Gastronomy and Wine Portal

Wines with low or zero alcohol content are taking the world by storm. It’s a hot trend — perhaps a little too hot. For all the buzz, the reality is that most products in this category still fall short of the quality needed to truly be called wine.

How are No / Low wines made? 

Here’s a brief description of the dealcoholization methos.

Vacuum distillation: this method involves gently heating the wine under reduced pressure in vacuum, allowing alcohol to evaporate at lower temperatures (around 30–35°C). Aromatic compounds are often collected and reintroduced after alcohol removal to maintain the wine’s character. 

Reverse osmosis: wine is passed through a semi-permeable membrane under high pressure, separating alcohol and water from flavour compounds. The alcohol is then removed from the separated mixture, and the remaining components are recombined.

Spinning cone column: utilizing centrifugal force in a cone-shaped column under vacuum conditions, this method separates volatile aroma compounds and alcohol at low temperatures. The aromas are preserved and reintroduced after alcohol removal, aiming to create a non-alcoholic wine that closely resembles its original counterpart.

Cold filtration (lyophilization): the wine is frozen and then subjected to a vacuum, causing the alcohol and some water to sublimate. This technique is less common and primarily used for specific applications. ​

Each of these methods aims to reduce or eliminate alcohol content while preserving the sensory qualities of the wine. The choice of technique depends on the desired flavour profile, cost considerations, and technological capabilities.​

Re-introducing or recombination of flavours is supposed to retain much of the wine’s original profile upon removal of alcohol by the above mentioned methods. ​In fact, some winemakers have to use additives to help imitate or restore flavors lost during dealcoholization, while the original aromas often can’t be fully recovered. Natural flavourings (often derived from fruits, herbs, or spices), acids, sweeteners, glycerol, tannins and oak extracts — all these components can be found in dealcoholized wines. Mostly, in my opinion, to no success.

Arrested fermentation is another method, widely used for producing low alcohol, but not completely dealcoholized, wines. Fermentation is intentionally stopped before completion, resulting in a wine with lower alcohol content. This method often leads to sweeter wines due to residual sugars and which sometimes lack the complexity of fully fermented wines. 

Sometimes — but not always. In Germany, particularly in the Mosel region, the method of arrested fermentation has long been used to craft elegant, complex, world-renowned wines. So, to paraphrase the old saying: beauty lies in the hands of the maker.

At the recent ProWein fair, I wandered through the ZERO zone, hoping to discover a few standout samples. After all, having a high-quality non-alcoholic alternative to regular wine would be a genuine win. As I tasted various samples, I paid close attention to other tasters’ reactions. I happened to overhear a brief exchange between two winemakers from the Pfalz region: “Average rating, if you ask me? Somewhere between bad and very bad,” remarked one. “I don’t understand how we’re supposed to live with this,” the other concluded.

A pleasant young woman smiled at me just as I began tasting: “Have you already been to the sparkling wines? Maybe we can divide the zones — I’ll tell you what to pay attention to among the whites, and you can give me tips on the sparklings?” The woman turned out to be the founder of a new project called Zero Wine Club, named Jenny Klein. Jenny is a true enthusiast of the zero-alcohol trend. Her vision with Zero Wine Club is to build a culture around alcohol-free wine — one that centers on enjoyment, free choice, and mindful, modern living.

Jenny proudly calls herself a flexidrinker. What does that mean? “Think of it like a flexitarian, but in the world of wine: someone who happily drinks both alcoholic and alcohol-free wines — depending on the mood, the moment, and the company.”

Before launching her project, Jenny tasted over 250 non-alcoholic wines to understand whether they really had a future: “For me, non-alcoholic doesn’t mean it’s somehow lesser,” says the founder of Zero Wine Club. “I’ve noticed that many people still approach alcohol-free wine with a certain skepticism — they assume it can’t possibly taste as good. And I want to change that. I want to show how many truly wonderful alcohol-free wines already exist — and help people discover them. It’s a bit like what happened with non-alcoholic beer or plant-based alternatives: it took time to find the good ones, and even longer for them to be taken seriously. I want to give people the same freedom of choice when it comes to wine — to enjoy what suits their moment, without compromise. And I want alcohol-free drinking to become a brand in itself — something normalized, present at events, in restaurants, and as a natural part of everyday life.”

Unlike Jenny, I haven’t yet sampled 250 No/Low wines — but I’ve certainly spent a lot of time looking for a decent alcohol-free bottle in Germany, across different price points. Germany produces outstanding wines, and you can easily buy a very drinkable Riesling (with alcohol) for just €5 to €7. So my disappointment was hard to contain when I opened an 18-euro bottle of alcohol-free Riesling that turned out to be a complete letdown. It was a clear case of price having no relation to quality.

Still, a couple of non-alcoholic wines I tasted left a very pleasant impression:

Dr. Lo Riesling Alkoholfrei — a non-alcoholic Riesling from the renowned and highly respected Mosel-based winery Dr. Loosen, made using estate-grown grapes. This Riesling is fruity, fresh, mineral, and elegant, with a beautifully balanced sweetness and acidity.

The second standout was Kolonne Null Edition Axel Pauly Riesling Alcohol-Free Wine 2020, a collaboration between Axel Pauly — a young and remarkably talented Mosel winemaker affectionately nicknamed the “Barbarossa of the Mosel” — and Kolonne Null, Germany’s most prominent and innovative alcohol-free wine brand. This Riesling genuinely surprised me with its distinctive Pauly signature: pronounced minerality, vivid yet well-integrated acidity, and refined elegance in both aroma and palate. A vibrant nose of green apple, fresh lemon, and juicy stone fruit is enhanced by a spicy undertone and a subtle creamy hint — a truly impressive zero-alcohol wine.

The global consumption trend is raising concerns among winemakers: younger consumers are increasingly disengaged from wine. Roughly one-third of Gen Z prefers no- or low-alcohol drinks. In Germany alone, according to wine market analysis conducted by NielsenIQ for the German Wine Institute (DWI), the consumption of non-alcoholic wines rose by 86% in 2024 compared to the previous year.

At this point, it’s difficult to say whether this is a conscious lifestyle choice by consumers or the result of sustained messaging around health and wellness. Either way, the wine industry must respond to this shift in preferences among the new generation.

So, what is the expert perspective on this growing and seemingly unstoppable trend?

Robert Joseph, a prominent British wine critic and industry consultant, as well as a co-founder of a winemaking company le Grand Noir, has expressed nuanced views on the trend of no- and low-alcohol wines. Joseph highlights the growing consumer interest in non-alcoholic options, driven by health considerations and changing social norms. He urges the wine industry to respond empathetically to this demand, rather than dismissing it. In his piece “10 Reasons Why People Want Zero-Alcohol Beverages,” published in his Devil’s Advocate column for Meininger’s International, he outlines factors contributing to this trend, including medical reasons, such as taking antibiotics or pregnancy, metabolism issues, strict employment rules, giving up on alcohol “after a history of abusing it”, and other important personal reasons. “So, what is on offer for a wine drinker, looking for an adult beverage, possibly — but not necessarily — to enjoy with food? In other words, for people seeking an alternative to water, soft drinks or fruit juice, almost all of which are sweet. Why shouldn’t they have a glass of something that will give them pleasure?” Robert Joseph encourages producers to have understanding of such consumer needs — and to do their best to find quality solution — his company Le Grand Noir also offers a 0,0% range: a dry white blend (80% Grenache Blanc 10% Chardonnay 10% Viognier) and a dry red blend (50% Pinot Noir 50% Grenache).

In his column Mr. Joseph says that No / Low does not exactly need to be as good as wine: “Most of us as rarely get to drink the ‘finest classic wine’ as most meat eaters get to enjoy wagyu steaks. But, more importantly, anyone making a non-alcoholic adult drink is not competing with full-strength beer, spirits or wine. The competition they face is Coca Cola, orange juice, water – and each other.”

Yevgenia Nikolaichuk, WSET4, project lead for the wine category at the commercial division of the Silpo retail chain, notes that non-alcoholic wines are beginning to break into the premium segment as well: “This spring, my colleagues and I attended all the major wine industry events — Barcelona Wine Week, Wine Paris, ProWein, Vinitaly — and around 40% of what we tasted fell into the No/Low category. One trend that stood out was the emergence of premium wines in the non-alcoholic segment. These are wines with added value: made from organically grown grapes, sometimes aged in oak, typically priced slightly above the mid-range. They are much more interesting from an organoleptic perspective, far less sweetened — and genuinely enjoyable to drink.”

Among other global trends, Yevgenia also points to the growing popularity of wines with noticeably lower alcohol content:
“These wines are made using special yeast strains that consume more sugar while producing significantly less alcohol. The result is light, high-quality dry wines with alcohol levels of just 8–9%.”

What’s the current situation with non-alcoholic wine in Ukraine?

Yevgenia Nikolaichuk observes that over the past year, consumption of both still and sparkling wines has declined: “There are a few reasons for this. Some people take antidepressants, which cannot be mixed with alcohol. Others prefer to stay sober due to the constant air raids alerts — they want to remain in control. Some increased their alcohol intake at the beginning of the war, but are now scaling it back. And some who used to buy three bottles of wine a week now opt for two bottles of regular wine and one bottle of non-alcoholic.”

To help meet these changing needs, Silpo chain has created dedicated non-alcoholic displays to make navigation easier for customers: “We’ve gathered everything from this segment in one clearly marked area,” says Yevgenia.

So why has consumption of still and sparkling wines dropped most sharply in Ukraine?

Yevgenia believes the reason is largely emotional: “Wine is about celebration, relaxation, and good moods. And these aren’t the easiest times for celebration in Ukraine. Non-alcoholic wine can help recreate that festive feeling without the risk of losing control — your favourite drink is still in the glass. Water just doesn’t have the same effect.”

Is non-alcoholic wine produced in Ukraine?

“Before investing in expensive equipment for non-alcoholic wine production, certain legislative changes had to be made to legalise this category,” explains Svitlana Tsybak, CEO of Beykush Winery and Head of the Association of Craft Winemakers of Ukraine. “I was part of the working group that focused on aligning Ukrainian wine laws with European standards. This included regulations on non-alcoholic wines. The work began back in 2020 — it was quite a complex process.”

In August 2024, the Parliament (Verkhovna Rada) of Ukraine passed Law No. 9139, harmonising national wine legislation with EU regulations. For the first time, this law defines the production framework for both non-alcoholic and partially dealcoholised wines in Ukraine.

