition to taking natural and artificial paths for water and hydraulic installations in vineyards into account, nurturing green water involves agronomy, through living soils for short-term water management and through agroforestry for long-term management”

A holistic approach

To summarise, regenerative viticulture requires a holistic approach geared to each vineyard. It intersects practices and goes beyond block level to create a sustainable ecosystem. “For it to become the norm, winegrowers now have to raise their game”, believes Malard. “The model has to be a means of going beyond organic viticulture and not occasionally avoiding its constraints by making exceptions and retaining the option of treating with synthetic products, at the risk of destroying all the efforts made to promote biodiversity”. The transition needs time and prior thought and implies learning and a paradigm shift, with yields that can be lower to start with. But it surely has to be worth the effort…

Florence Jaroniak. ©sofa12345678/pxhere

For more information:

https://regenorganic.org

www.regenerativeviticulture.org/

Although the market for organic products in France is stalling, the picture for organic wines remains generally positive. As the organic wine industry prepares to travel to Montpellier from 27 to 29 January 2025 for Millésime BIO this can only be good news.

Contents:

• Positive signals (almost) all round
• The conversation rate slows
• Organic winegrowers in positive spirit

Positive signals (almost) all round

Millésime BIO, the world’s largest exhibition for organic wines and alcoholic drinks, traditionally kicks off the trade events calendar. This year, it is due to be attended by 1,500 exhibitors and 11,000 visitors from 27 to 29 January, and the mood is expected to be relatively upbeat. In 2023, organic vineyard acreage rose by 1.6% in France, bucking the general trend for organic crops which declined for the first time according to Agence Bio. Totalling 171,265 hectares, France’s organic vineyards account for nearly 22% of total area under vine, versus just 6% in 2010. Another reason for satisfaction is that sales of organic wine in France are going against the general flow of the market for organic products, increasing both by volume (+6%) and value (+7%). The organic wine industry is worth 1.56 billion euros, over one third of which stems from exports, and continues to be buoyed by direct-to-consumer sales. Accounting for half of organic wines sold, the channel grew by 14.3% in value, with wine merchants rising by 12.4%. Only super/hypermarkets saw a decline in sales (-4.6%), mirroring a drop in the number of organic wine SKUs in the majority of stores.

The conversion rate slows

This overall growth, however, is not enough to offload extra output stemming from the surge in vineyard conversions between 2018 and 2020. Nevertheless, the imbalance may improve as acreage in the switch-over phase declines (-33.5% in 2023 compared with 2022). SudVinBio, the trade association for organic winegrowers in Occitanie and exhibition organisers, links the trend to two factors. Firstly, “the potential to convert vines mathematically decreases as more land is converted”, and also “the industry’s development has always alternated between phases of growth and slow-down in order to balance supply and demand in response to cyclical changes”. Despite this, hazardous weather, compounded by the economic crisis, is putting organic winegrowers through their paces, as exemplified by Château Saint-Loubert in Graves and Bordeaux. “In 2021, marked by significant frost and rain, we lost 90% of the crop. Then, in 2022, we suffered from drought and leafhoppers… Our first organically certified vintage in 2023 sold for the same price as conventionally farmed wines, despite the fact that the technical constraints and overheads are higher for certified farms”, says Agnès Garbay. For the past 20 years, she has helmed the family-owned property with her husband. Reluctantly, she had to throw in the towel. “Obviously, our customers are receptive to the endorsement and prepared to pay a little more for it, but for a small farm with cash-flow issues after three poor crops, waiting to see whether the organic treatment will work or not adds constant stress”.

Organic winegrowers in positive spirit

Undeniably, there are growers reverting back to conventional farming, but the general mood is not one of defeatism. “2024 is our first year of conversion and the first time we will be attending Millésime BIO, which proves that we believe in it”, says Madeleine Premmereur of Château Barbebelle in the Coteaux d’Aix-en-Provence appellation area. The winery’s decision to sign up for the AB endorsement is primarily driven by “concerns about quality and the environment” more than sales. “This won’t be the silver bullet for regaining market shares, even though when faced with a choice between an organic and a conventional wine offering similar value for money, consumers will go for the first one”. The survey conducted by SudVinBio confirms the upbeat mood among exhibitors, with respondents saying they were more confident in the future of organic wines than in the future of wine in general. Their feelings were even stronger for the long term: 30.5% of surveyed winegrowers predict growth in the French market over the next ten years, compared with 20.5% over the next three years. And 40 % believe that organic wine consumption  will increase globally over the next decade, with the figure dropping to just 14% for conventional wine.

Florence Jaroniak. © : pxhere

Sources:

www.agencebio.org

www.millesime-bio.com