Specifically, it clearly distinguishes between “non-alcoholic” and “low-alcohol” beverages; establishes standards for dealcoholisation processes and permitted methods; requires transparent labelling — including the actual alcohol content and the method of alcohol removal; introduces quality standards for non-alcoholic wines and mechanisms for monitoring compliance.

The law also sets certain limitations — notably, it prohibits dealcoholisation of wines with geographical indications (GIs) and bans the simultaneous dealcoholisation and sweetening of grape must.

Will Ukrainian non-alcoholic wines hit the market any time soon? That remains both a question and a challenge — for producers and consumers alike. Global trends are certainly relevant here, but Ukraine has always found its own path and written its own story. Let’s see how this one unfolds.

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Wines with low or zero alcohol content are taking the world by storm. It’s a hot trend — perhaps a little too hot. For all the buzz, the reality is that most products in this category still fall short of the quality needed to truly be called wine. How are No / Low wines made?  […]

On October 30 at Kyiv’s International Exhibition Center, the Wine Travel Awards (WTA) signature event, “Holistic Insights: Paradoxes in Ukraine’s Import & Export,” was nothing short of spectacular! The Masterclass Zone was filled to capacity with wine professionals, while many local and international experts joined online, creating an electric atmosphere. The event’s key highlights included two leading global wine experts, Richard Bampfield MW and Robert Joseph, who set the stage with in-depth insights. Following their presentations, prominent Ukrainian industry leaders discussed the challenges and opportunities for Ukrainian wine on the international stage.

Ukrainian Wines in Focus: Richard Bampfield’s Insights and the Standout Impact of Odesa Black

Richard Bampfield MW brought a wealth of insights from his journey with Ukrainian wines, from his first introduction at the Wines of Ukraine stand at the London Wine Fair in 2022 to the recent, exclusive tasting in Warsaw on July, organized by Wines of Ukraine. His reflections spanned a mix of praise and constructive critiques – thoughtful observations that our editorial team, along with Richard himself, regard as essential guidance for producers and industry professionals alike. For those willing to listen, his insights promise not only to inform but to inspire, offering a roadmap for the continued growth and international recognition of Ukrainian wines.

Richard began his presentation with words of appreciation and continued, “I like to think, much like Robert, that I keep very well informed about the world of wine. However, I must admit that 2.5 years ago, I knew nothing about Ukraine as a wine-producing country.”

After Richard detailed his transformative journey in understanding Ukrainian wine: “Since then, I have had numerous opportunities to taste the wines and, best of all, meet some of the people involved. I have been greatly impressed by the positive attitude and entrepreneurial spirit, as well as the sense of purpose I have encountered in everyone I met within the Ukrainian wine world. I am full of admiration considering the circumstances, and it’s an honor to be invited to present this afternoon.”

“Initially, my interest in Ukraine was partly due to wanting to help, but I was also intrigued by this wine-producing country I had never come across,” he admitted. “Increasingly, my interest has shifted to the wines themselves because these wines deserve attention, and the variety of styles suggests there are tremendous opportunities here.”

The Warsaw Tasting: Setting the context for the tasting, Richard explained, “In the Warsaw tasting we had the opportunity to taste about 120 different wines from a variety of producers, styles, and many different parts of Ukraine. There were 6 Masters of Wine involved in the tasting, and their goal was to identify 24 wines and then 12 wines which we feel reflected the quality and diversity of wine that Ukraine can offer, which they could use in promotion and potential export markets.”

Sparkling Wines: Bampfield began with the sparkling wines, acknowledging gently that not all the sparkling wines made a strong impression. “We didn’t sample a large number, so I couldn’t pinpoint any especially remarkable examples. However, the quality of the rosés we did taste was consistently good. For the final selection, we chose two sparkling wines – one crafted with the tank method and one with the traditional method.

White Wines: Moving on to the whites, he expressed genuine enthusiasm: “This is where I’m really excited because I think with white wines, there are two grape varieties in particular, which are indigenous to Ukraine – Telti-Kuruk and Sukholymansky – and you make them beautifully. We had really good consistent examples. I like the fact that they don’t rely on oak in their expression; they’re both grapes that have individual expressions, unique to themselves, and I think the styles of crisp dry whites they produce are ideally suited to international markets at the moment.”

He also acknowledged the quality of the Chardonnays. “There were some good Chardonnays too; the quality was good. Additionally, there were interesting blends – local grapes blended with international ones, like Chardonnay and Sauvignon Blanc – which were well managed.”

He noted a particularly promising Furmint: “We only had one wine made from Furmint, a Hungarian grape, but it was very good and so showed promise as well,” referencing the Chateau Chizay Furmint Late Harvest 2022.

Not all the whites made a strong impression, however. “Two white varieties that perhaps felt less inspiring were Pinot Gris, which may have been affected by higher yields, resulting in wines that were a bit more restrained. We also sampled a couple of Solaris blends, a grape that I understand can perform well in certain regions. While the ones we tasted didn’t stand out significantly, it’s possible they were from younger vines and may develop further with time.”

Rosé Wines: He provided a thoughtful assessment of the rosé category, noting some positive highlights. “There were several rosés, and while one stood out enough to make the top 24, none reached the top 12. The standout was made from Pinot Noir, which I think is a good option for a rosé. It’s difficult to generalize about what style of rosé international markets are after at the moment – there are so many different ones out there. But I think purity of fruit and freshness are key, and there’s no reason why rosé can’t have a little bit of residual sugar.”

Orange Wines: Bampfield’s opinion on orange wines was candid. “I’m never sure if it’s a good idea to give Masters of Wine orange wines to taste. I suspect if you ask 20 Masters of Wine their opinion on orange wine, you’ll get 20 different opinions. They were okay. There were a couple of very good ones – one made from Furmint from Zakarpatia and another from Rkatsiteli. Orange wines are a difficult territory, but there’s no question there’s a market for them. It’s still relatively small, but depending on which market it is and who your importer is, there are definitely opportunities.”

Red Wines: Finally, Bampfield shared his reflections on red wines, expressing great satisfaction. “We were very reassured by the reds. I think there’s a tendency in some Eastern European countries to think that the higher up the quality ladder you go with red wines, the more oak barrels you need to use, and the newer those barrels should be. What pleased us with Ukraine is that this wasn’t the case. There were really good examples of wines that were beautifully balanced without oak, and where oak was used, it was applied sensitively and intelligently.”

He noted that two grape varieties did not perform as strongly as others. “The two grapes that were less successful were Pinot Noir and Jupiter, but they were far outnumbered by the really good wines made from Odesa Black, Cabernet Sauvignon, Saperavi, and Merlot, along with blends of those grapes. We had a lot of high-scoring reds, and I think it could have even been a higher proportion of reds in the final selection of 24.”

The Highlight – Odesa Black: Bampfield’s admiration culminated in his praise for Odesa Black, which he viewed as a major asset for Ukraine. “I think all of us came away thinking that Ukraine’s got some really strong door openers with their wines, particularly with Odesa Black.”

“Odesa Black has been a revelation,” he continued. “We shouldn’t underestimate how important it is to have grape varieties that people recognize and, importantly, can pronounce. Odesa Black qualifies on both of those counts, and it produces very good wines, both oaked and unoaked. If we had to choose one key highlight from this tasting, it should be the quality of Odesa Black. Actually, in the final 12, there is just one pure Odesa Black, but there are 2 or 3 in the top 24, and there are lots of very good wines. If there are not more in the final 12, it was because we wanted to show the diversity of different grapes.”

With his concluding thoughts, Bampfield emphasized that Ukrainian wines deserve serious attention in the global market, especially through focused promotion of varietals like Odesa Black that can resonate internationally. His reflections captured both the potential and the pressing need for strategic positioning of Ukrainian wines to secure a place on the world stage.

Editorial Note: For more details on this tasting, please refer to this link.

Navigating Global Preferences: Robert Joseph’s Insights on the Essential Role of Strategic Marketing and Consumer Understanding in the Wine Industry

Robert Joseph believes that in today’s global wine market, simply making quality wine is no longer enough. With his extensive experience as a wine critic, organizer of wine competitions, judge, marketer, and now a winemaker, Joseph has developed a holistic view of the industry. He emphasizes the crucial role of targeted marketing and effective communication in reaching diverse audiences. Drawing on his experiences across regions such as Moldova, Georgia, and Ukraine, Joseph highlights the dramatic variations in consumer preferences and the importance of region-specific strategies. For winemakers navigating this complex landscape, knowing your consumer and investing in tailored outreach are essential to building successful brands.

Robert began with gratitude, “Thank you so much for the invitation; it’s wonderful to be here today, and I’m very happy to be doing this alongside Richard, who is an old friend and someone I have huge respect for.”

He introduced his background: “I work quite a lot in Moldova and Georgia, and my own wines are sold in many countries, including Ukraine. My French wines, Le Grand Noir, are shipped regularly to Ukraine, which gives me great pleasure, I must say. But what this means is I see the world possibly a little differently from some of my colleagues in the UK, and indeed some of my friends who are Masters of Wine because I don’t think there is one market.”

Robert illustrated this idea with examples: “I have friends in Moldova who are making much more oaky style of wine than I would like to taste in London, but they tell me that the markets in which they are selling – those local markets – are very keen to have these types of wines.”

Cultural Preferences in Wine Markets: In Georgia, his partners sell wine in Poland, a market he described as “big” for wines, and, as in Russia and Ukraine, there is significant demand for semi-sweet wine. “In the UK, if you try to sell red wines with 40 g of sugar, you would struggle,” he pointed out, highlighting the regional differences in consumer taste. “I think you need to be very careful in listening to experts from anywhere, because very few experts have a truly global vision, although Richard and I try to have that.”

Caution Against Narrow Advice: Joseph cautioned against experts who, often driven by their own tastes and passions, advocate solely for indigenous grape varieties, saying, “You will see experts who come to Ukraine, or to Georgia, or to Greece, or Turkey, saying that you MUST have only indigenous local grape varieties. You need to understand that people who will buy grape varieties they have never heard of before to try wine, they are the minority of the drinking public.”

The Value of Familiarity in Varietals: Holding up a Greek wine as an example, he said, “I have in front of me the wine from Greece, Xinomavro-Syrah, which is a blend of a local Greek grape variety and one from France. This one is sold by Aldi discount group, and I am pretty sure they sell more of that than if these wines had only Xinomavro without Syrah. People recognize the word Syrah and feel more confident in buying it.”

The Myth of a Unified “Young People’s” Market: Next, he addressed common misconceptions about what young people want in wine. “You will also be told that young people want authentic wines with less alcohol, fresh and fruity style, and I would say it is true,” he admitted, before adding an exception. He cited a Moldovan company selling a fortified Muscat wine, 16 percent alcohol, aimed entirely at the USA market, featuring flavors like peach and blackberry. “The fastest-growing new wine in the USA market last year was a Californian wine, imported from Italy, flavored with pineapple and chili.”

Diverse Markets for Alcohol-Free Wines: Moving to another trend, he explained, “There is no one wine market; there is no one set of styles.” Joseph then discussed zero-alcohol wine, a product he recently introduced. “What is interesting to me is how many people in the wine industry do not like the idea of zero-alcohol wine. They accept zero-alcohol beer, but they do not like the idea of zero-alcohol wine because wine is a noble product of terroir and so on.”

He clarified the market’s trajectory, “The global wine market is flat or going down, while the zero-alcohol wine market is going up by about 7 percent per year. People say to me, ‘But zero-alcohol wine is not as good as normal wine.’ My answer is that these wines are not competing with normal wines; they are competing with Coca-Cola, water, and other non-alcoholic products.”

Packaging Preferences Across Markets: Joseph continued with a point on packaging preferences, explaining, “There are questions that vary from one country to another.” That morning, he had been discussing P and D bottles with an importer in Finland. “In Nordic markets, lightweight, environmentally friendly packaging is very popular, but in the UK, it’s much less so. Lots of UK exporters advocate for light bottles for environmental reasons, but if you are trying to sell your wine in Asia or possibly America, you will still have customers who want heavy bottles.”

Understanding Closure Preferences in Different Markets: Robert also mentioned closure choices. “With our wines, Le Grand Noir, the wines you see in Ukraine, we are bottling those wines with screw caps, which I like, Diam corks, which are a good form of natural cork. The closure you get depends on your market, and each market has its own requirements.”

The Myth of a “Single” Wine Consumer: His presentation closed with a broader reflection. “Finally, we need wine producers, wherever they are, to understand there is no such thing as ‘the wine drinker.’ There are many different kinds of wine drinkers, both between countries and within them.” He offered a comparison from his own portfolio, saying, “The person who buys my Le Grand Noir Chardonnay for 12 dollars in the US is probably not the same person who buys my Georgian wine, K’AVSHIRI, for 35 to 45 dollars in the USA.”

The Critical Role of Communication and Marketing: Joseph stressed, “The challenge for wine producers is to communicate directly with the people who are most likely to buy each particular kind of wine. And, and this is very important, to invest the money required for proper communication.” As an example of market challenges, he cited Southern Glazer’s Wine & Spirits, the largest distributor in the USA, which sells over 7,000 wine brands. “Wine sales went down by about 8 percent in America over the last 12 months, so they just fired 3,000 of their staff.”

“Being imported by Southern Glazer’s, who controls over 50% of the US market, is not necessarily good news,” he added, underscoring the need for producers to establish direct communication with consumers.

A Realistic Perspective on Quality and Distribution: Joseph reflected on his previous role as a wine critic. “When I was a critic and organizer of wine competitions, I imagined that wines that were very good and priced well would always sell. I was wrong! Today wines have to be good because there is no room for bad wines. But once they are good, they need a strong distributor and very good marketing. Without those, however good they are, they will struggle.”

Advice for Ukrainian Producers: Turning specifically to Ukraine, he shared practical advice: “For the Ukrainian market, remember when choosing a distributor to think about who is going to buy your wine. If you work with a distributor specializing in Central and Eastern Europe, you will primarily have customers who want to buy wine from Central and Eastern Europe. That can be both positive and negative.”

“For my Georgian wines, for example, I don’t look for a distributor who specializes in Central and Eastern Europe; I look for one who sells high-quality Italian, French, and other wines,” he clarified, emphasizing the importance of positioning in the broader global wine market.

Final Reflections: “Over the year I have tasted a lot of very good Ukrainian wines, and I think it is indeed a good time to have them in the global wine market,” he concluded. Comparing today’s wine market with the past, he remarked, “It is much easier now to identify people who are more likely to buy these wines than it was 10 or 20 years ago.”

Looking ahead, Robert Joseph shared, “I am going to a European sommelier contest in a couple of weeks, and I know there are lots of sommeliers who are looking for new wines. They are certainly the type of people I expect to be talking to about Ukrainian wines.”

Resilience and Innovation in the Ukrainian Wine Industry. Following the presentations by Richard Bampfield and Robert Joseph, Ukrainian representatives took the stage to share their insights on resilience and growth in the Ukrainian wine industry, even in challenging times. Key speakers included Valentyna Parsaieva, Head of Export at Shabo Winery, who discussed the evolution of exports; Svitlana Tsybak, Head of the Ukrainian Association of Craft Winemakers and Co-Founder of Wines of Ukraine, who shared valuable insights on community development; and Sergii Mazur, Export Director at Vitis Group, who spoke about the diversification into local spirits production. Hanna Kovalevska, Co-Founder of Bakota Bay Winery, highlighted the resilience shown through relocation and its impact on the community; Artem Skubenko, Founder of Honey Badger, emphasized their mission to elevate Ukrainian liqueurs and infusions on the global stage; Nataliia Burlachenko, CEO of Big Wines, outlined key investment opportunities in Ukrainian viticulture; and Volodymyr Pechko, Head of UKRSADVINPROM, provided an insightful overview of recent industry developments and export trends.

Each speaker underscored strategic adaptations, from expanding export markets to fostering community development and exploring new production avenues, illustrating the resilience and innovation that define the Ukrainian wine industry.

Tasting experience. The event concluded with a captivating wine and spirits tasting, offering attendees a meticulously curated exploration of both notable international and local selections. Among the highlights were the 2022 K’avshiri White and 2022 K’avshiri Red from Robert Joseph and Vladimer Kublashvili, which celebrated the rich heritage of the Kakheti and Imereti vineyards. Tenuta Manoylo showcased an impressive lineup, featuring the award-winning Pecorino (2021 Falerio DOC) and Rosso Piceno (2022 Rosso Piceno DOC), reinforcing the Marche region’s renowned quality. Ukrainian craftsmanship was also a focal point with Honey Badger‘s traditional Nalyvka infusions, including Blackcurrant, Cherry, and Cornelian Cherry liqueurs, adding a distinctive local touch.

This exquisite tasting session provided a fitting finale to a day filled with insightful discussions on global wine trends and strategic growth within the industry, seamlessly integrating international perspectives with the dynamic innovation of Ukrainian winemaking.

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On October 30 at Kyiv’s International Exhibition Center, the Wine Travel Awards (WTA) signature event, “Holistic Insights: Paradoxes in Ukraine’s Import & Export,” was nothing short of spectacular! The Masterclass Zone was filled to capacity with wine professionals, while many local and international experts joined online, creating an electric atmosphere. The event’s key highlights included […]

In the world of wine, scores and evaluations from journalists and critics have long served as veiled guides to uncovering the next exceptional bottle, assisting everyone from casual drinkers to seasoned connoisseurs. However, beneath the polished reviews, a rising wave of debate is emerging. Increasingly, voices within the wine community are not only challenging the traditional practices of wine journalism but also questioning the broader approaches to wine evaluations that are published. Are these evaluations truly unbiased and objective, or do they merely perpetuate well-known wine myths?

As we navigate this discourse, there is a growing demand for more inclusivity and a wider range of voices able to express their opinions authentically. This movement calls on the industry to embrace diverse perspectives and challenge conventional norms. However, let’s be clear: It is crucial to differentiate between professional evaluations conducted by experts and those offered by influencers of various ranks.

But the main question here is the following: Are we ready to address these challenging issues and move beyond just celebrating renowned labels and big names? Embracing this change could revolutionize wine journalism and criticism, making it a more genuine reflection of the rich and diverse world of wine.

Oliver Styles

Supporting this call for change, in September 2024, Oliver Styles, a contributor for Wine-Searcher, pinpointed a concerning trend in his article ‘Putting an End to Perfect Wine Scores’. He observed that the field of wine journalism has become stuck in a repetitive cycle of widely accepted ideas, harmful to the community’s growth. Oliver argues that the common practice of awarding near-perfect scores too frequently reflects the critic’s personal brand and the wine’s market reputation rather than its intrinsic quality. This trend towards high scoring, particularly in the narrow range between 95 and 100, suggests an environment where scores serve marketing more than genuine assessment.

Moreover, Styles notes that the practice of evaluating wines through blind tastings is declining among recognized wine critics, possibly because these tastings can expose ‘uncomfortable truths.’ Knowing the identity of the wines they are scoring, critics might allow their past experiences with a brand or vineyard to sway their scores. This practice undermines objective assessment and can lead to inflated scores for well-known or expensive wines, irrespective of the actual quality of the vintage or batch. This development results in a homogenization of critical opinions on wines, diminishing the vibrancy and depth of wine journalism.

Styles’s commentary underscores a broader issue: the potential for wine criticism to become homogenized, losing the bold, individualistic assessments that once sparked lively debates and led consumers to discover truly remarkable wines. Furthermore, as blind tastings become increasingly rare, the chance for unexpected results and genuine discoveries diminishes. To counter these trends, Styles advocates for a return to more honest, unfiltered criticism where mistakes and surprises are embraced rather than smoothed over. Such an approach would not only make wine writing more engaging but also restore integrity to wine criticism, ensuring it serves as a guide for discovery rather than merely a rubber stamp for established names.

By addressing these issues, wine journalism can aim to recapture its essential role in the cultural landscape of wine, not just celebrating the wines themselves but also illuminating the rich, varied experiences they offer to drinkers worldwide. It also helps navigate and provide true insights for those who seek them.

Malu Lambert

As Oliver Styles points out the declining relevance of traditional wine scoring and the need for a fresher perspective in wine journalism, Malu Lambert, in her compelling article titled ‘The Echo Chamber: Reinventing Wine Journalism,’ independently addresses similar issues from her perspective in South Africa. Lambert critiques the wine journalism industry for its formulaic nature and reliance on a limited group of influential voices, which she argues blocks innovation and diversity in reporting. She believes the industry has become an echo chamber, predominantly amplifying established names and narratives while neglecting emerging voices and fresh perspectives, a sentiment that resonates with Styles’s observations.

Lambert argues that this restrictive focus not only diminishes the richness of wine culture but also fails to serve the consumer, who seeks diverse and authentic experiences. Highlighting the tendency of wine journalism to revolve around high-profile critics whose scores heavily influence market trends and consumer choices, Lambert stresses that this approach often overshadows smaller, yet innovative winemakers who challenge the conventions of traditional viticulture.

Proposing several reforms to revitalize wine journalism, Lambert emphasizes the importance of diversifying sources and advocates for highlighting opinions from a broader array of critics, particularly those from underrepresented regions. Like Oliver, she calls for more blind tastings to ensure that evaluations focus purely on the quality of the wine itself, rather than on the reputation of its producer or origin. Lambert also highlights the need for storytelling that encompasses the full spectrum of the wine experience – from vineyard trials to the impact of climate change and the ingenuity of new winemaking techniques. These changes, she believes, would provide a more comprehensive view of the wine world, enhancing the authenticity and depth of wine journalism.

By addressing these issues, Lambert echoes the broader industry’s call for a shift towards more genuine and insightful wine journalism. Her critique and proposed changes underline the necessity for wine journalism to evolve, ensuring it remains relevant and reflective of the diverse and dynamic nature of the wine world today.

Fabio Piccoli

The issues raised by Oliver Styles and Malu Lambert about the need for changes in wine journalism are also shared by another prominent voice, Fabio Piccoli. In an editorial for The Italian Wine Girl, Piccoli laments the state of wine journalism, which he argues has been reduced to mere regurgitations of press releases, lacking in the investigative rigor necessary for true journalistic integrity. He shares the disappointment felt by Styles and Lambert over the scarcity of critical voices willing to highlight the industry’s flaws to foster improvement.

Meg Maker

Further supporting this growing call for reform, Meg Maker, during a panel discussion titled “We Need to Talk About Wine,” emphasized the need to transition from “gatekeeping” to “gate opening” in wine journalism. She advocated for evolving the language used in wine descriptions to make it more inclusive and accessible to new audiences. This push for inclusivity was highlighted as a means to expand the scope of wine journalism to include a broader, more diverse audience, aligning with the observations of both Lambert and Styles.

Marco Giovanetti

These discussions collectively underscore a critical reflection within the wine journalism community about its current state and future direction. In his wine essay “The Influence of Wine Critics on Today’s Wine Industry,” Marco Giovanetti discusses how the traditional influence held by wine critics like Robert Parker is being challenged by newer forms of media. This shift is leading to a democratization of wine criticism, characterized by a move away from standardized scoring systems towards a richer, more varied sensory and cultural appreciation of wine. This new approach not only caters to the preferences of younger generations, such as Generation Z, who value authenticity and community but also broadens the industry’s appeal by enriching the consumer experience with more dynamic and inclusive narratives.

Tom Wark

More wine professionals around the globe are discussing the need for change in wine journalism. In a provocative article titled “Wine Journalism Takes a Turn for the Better,” Tom Wark discusses the need for greater authenticity and less reliance on formulaic wine scoring. This article highlights that wine journalism should move beyond mere scoring to a more nuanced exploration of wine as a cultural and sensory experience.

“What we see here is the idea that wine can be a lens through which culture and society and community might be interpreted. One complaint about the wine writing fraternity is it tends to churn out an eye-glazing mashup of descriptors that becomes terribly boring after the smallest amount of consumption. While there is undoubtedly a place for wine reviews with their descriptors and points, it does very little other than engage the engaged. On the other hand, stories about the impact of wildfires on wine and wine insurance, the question of how gender politics intersects with the wine world, the impact of the super-rich on the Bay Area’s wine culture, and the use of sham marketing applied to wine are all “wine stories” that get us well beyond the norm,” writes Tom Wark.

Building on the critiques and calls for change expressed by voices like Oliver Styles, Malu Lambert, Fabio Piccoli, Meg Maker, Marco Giovanetti, Tom Wark, and many others, the conversation around the evolution of wine journalism highlights a broader concern: the need for the field to adapt and evolve in response to changing reader expectations, aiming to provide deeper, more meaningful engagement with wine that transcends traditional scoring and embraces a more narrative-driven, richer storytelling. These discussions underline the demand for more engaging and inclusive wine journalism that not only informs but also inspires its audience.

Richard Bampfield

In pursuit of fresh perspectives, Drinks magazine sought the insights of Richard Bampfield, a respected Master of Wine who recently joined as a judge for the WTA campaign for 2024-2025 and shared his thoughts on the current state of wine communication.

Bampfield acknowledged the formulaic nature of traditional wine writing, often entrenched in the technical language of certifications like WSET, which may not resonate with all consumers. He emphasized the importance of evolving this language to make it more accessible and relatable: “Communication with wine professionals is easy and straightforward – there is always some formula, often based on training such as WSET. You talk about dryness, acidity, sweetness, and flavors.. so there is a formula there.

And yes, that is helpful in terms of creating a common language for professionals, but it does not mean that this is the type of language that is appropriate when talking to consumers. In fact, I would say quite the opposite. The language we use with the average consumer should, I believe, be less formulaic, less technical, more spontaneous, more conversational and framed in more everyday terms. Ultimately, it should inspire the purchase of a bottle of wine – and trigger a feeling of joy in drinking it!

Bampfield also noted the shift in who is communicating about wine, observing that many of the current communicators in the market may not have traditional wine industry backgrounds or formal training. He sees this as a positive development, suggesting that their reactions to wine might more closely mirror those of the typical consumer: “Many of the communicators on wine that I currently see on the market differ from those who were there even three to four years ago. They may not necessarily have a wine industry background or have taken the WSET exams – and this is not necessarily a bad thing. In many ways, you could argue that they are reacting to a wine in the same way as the consumer who is buying the wine would react to it. So, it is not surprising they use language that the consumer can understand and, perhaps, expects. I don’t think there is anything wrong with that as long as what they say is accurate and helpful. Also honest – in some cases, the influencer may be paid by the retailer or producer who has offered the wine, so it is important that this is acknowledged if so.  Ultimately, if this sort of wine communication helps the public and the consumer truly explore the world of wine and to take joy in their discoveries and the sharing of them, it is beneficial and advantageous for the entire industry“.

These insights collectively suggest a transformative path for wine journalism – one that embraces a wider array of narratives and communicative styles, fostering a more vibrant, inclusive, and dynamic engagement with the world of wine. By incorporating these varied voices and perspectives, wine journalism can better serve its readership, fulfilling its role not just as a guide but as a gateway to the rich, diverse experiences that wine has to offer.

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In the world of wine, scores and evaluations from journalists and critics have long served as veiled guides to uncovering the next exceptional bottle, assisting everyone from casual drinkers to seasoned connoisseurs. However, beneath the polished reviews, a rising wave of debate is emerging. Increasingly, voices within the wine community are not only challenging the […]

Echoing Hamlet’s famous question, ‘To be or not to be,’ Per Karlsson, a respected WTA judge, co-founder of BKWine Magazine and BKWine Tours, and co-author of a dozen wine books, raises a seemingly simple question in his latest publication: ‘Should a winemaker enter their wines into competitions?’ Ass we see, this question is as pertinent today as Hamlet’s query. Wine competitions have become the most effective tool for promoting wineries in the modern world. The decision to participate, and the choice of competition, can greatly influence a winery’s success – essentially, their ‘to be or not to be’ in the market.With the kind permission of the author, we present structured excerpts from Karlsson’s insightful article. Read the full article here to delve into the complexities of wine competitions and their impact on contemporary winemaking.

What good are wine competitions?

Are wine competition medals a useful buying indicator for consumers? Or are wine competitions a scam where producers buy medals to make their bottles look impressive? This article explains (in quite a lot of detail) what wine competitions are and how they work. I also describe why I think wine competitions are a helpful indicator of quality for consumers and why you can, in general, trust the medals as a “plus signal”. But not all wine competitions are equal. I discuss differences between how they are organised and the worth of their medals. All of this is based on my experience as a wine competition judge and taster for over twenty years on four continents. I also include a brief discussion on what quality is, and if you can evaluate quality objectively — or if it is always subjective, with a short note on “typicity”.

What is a wine competition? How does it work?

A wine competition is essentially a big tasting where wine producers have submitted wines to be tasted. The wines are tasted by an experienced tasting panel (tasters, sometimes called jurors or jury) and given scores. The best wines are given medals. Often, there are three different levels of medals: gold-silver-bronze, grand gold-gold-silver, or some other classification. Sometimes there are “super medals”, like best-in-show, best-of-category etc. It varies from competition to competition. The wines are submitted by the producer. For each wine they submit, they pay a participation fee.

The medals are announced with fanfare and can be used as a marketing tool by the producers. They can be a purchasing guide to consumers. Medal stickers or neck collars are often pasted on the bottles. In some competitions, such as the Concours Mondial de Bruxelles CMB, the tasters are required to give a short written description of the wines in addition to the numerical score, which is then synthesised (using AI tools!) and given to the producer together with a graphical representation of the tasting comments.

I have participated in quite a few competitions in several different countries and of several different types. This article is based on my experience from these competitions. The one I most frequently participate in is the “CMB” (Concours Mondial de Bruxelles) that exists in several different versions: red and white wine, sparkling wine, sauvignon blanc wines, rosé wines, Chilean wines, sweet and fortified wines and some more. (The “Bruxelles” part of the name is historic; today, the only link to the Belgian capital is that their office is there, but the competitions take place elsewhere.)

This type of flavour chart or flavour profile is one of the feedback given to the producers at the CMB Concours Mondial. They also get a synthesis in words of what the tasters have commented:

I’ve also done many other competitions, Grenaches du Monde, Concours Amphore (organic wines), Apulia Best Wine, Rendez-vous du Chenin, The Silk Road Wine Competition (Silk Road Competition, China), Michelangelo International Wine & Spirits Awards (MIWA, South Africa), VinCE (Hungary), Challenge Entre-deux-Mers, Citadelles du Vin and many more. (More on our participation in competitions here.)

There is an abundance of wine competitions around the world. Here are some of the others that are well-known (I have not had the possibility to participate in either of these):

• International Wine Challenge (IWC), UK
• Mundus Vini, Germany
• Decanter World Wine Awards (DWWA), UK
• Balkans International Wine Competition
• Vinalies, France (for oenologists)
• Vinordic Wine Challenge, Sweden (being Swedish, I have to mention it, don’t I? Although it is very regional.)
• And many more

Many competitions focus on a specific grape variety: syrah, chardonnay, sauvignon blanc, vranec/vranac etc., sometimes with the (fake) claim to select “the world’s best”. We, BKWine, have also once organised a wine competition: The Scandinavian Wine Fair Competition in Paris in the early ‘00s.

What’s the purpose?

The primary purpose of a wine competition is to select and honour wines that are considered particularly good. From a wine producer’s perspective, the purpose is, of course, to serve as a marketing tool. A wine with a medal may sell better. And maybe get recognition for a job well done. The benefits to a consumer is that medals can guide you to good value or excellent quality wines or wine regions that you might not otherwise have discovered. It is a buying guide in a similar way that critics’ wine scores or tasting notes guide people to “better” quality wines.

Given that wine competitions generally are more or less blind tastings, they can be seen as more reliable buying guides than commentaries from wine critics who have tasted wines non-blind. If you are at Chateau Thisorthat or Domaine Grandvin and taste their wines, you are inevitably influenced by the environment and the people there. If you taste wine in elegant gilded salons of a Bordeaux chateau, the luxurious cadre and ambiance will influence your scores for the wines. No one, no matter how experienced, escapes that. Even if you taste the wines (in some way) “blind” in that kind of context, you’re biased. If you know what kind or category of wine you’re tasting, you’re biased in one way or another. Most wine competitions are not subject to the same bias, at least not those that are fully blind.

Another difference between competitions and wine critics’ individual scores is that in a wine competition the wine has been tasted and appreciated be several independent professionals with an acknowledged competence, not just by one single person (sometimes with an unknown competence). In fact, looked at it this way, a commendation by a wine competition is more reliable and trustworthy than a tasting commentary or a score from an individual wine critic or wine journalist.

Wine competitions also give lesser-known wine regions (as well as producers) the possibility to shine and be judged fairly. I once tasted a series of very impressive Bordeaux style wines. The panel I was in scored the wines high. If we had known that it actually was a series of Chinese wines, I believe we would have been more reluctant to put such high scores. As I said, no one is free from bias or prejudice, no matter how experienced or professional you are. But again, this only works if you taste blind, not knowing what category of wines you are tasting. Not all competitions work like that.

From the organiser’s point of view, a competition is a business. They charge the producers a fee. The CMB charges up to €185 per sample. The Decanter World Wine Awards charges up to £170 + VAT. The International Wine Challenge charges up to £153 + VAT (2024). Grenaches du Monde, €120 + VAT, etc. Not an awful lot of money. Some of these competitions have many thousands of participating wines, the CMB Red & White some 10,000, the Decanter DWWA 18,000, so it is a big organisation and complex logistics to put them in place.

Can you trust wine competitions? Do they help the consumers?

I used to be very sceptical about wine competitions, doubting that they added any value to consumers. After participating in a few, I changed my mind. I saw how it worked and the serious effort that was put into them by the tasters. Today, I do think they serve a purpose for consumers and that the medals can generally be trusted. Wine competitions are not very different from wine scores (points) or reviews from individual wine tasters or critics (Parker, Suckling, Wine Spectator etc.). People use tasting scores (points) as a guide to if a wine is good or not. A buying guide.

Wine competition medals are very similar; they’re an indication of the “quality” of a wine. The main difference is that in a wine competition, the wine has been tasted by several different people, and they have all more-or-less agreed that the wine is of a certain quality. More than one person has liked it. Another difference is that wine scores give the illusion of being exact; a 94-point wine is supposedly better than a 93-point wine. Wine tasting and wine quality are never that exact. One can argue that it is a more realistic evaluation of the wine with ranges of scores that give a medal. For example, “a score above 92 is a Grand Gold”. (Competitions usually don’t publish the exact scores, just the medal.)

Some people prefer the scores of a certain individual taster, “I know I have the same preferences as the wine critic John Doe, so I go with his scores”. But in reality, very few wine consumers care so much about it that they get to understand how different tasters score.

So, for me, a medal (preferably from a well-run and reputable competition) does carry a weight and does give an indication of quality.

“Competitions make money, so it’s bad or corrupt”

One reproach that is sometimes mentioned regarding wine competitions is that they are commercial enterprises organised to make money for the organisers. “They’re money-spinners.” “They charge a fee to the producers that send in their wines!” That seems to me a misguided critique. What else should they be? Organised by governments or charitable organisations?

There is nothing wrong with having a profit motive. Quite the contrary. It is the same for everyone, journalists write about wine in the (often vain) hope to make money, wineries make wine to make money, sommeliers serve wine in restaurants to make money. As long as the competition is well-organised and professionally run, criticising it for having a profit motive makes no sense.

“The best wines don’t participate in competitions”

Another criticism that is sometimes voiced is that the best wines don’t participate. This is mostly correct. But there’s nothing surprising in this, nor anything that diminishes the value of a competition. Wine competitions are essentially a marketing tool to help bring lesser-known wines out into the spotlight and a consumer guidance tool. Wine celebrities (famous wines) may think that they don’t need that.

For famous names there might also be a certain risk involved. What if they don’t get a medal? How embarrassing…! Well, no, not getting a medal would not be embarrassing since it is never (to my knowledge) made public which wines participate and don’t get a medal. But it might be embarrassing for a famous name to get a “lowly” silver and not a Grand Gold, of course.

Do medals “work”?

Do wines that have received a medal sell better? Is it a good marketing tool? In general, studies indicate that, yes, medals are a good signal to consumers. See, for instance, “The Causal Impact Of Medals On Wine Producers’ Prices And The Gains From Participating In Contests”, mentioning a 13% impact on price. But it depends. Some markets are less keen on medals.

One would hope that consumers could tell the difference between a good medal and a not so good medal. (How much is a medal worth from a competition that gives 80% of the wines medals?) But I doubt that is the case. I fear that most consumers have no idea of the reputation of different competitions. It is probably more important what nationality the medal is. French medals work better in France. For example, the Salon de l’Agriculture competition. British medals work in the UK but less so in France. Australia, also a country keen on wine competitions, prefer Australian medals. If people even bother to read what it says on the medal…

Equally, I don’t think the colour of the medal makes that much of a difference. For the consumer. A medal, any colour, is good. It is probably more important for the producer (or the wine buyer, distributor). A Grand Gold is a bigger confidence boost than Silver.

Europe, yes — What about USA, Australia…?

This discussion is, admittedly, very Euro-centric. The competitions I know well are mainly European or organised in a European style.

I understand that Australian competitions can be quite different, for example with long rows of 20-30 wines that you can taste back and forth as you wish and change your mind on as you go along the flight and also discuss with other tasters. At least some of the competitions. For some you need to do a pre-competition training (that you might have to pay for). Overall very different. I know nothing about American (US) competitions. I have never participated in a competition in the USA (although I have attended a few in South America).

The day I am invited to participate in a competition in the US, Australia, New Zealand or any other non-European country, I will be able to say more about them. Invitations are welcome!

More to come about judges, how the panels function, medals given etc. in the part 2

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Photo Per Karlsson, Drinks+

Echoing Hamlet’s famous question, ‘To be or not to be,’ Per Karlsson, a respected WTA judge, co-founder of BKWine Magazine and BKWine Tours, and co-author of a dozen wine books, raises a seemingly simple question in his latest publication: ‘Should a winemaker enter their wines into competitions?’ Ass we see, this question is as pertinent today […]

The average tasting room tasting fee in Napa is $128 for a “reserve tasting” and $81 for a “standard tasting”. The average suggested retail price of a bottle of Napa wine is $108. These astonishing numbers come from the 2023 Direct to Consumer Wine Survey by the Silicon Valley Bank. They position Napa as far […]

The war has become a challenge for all types of Ukrainian business. It has also influenced wine importers.

During the defence emergency, in 2022, the turnover of all types of alcoholic beverages, including products of the local wine market, sharply decreased. In January-June 2022, Ukrainians bought 58% less wine than in the same period in 2021. According to the results of 2022, the value of imported alcoholic and non-alcoholic beverages to Ukraine was USD 490 million. It is 32% less than in 2021*. The most significant decline in the wine market was related to sparkling wines. In January-April 2022, imports of sparkling wines in Ukraine decreased by 31% compared to 2021. However, in the same time, in 2023, this figure increased by 61% in volume and almost doubled in value. The closer we get to the Victory, the higher the demand for sparkling wines. In general, the volume of imports of sparkling wine from the key supplier countries in 2022 decreased in the following shares compared to 2021: Italy by 43.5%, Spain by 33.6%, France by 18.1%, Georgia by 68%, and Moldova by 46%. The main importers saw a decrease in the supply of sparkling wine as follows: Bureau of Wines 34.5%, Wine Hall 5.5%, ATB-Market 20.4%, Fozzy Group 65.9%, Bacardi-Martini Ukraine 46.3%, METRO Cash & Carry Ukraine 31.9%.**

Because of the negative consequences of russia’s full-scale invasion of Ukraine, large companies – importers, distributors, retailers – whose business is related to wine and high-proof alcohol experienced significant logistical difficulties. These changes prompted them to transform and optimise their business processes. One of the key challenges that Ukrainian companies had to face was wine logistics improvements, both on the foreign and domestic markets. In addition, from the beginning of the war, the government introduced a list of critical imports for about five months, which allowed limited cross-border foreign currency payments. Of course, there was no wine in this list… Wine logistics are now settling down, but there is a problem with the risks of paying for the goods. Many companies have switched to deferring payments for 30 days instead of 120, which leads to the search for additional payment resources and changes the principles of supply. Importers mainly import wines that sell faster.

Another pain for importers is that the occupiers are mercilessly destroying Ukrainian infrastructure, causing millions of euros in damage. For example, in May 2022, the warehouse of the wine importer and distributor Bureau of Wines, which owns Europe’s biggest wine store, GoodWine, was damaged. The losses amounted to about EUR 15 million. In August 2023, an enemy missile completely destroyed the FOZZY Cash&Carry hypermarket in Odesa – everything in the store burned down, with preliminary estimates of the damage reaching hundreds of millions of hryvnias. As for the forecasts, market experts hope that consumer indicators will be able to return to 2021 levels in about two years after the end of the war. D+ surveyed key importing companies. You can read about the changes in business during the war, the losses suffered by companies, and what helps them survive despite everything in the first-person comments.

*Data from the National Research Centre Institute of Agrarian Economics

**Analytics of AR-Group

Dmytro Saifudinov, Director of Vinfort LLC: “Plans for the coming year: to continue living and working in order to spite our enemies and please our friends”

How did your business change during the war?

Today, all our transformations or problems are the same as those faced by all Ukrainian businesses. I will try to list the main ones:

– Significant shortage of staff, mainly due to emigration. Unfortunately, some were killed on the front line.

– Range decrease – not all products remained as popular among the buyers, as they were before.

– Significant increase in selling prices: due to the increased prices set by the suppliers; growth of the cost of logistics, both domestic and international.

– Deterioration of terms of cooperation with many partners, both internal and external.

– Reduction of mark-ups to maintain more or less acceptable prices.

How did the volumes of deliveries and sales change? What factors particularly affected the decrease/increase in these indicators?

According to the 2022 results, the sales volumes fell by 30% in Hryvnias and by 40% in bottles, compared to the 2021 results. In the first half of 2023, there remains a significant drop in pieces, compared to the 2021 figure (40%) and a small drop in Hryvnias. The main factors behind the fall include closure of a large number of retail outlets, a continuous «prohibition», curfews, and, certainly, a significant increase in prices. As concerns deliveries, everything is simple: there had been no deliveries virtually until the 4-th quarter of 2022. This is due to the ban on imports, but even more to the unwillingness of foreign suppliers to make deliveries to the country at war.

Vinfort and partners. Chateau Magnol, Bordeaux, September 2023

Has the company’s price segment selection strategy in the procurement system changed? Can you give percentages of such changes by categories?

The procurement system has not undergone any significant changes. Undoubtedly, we are looking for products from a lower price segment, but we do not refuse the high segment ones, either. If analyzed by price categories, the 2021-2023 transformations are insignificant and are as follows:

– low-priced segment or segment of economy offers (low-priced): -12%. This segment has decreased significantly, mainly due to the transition of goods to a more expensive category:

– middle-priced segment: +11%. Actually, due to increase in prices for the low-priced goods.

– high-priced segment and premium segment (luxury). These segments virtually have not changed.

What changes has the import system in your company’s portfolio undergone, specifically: procurement channels, supplying countries, logistics routes, and warehouse storage arrangements (your own warehouses or those of your partners)? Can you estimate the increase in these processes’ cost and their impact on the company’s pricing policy for the end consumer.

The import system virtually has not changed. The warehouses were divided: we store a part of the goods in our own warehouse, and a part at our partners’ warehouse located in another city. The cost of storage and logistics did not affect the products’ prices significantly, though it did affect them.

What new trademarks of wines, strong alcoholic beverages, etc. appeared during this time in your company’s portfolio, what is their proportion by countries (kindly specify, at least, the first three)?

I presume that contracts with the producer of Irish whiskey Irishman (they changed the distributor in Ukraine), and with the wonderful Italian winemaker Castello di Bolgheri are among our biggest achievements of the last period. In addition, the range was expanded with the existing suppliers – wherever it was possible and expedient. Many brands had to be abandoned. Our cooperation ceased at least with those who did not want to/could not continue cooperating with us. It should be emphasized that the main part of the abandoned brands merely did not survive the competition, when moving to a more expensive price category.

How did the system of distribution (by regions, cities) and delivery of drinks to clients (ordering parties)/sale points change during the war? The number of partners, sale points has decreased, the percentage of HORECA or retail may have increased – please comment on the situation.

The market turned upside down. In other, calmer regions – if I may say so – we suffered a severe blow from the “prohibition”, which simply resulted in suspension of works. In addition, our sales are still being affected by the curfew. As concerns distribution system, in 2022, Transcarpathia (Zakarpattia) was the leader in terms of sales growth. Thereupon, the cities with the population equal to, or exceeding, 1 million people were gradually gaining the volumes back. Currently, everything has been more or less stabilized.

Nevertheless, the number of partners has decreased. We have not found a common language with some of the partners until now, and other partners have been far from behaving in a partner-like manner. We temporarily suspended cooperation with our long-standing partners from Mariupol, Kramatorsk. We are looking forward to their return. A large number of sales points were simply destroyed by the russians, and not all of them have resumed or will resume their operations.

HORECA have suffered significant losses, especially in Odesa, and sales in large shopping centers fell, too. Due to the risk of shelling of such places, people began to visit them less. On the other hand, e-commerce has grown significantly, in particular, via Rozetka: not only did it not stop its operations – in addition to Rozetka’s decent behavior at all times, as befits partners, it proved to be a real friend. A very reliable friend!

Despite the fact that some Ukrainian wineries have suffered greatly from the russian aggression, our winemakers are not giving up, and, according to our feeling, Ukrainian wines, are showing an increase in demand. Kindly provide us with the information on how distribution of the wine range (imported/local products) is changing and what goods prevail in the distribution: domestic or imported trademarks. Unfortunately, we do not possess accurate data, because we do not have time for this right now. The only thing we can say is that we are observing an increase in demand for Ukrainian wines, including against the background of a decline in sales of Moldovan wines, which are more or less in the same price category.

ProWein, March 2023

How do you assess the state tax policy in your sector during the war? Do you receive assistance or support in any form whatsoever from foreign partners?

The tax policy has not undergone any significant changes. We do receive assistance from many of our partners, in different forms, undoubtedly, and in different amounts. Even if an amount of such assistance is small, it still means that we have the support, we feel it – and that is very inspirational.

Has the company’s personnel reduced? Are you affected by the personnel shortage, ready to take the risks and invest into the personnel education?

Indeed, there is a shortage of personnel, and we feel that we are a bit understaffed. We invest into the personnel education, and we have always done that. It should be emphasized that today, it is even more important than ever: both for general development, and for distracting people from the everyday challenges.

Can you briefly comment on the current situation and your own plans for the coming year.

The current situation changes almost every day. By the time of this publication, I think that my comments will have been irrelevant. As concerns our plans for the coming year – we plan to continue living and working in order to spite our enemies and please our friends!

Nataliia Burlachenko, CEO of Big Wines (Ukraine), ambassador of Vinos de La Luz: “Our hearts belong to Ukraine!”

All Ukrainian businesses have undergone transformations since the beginning of a fullscale invasion. The alcohol prohibition during the first three months of the war, made no exception. The prohibition applied to sales, and if sales in your business are subject to veto, what consequences can be expected? In fact, they were disastrous. They also included reductions within the network, points of sale, and staff. Complete freezing of everything. It was hard. However, after the moratorium had been lifted, importers started moving, and the alcohol business revived. For us, the particularity of such moment consisted in the fact that we were planning to open our own company. We were preparing for this even before the invasion: we analyzed what directions could be covered, what the then current market dynamics was, what was happening, and what niche we could take.

Thus, the company Vinos de La Luz started its own importing business in Ukraine. Incidentally, this happened after we had launched our own brand of Ukrainian wine. At that moment, we realized that we were ready to enter the market independently with the brands of Vinos de La Luz. I would like to make an announcement: these will be primarily new names that have not yet been presented to the Ukrainian consumer. But I am sure that both wine lovers and professionals know and remember the quality of Vinos de La Luz wines. So we are proud to say that the style and level of quality is maintained in each of our new brands, regardless of the country of origin or how long the brand has been available in the market.

In fact, the owner of Vinos de La Luz – Dr. Ricardo F. Nunez – has long had plans to open his own production and import company here. The first project was launched in the form of a partnership. In the future, despite the beginning of the russian invasion, it was decided to continue working in the Ukrainian market. This is primarily due to the philosophy of Vinos de La Luz, which is based on the mission of supporting everything that is progressive. Secondly, the heart of Dr. Nunez, as well as our hearts belong to Ukraine. Well, thirdly, we reasoned that this war would end – God grant, shortly – and the Ukrainian market would become one of the most attractive: according to Ricardo’s forecasts, the donors’ funds would come to the country (here, we should recall the so-called Marshall Plan) and the economy would definitely start growing rapidly. Bearing that in mind, despite the war, we dared to start an import and export company. As you know, we have our own wineries in Argentina, Italy, Spain, the United States and now, of course, production facilities in Ukraine. It should be also emphasized that in 2023, in Spain, in Cigales region, Vinos de La Luz Group of Companies acquired another winery for white and rosé wines, and launched a new interesting project. Thus, we definitely have something to offer to the most demanding wine lovers, as well as something to demonstrate in the Ukrainian market: both new products and a selection of already well-known wines.

Incidentally, at the exhibition, which is to be held in Kyiv on November 1-4, you will be able to review a new portfolio of our company in Ukraine, which is called Big Wines. As I have already said, there will be wines from five countries. We are also expanding the line of Ukrainian wines. We already have Odesa Black of 2020 vintage, which is distinguished for having gained several gold medals at international competitions. Next year, we will bring Odesa Black of 2021 vintage to the market, and this will be a continuation of the artistic triptych in collaboration with the world-renowned Ukrainian artist Ivan Marchuk. Simultaneously, we are expanding the Ukrainian line of Big Wines: there will be wines not only from the flagship Odesa Black variety, but also from other Ukrainian varieties, on which we are focusing our attention, plus the wines made from international varieties. Our company’s portfolio is formed in such a manner that it has wines representing different price policies: from entry level to the premium segment. We try to anticipate any expectations and tastes of the Ukrainian consumers: some special limited series of Vinos de La Luz will be supplied only for the Ukrainian market, and, of course, our Ukrainian wines will also represent different price levels.

Regarding the conditions created by the state for business at the current stage, I would like to say that starting a company is not difficult and quite rapid. For example, it took only 10 days to have the license issued after submission of the required package of documents. It goes without saying that we plan to comply with all necessary rules and laws to conduct business openly and cooperate with all regulatory bodies – primarily because we care about the safety of our consumers and our reputation. We have proven temporally and territorially that we are honest taxpayers. This is now particularly important for all businesses. Payment of every hryvnia to the budget is a contribution to the Victory. You see, I have revealed our plans – we will be developing, increasing our portfolio, creating new jobs, and working on improving the culture of wine consumption. And we will be proving to our consumers that Ukrainian wines are absolutely competitive with the wines from other countries. Given that we are also a producing company in Ukraine, we are interested in promotion both in the domestic market and in export directions. We have felt a great interest in the Ukrainian wine in the world, and we want to stir up this interest in the future. Therefore, we plan to give a certain share of the portfolio to Ukrainian wines and distribute such wines in other countries through our distribution channels.

Our company is extremely proud that in these difficult times of the russian aggression against Ukraine, we are able to create jobs and pay salaries. And this is our mission for the future. Our development is, shall we say, triggered by the fact that we assume responsibility for Ukrainians by creating jobs, bringing back the people’s hopes.

Henkell Freixenet Ukraine LLC: “We are dreaming and planning!”      

Oleg Kasianenko, Director. Valentyn Polyakov, Commercial Director

We faced a total ban on the shipping and sale of alcoholic beverages throughout 2022, especially the first half of the year. So it was a very difficult time. However, we didn’t give up. In the second half of the year, sales volumes began to grow. Of course, we do not talk about the eastern and southern regions of Ukraine, where the fighting and occupation continued.

What about sales volumes since the enemy invaded our country? In 2022, they have actually halved – compared to 2021. The supply of products has significantly decreased (in line with demand). I would also like to note that at the same time, our procurement strategy for the company’s price segment has not changed. However, there have been dramatic changes in logistics: transportation tariffs for some itineraries have doubled. Of course, this affected the price of products. Moreover, the cost of containers and packaging has risen too. On average, prices rose by 40-50%. In this situation, it seems logical that we did not change, and at least kept the existing brand portfolio. If we look at the map of our current business, we have to admit that we have completely lost sales in the occupied territories of the east and south of Ukraine. The regional offices barely work there.

The total number of trading partners has not decreased. In addition, there are more retail outlets and fewer HoReCa outlets. It can be explained by the situation in Ukraine and HoReCa’s working schedule. Based on the concept of our company, imported brands dominate the portfolio a priori. I should also note that, regardless of the current situation and the country of origin, traditionally, every year, our high-quality sparkling wines show positive dynamics during the New Year holidays. We are working to keep this trend maintained throughout the current period.

Now, in Ukraine, people say: «You can make plans no further than for today. More like today you can only dream». But we still feel our strength and the power of our brands, so we are not just dreaming, we, as always, are planning. Our company plans to continue developing sales in Ukraine. The immediate goal is to achieve a leading position in the country’s market in all segments of sparkling wines – prosecco and cava. And we are confident that soon Ukrainians will have a reason to celebrate, a reason to raise their glasses of sparkling wine.

Rozetka’s Press Office: “Currently, we are employing even more people than before the beginning of the enemy’s invasion”

The war accelerated changes in logistical processes: new warehouses appeared in more protected areas, security measures were significantly strengthened, and, giving due consideration to the respective situation, the marketplace sellers significantly expanded offers and opportunities for delivery of orders, etc. Currently, our volumes of deliveries and sales are increasing, partly due to the increase in a number of stores, as well as due to the exciting exclusive offers, loyalty price programs, etc.

On the import side, we are constantly looking for new interesting offers, and have been cooperating with the Ukrainian importers. As for our own imports, during the war, no producing country was rejected by us, except for Austria and Hungary, the promotion of which still requires some efforts on the part of our country, but it is the issue to be dealt with after the war, because at the current stage, we have to be attentive to the existing demand. We must state that the share of Georgian and Spanish wines has decreased.

Positive trends are also observed: thus, in the category “still wine/Ukrainian wines”, we have an increase of 6% compared to the relevant figure attributable to 2022, and 8% compared to the 2021 results. We even launched a new project with partners from Shabo: a new brand – VDOMA – entered the market; it has a great potential, and is already demonstrating good sales results.

On the sparkling wines side, we have achieved growth of + 5%, although we observe losses related to Georgia and Germany. As concerns our business map, the regions make significant contributions and their shares are growing; the number of stores has changed, and for clients, it is an opportunity to get their goods for free in their own region. Considering the current domestic shipping prices, this results in considerable savings. In addition, such opportunity saves time. We are also active in developing B2B channels.

We do feel support from many (almost all!) partners, suppliers (deferral of payments, messages of support, etc.). Currently, there are more employees working at Rozetka than before the beginning of the enemy’s invasion. We are constantly investing in training courses for the employees, and we plan to continue to do so even on a larger scale than now. We continue to develop our business despite all challenges, and plan to launch our own brands (including alcoholic ones), improve our service, and continue to be active in opening goods delivery points.

Today, every successful Ukrainian business is a contribution to the Victory. We do understand that, and have been working as a team in order to achieve this goal.

Olena Valevska, Commercial Director of ArtWine Company: “The most desired plan: to open a bottle of Dom Perignon on our Victory Day!”

Our company started working virtually six months before the war onset, so, unfortunately, we have no reliable representative analytical data yet. We are a small niche company that does only what it loves. We are professionals, who have gained extensive experience in working with the premium segment wines (we are not talking about [high] prices, in this case, “premium” refers to the lifestyle and values). We love these wines, we know how to work with them, so we understand their place in our market.

Even now, during the war, we do see the prospects, and do everything to ensure that Ukrainians have the opportunity to drink the best samples of the world’s wines.

Given the changes that have occurred in the market during these almost two years of the war, I can state that logistics costs have become very high, and we are forced to use the transportation routes under the contracts with all of our partners located outside Europe, through the ports of Poland. It should be emphasized that the situation is aggravated for us by the fact that almost everything we have, appeared after the war onset: in other words, we are currently at the stage of formation of our portfolio. Thus, without a shadow of a doubt, I can say that such portfolio formation period coincided with the most difficult times in the history of our state.

Bogdan Panchuk, brand ambassador of Wine Discovery Selection LLC: “We hope to recover the sales volume of imported wines and believe in the potential of the Ukrainian wine”

Currently, the number of our company’s employees has greatly decreased, and we are observing a significant drop in the sales of imported wines. In fact, we left only one supplying country, and we rejected the others. At the very least, we had to reject imports from Germany, Slovenia, and Spain due to re-fragmentation of sales channels, and a decrease in the purchasing power of consumers. In addition, the delivery time and the cost of logistics have increased significantly, but consumers of our products will not feel the increase in the costs of these processes, due to the fact that the price increase was only based on the exchange rate index. It should be noted that against the background of the import decline witnessed last year, our company has increased the sales of Ukrainian wines, which makes us very happy.

However, as concerns the current import-related situation, I should state that it has somewhat stabilized. At least the decline has stopped. The dynamics show a gradual increase. We hope to recover the sales of imported wines and believe in the potential of the Ukrainian wine.

Serhii Mazur, Director of Vitis Group: “We are launching a new project – production and distribution of the Ukrainian craft alcoholic beverages”

During the war, our business decreased by at least 50%, and the HoReCa sector was the most affected one due to the closure of restaurants. Nevertheless, the retail sales were least affected by the war’s negative impact.

However, a decrease in the volumes of deliveries and sales was caused by such factors as almost a doubling of the cost of logistics to Ukraine, which led to a 15-20% increase in prices, the overall growth of prices for the wines from Burgundy, the Loire Valley, Spain, and Argentina, as well as an increase of the cost of sparkling wines from Italy (a partial increase in prices by 15-20%), as well as by the exchange rate growth.

It should be noted that the share of wines in the mid-price segment increased by 10-15% in the portfolio, and the share of wines in the high-price segment also decreased. The range selection process was complicated due to the restrictions set on business trips (currently, the men of military age in our country are prohibited from traveling abroad). In addition, logistics chains from the New World through the port of Odesa have completely stopped. We are now organizing deliveries from the New World through Poland, which has led to a 50% increase in the logistics costs.

Our company also rejected the “Armenian Cognac” project due to the support of russia by the producing country. However, the share of Ukrainian wines in the portfolio has increased (subdistribution), but due to the wholesale prices increase, the Ukrainian wine brands have not yet attained the level of distribution that we would like them to attain.

Nevertheless, there is a trend towards increase in demand for high-quality domestic alcoholic beverages. I would like to emphasize that we are launching a new project: production and distribution of the Ukrainian craft alcoholic beverages (nalyvka, brandy, gin) throughout Ukraine and for export purposes. However, I need to recognize with regard to the state tax policy that the situation is characterized by an extremely negative attitude towards Ukrainian business in general. Particularly towards the alcohol importers: excise goods are not included into the category, to which the “inspection moratorium” applies. Often, there are no valid reasons for the inspections that are regularly conducted in the companies, and the sanctions imposed as a result of such inspections are prefaced by the phrase: “Go to court, then wait 3-4 years, and try to prove that the fine was not imposed lawfully”. Unfortunately, there is no presumption of innocence for entrepreneurs in Ukraine.

In addition, I would like to add that even at the outbreak of the war, our partners provided shelter to the forced migrants from Ukraine. We also appealed to our partners for donations, and are grateful to everyone who responded. Some of them paid contributions directly to the United24 Foundation, others made a charitable contribution in the form of goods, which are sold and respective sale proceeds are utilised to support other charitable foundations and institutions.

However, we understand that we should rely only on ourselves, and the main task at the current stage is to recover sales and regain positions in the market.

The war has become a challenge for all types of Ukrainian business. It has also influenced wine importers. During the defence emergency, in 2022, the turnover of all types of alcoholic beverages, including products of the local wine market, sharply decreased. In January-June 2022, Ukrainians bought 58% less wine than in the same period in […]

SHUMI is the first company in Georgia, which in 2002 offered eno-gastronomic tourism services to customers.

In 2003, in order to preserve the integrity of the genetics of Georgian autochthonous grape varieties, SHUMI created the First Private Ampelographic Collection in Georgia, which today is considered the largest private collection in the world with more than 1500 grape varieties from different countries. To this day, the company successfully fulfills this historic mission, with great enthusiasm continues to find and return rare grape varieties both from local private vineyards and from various collections around the world. Although the Georgian gene pool is rich in unique wine grape varieties which allow you to create ideal wines, today, unfortunately, a large number of grape varieties are forgotten and are not used for economic purposes and wine production. The SHUMI Ampelographic Collection, which serves as a basis for scientific research, is included in the list of the FAO and has its own unique code. At this unique facility, Georgian, French, Italian and Japanese scientists conduct research, experimental work, seminars for students and employees of various educational institutions.

In addition to the production of wine and various alcoholic beverages, SHUMI has many other, no less significant and unique activities. SHUMI is the first company in Georgia, which in 2002 offered eno-gastronomic tourism services to customers. To date, SHUMI Tourist Complex has no analogues in the world, both in infrastructure and in operation. Nowhere else will you find so many examples of Georgian culture gathered in one space as in SHUMI.

Visitors to SHUMI have the opportunity to delve into the history of Georgia and get acquainted with its culture. Here they can meet the heroes and gods of Georgian mythology, depicted on stone frescoes and painted by Saperavi wine, the Georgian alphabet, the largest private collection of vines in the world, where they get acquainted with grape varieties created by folk selection for thousands of years, and taste grapes.

In 2005, SHUMI created the first Wine Museum in Georgia, which contains ancient household items and the oldest exhibits of winemaking. The oldest artifacts of the museum are more than 6,000 years old.

In the Ethnographic Pavilion, guests can learn about Georgian eno-gastronomic traditions, attend various interesting and fun master classes and other events, participate in the traditional Georgian Supra with toastmaster and polyphonic songs performed by the SHUMI ensemble, take part in various rituals, such as the Qvevri Opening and the Lazarus Ritual.

On a regular basis, SHUMI is the winner in the nomination «BEST AWARD FOR WINE TOURISM» within the framework of the National Tourism Award «WELCOME TO GEORGIA», as well as receives TripAdvisor award «Travelers’ Choice». The territory of the SHUMI Tourist Complex is recognized as «the most beautiful place in Georgia». Also, SHUMI is the winner in the nomination «THE BEST PLACE FOR GASTRONOMIC REGIONAL TOURISM».

For the first time in the history of Georgia, SHUMI WINERY became the winner in the nomination «BEST PRACTICE RELATED TO ARCHAEOBOTANY IN WINE TOURISM» at the international competition in Sicily, organized by the Council of Europe.

SHUMI is the first company in Georgia, which in 2002 offered eno-gastronomic tourism services to customers. In 2003, in order to preserve the integrity of the genetics of Georgian autochthonous grape varieties, SHUMI created the First Private Ampelographic Collection in Georgia, which today is considered the largest private collection in the world with more than […]

Because of difficult weather conditions in the spring of 2021, the harvest in Bordeaux was 20% below the average for 10 years.

Against the background of very sunny weather in March, the buds bloomed earlier than usual. And in early April, the region was hit by severe frosts, and many young buds were destroyed.

As a result, according to the regional industrial body, the Bordeaux harvest in 2021 fell to 3.77 hectoliters. This means that producers will have only 503 million bottles of the 2021 harvest, which is well below average.

The largest decrease in volume compared to the previous year was experienced by sweet white wines of the region, including Sauternes: this category decreased by 51%.

However, the climatic conditions were ideal to promote the growth of the fungus Botrytis cinerea, and producers reported high levels of acidity and concentration, so although there will be less wine, the quality must be high.

Harvesting of red grapes began in late September, much later than in recent years. However, Bordeaux “bathed” in the sun of the warmest October since 1991, which allowed Cabernet Sauvignon and Cabernet Franc to reach full maturity in ideal conditions.

In Medoc, the harvest decreased by only 6% compared to the same period last year, and with a volume of 565,000 ha accounted for 15% of total production. However, the situation was worse for red wine from the Right Bank, as the combined yields of Saint-Emilion, Pomerol and Fronsac fell by 21% compared to the same period last year.

Manufacturers in Graves reported a 25% drop in production compared to 2020.

Production of Bordeaux and Bordeaux Supérieur fell by 15% to 1.65 million hl, accounting for 55% of production, while the Côtes de Bordeaux fell by 14% to 480,000 hl.

Dry white wine production fell by 15%, but rosé fell by only 3% and Crémant de Bordeaux increased by 1% compared to 2020.

Professor Laurence Geny and Professor Axel Marchal from the Research Department of Oenology at the Institut des Sciences de la Vigne et du Vin de l’Université de Bordeaux presented a concise report on the 2021 harvest: “Exceptional dry white, rare but excellent sweet wines and stable quality red”.

Based on materials: decanter.com

Because of difficult weather conditions in the spring of 2021, the harvest in Bordeaux was 20% below the average for 10 years.

The Consorzio Barbera d’Asti e Vini del Monferrato presents the closing numbers for 2021. A year that despite the pandemic, registered a growth trend for the 13 protected appellations: 9 DOC (Albugnano; Cortese dell’Alto Monferrato; Dolcetto d’Asti; Freisa d’Asti; Grignolino d’Asti; Loazzolo; Malvasia di Castelnuovo Don Bosco; Monferrato, Piemonte) and 4 DOCG (Barbera d’Asti; Nizza; Ruchè di Castagnole Monferrato; Terre Alfieri).

Among the denominations that have seen significant increases is the Barbera d’Asti Superiore DOCG which stands out from the crowd with over 5 million bottles (+ 5.6%). “It refers to a Barbera that is aged for 14 months, 6 of which are in barrel, confirming a constant positive trend in recent years proving how quality is an essential component in the path to growth,” states Filippo Mobrici, President of the Consorzio Barbera d’Asti e Vini del Monferrato.

The “Nizza” Phenomenon. Speaking of Barbera, the +13% achieved by the Nizza DOCG appellation performed extremely well together with the other producers coming from 18 municipalities in the south of Asti, committed to producing over 700,000 bottles (average price around 20 euro/bottle): “It is a fact that goes beyond our wildest expectations also because we have had an almost total blockage of supplies to hotels and restaurants for many months, obviously due to Covid” reveals Stefano Chiarlo, President of the Associazione dei Produttori del Nizza (Nizza Producer’s Association), comprised of about 70 wineries of 90 in total.

Chiarlo (also Vice President of the Consorzio Barbera d’Asti e Vini del Monferrato together with Lorenzo Giordano) thanks the producers of the Association for the “extraordinary work done as well as the Consortium for the protection and support of promotion that is carried out on foreign markets. We export half of the bottles produced and are present in about 40 countries. For example, we have presence in the American market where Nizza is in high demand. There are also American and Northern European entrepreneurs who purchase vineyards from our area.”

Ruchè makes history. Ruchè di Castagnole Monferrato DOCG broke the barrier of 1 million bottles. Starting from an almost “forgotten” grape variety until the 1980s to arrive as the star of an extraordinary great red that is now considered “trendy.” “A special year has closed for us. The milestone of 1 million bottles is finally a reality. We are a group of about 30 producers as well as a few bottlers, and for us this is truly a special number,” underlines Luca Ferraris, President of the Associazione Produttori del Ruchè di Castagnole Monferrato. Cultivated in 7 municipalities (Castagnole Monferrato, Grana, Scurzolengo, Viarigi, Montemagno, Refrancore, and Portacomaro, the town of Pope Francis), as Ferraris reiterates, “the potential of this wine is still to be discovered for us as well. In the premises of Turin, 6 out of 10 glasses of red wine are Ruchè.” Customers actively request it. Our wine is also popular in Asia as well as the US, demonstrating the fact that it is now an internationally recognized wine” says Ferraris.

The “little” Albugnano. Produced in a very narrow strip of vineyards (composed of 4 municipalities: Albugnano, Pino d’Asti, Castelnuovo Don Bosco, and Passerano Marmorito) by a handful of about 20 producers in what is called the “Terra dei Santi”, this Nebbiolo pays tribute to Piedmontese tradition. “Since 2017 when we created the Association of producers, we have since made a lot of progress” states Andrea Pirollo, President of the Association Albugnano 549, which has produced over 60,000 bottles (+18%). He also adds: “The strength of the team has allowed us to achieve goals that seemed impossible. We must try to grow while safeguarding this unique territory as well for its biodiversity. We are a stone’s throw from Turin and this sort of enclave of ours with vineyards nestled between a territory of forest and pastures is really something unique.”

Boom of reds, whites, and rosé. Other interesting elements stand out from the data. Like the +142% in the 1.5 million bottles achieved by the “Piemonte DOC Rosato” which is especially popular with the Chinese market, or the 2.4 million bottles of Piemonte DOC Rosso (+42%): 1 million bottles more than the previous 12 months for this product which combines different varieties (Barbera, Nebbiolo, Dolcetto, Freisa, and Croatina). How can we forget the elegant Piemonte DOC Viognier, which is now finding many new admirers for the Piedmontese market as well as others. With 142,000 bottles produced, Piemonte DOC Viognier recorded an incredible +190% compared with 2020. The performance of Monferrato DOC Nebbiolo is even more extraordinary: 200,000 bottles with an increase of 313%.

Other growth is recorded for export (primarily to North Europe, USA, Canada, China, and Asia). And more and more investors are attracted by the opportunities offered by this territory: 11,500 hectares (equal to one third of the Piemontese DOC winemaking area, distributed mainly between Asti and Alessandria, with offshoots also in the Cuneo and Turin areas) in which thousands of winemakers from hundreds of wineries (about 400 are members of the Consortium) work in contributing to a total production of 65 million bottles (20 million of this is Barbera d’Asti DOCG).

In economic terms; an estimated turnover of around 400 million euro, with a quarter of Piemontese exported wine protected by the Consorzio Barbera d’Asti e Vini del Monferrato.

These are some of the interesting statistics that have emerged from the 2021 production data surveyed by the Consorzio of Barbera d’Asti led by Filippo Mobrici, closing a year still affected by the pandemic. “It was obviously a difficult year, as for everyone, but the various indicators tell us that not only have we held our positions extremely well, but that our Consorzio is growing in numbers, and most importantly in quality – explains Mobrici -: this means that not only the professionalism pays off, but the ability that our producers have had to invest in their territory, making themselves ambassadors of these wonderful UNESCO protected lands. This is not about celebrating one wine over the other. Each of our DOC and DOCG’s has unique qualities. We must insist on this path, in the wake of tradition, change, and extraordinary collective work. So much so that more and more entrepreneurs, also from abroad, are investing in our vineyards.”

The Consorzio Barbera d’Asti e Vini del Monferrato presents the closing numbers for 2021. A year that despite the pandemic, registered a growth trend for the 13 protected appellations: 9 DOC and 4 DOCG.

The results of the study “Sustainable Wine Tourism – Findings of a global survey” conducted by Geisenheim University and WineTourism.com were presented online on January 25, 2022. The streaming took place on Facebook, LinkedIn and YouTube at 4 PM (CET).

Together with his colleague from Sweden Niklas Ridoff, CEO at WineTourism.com, Gergely Szolnoki, a professor of Market Research at Geisenheim University (Germany) and Judge of the Wine Travel Awards, presented the study entitled “Sustainable Wine Tourism – Findings of a global survey.” The aim of the study was to better understand the importance of sustainability in global wine tourism.

At the beginning, Gergely Szolnoki admitted: “Cooperation with WineTourism.com is the best thing that could happen. That was the moment when industry meets academics in a joint cooperation.”

Sustainability gained importance over 15 last years. Now everyone is talking about sustainable tourism and sustainability in wine tourism. But what does sustainability mean exactly? What measures can we use for sustainable development? These questions the survey tried to solve in order to share the results and certain guidelines with the industry.

The stage of conducting the survey took place in November 2021. 1579 wineries from 42 countries participated. Italy and Spain were the most responsive. The full comparative cross-country analysis you can find in the final report.

The survey investigated different areas which consist of five focal points:

• Relevance of sustainability in wine tourism.
• The three-pillar model of sustainable wine tourism.
• Measures contributing to sustainable wine tourism.
• Drivers and barriers to sustainable wine tourism.
• Communication and visitors’ perception.

Chile and certified organic, biodynamic wineries perceive sustainability is highly important. Every third winery believes that wine tourism operations are sustainable (mostly in Italy and Spain). But there is a room for improvement. Not seeing overlap, correlation of sustainable wine production and wine tourism prevents the further development in this field.

The model of sustainability includes environmental, economic and social pillars. The cultural aspect is integrated in social one. Wineries of different scale and from different countries evaluated more or less equally these dimensions.

Qualitative research was conducted in Germany. The open survey suggested to answer the following questions: Could you please define what sustainable wine tourism is and what are the measures? Wineries’ managers were not ready to answer it right away. So, the researchers perceived with a list of measures, and they selected top measures for each dimension.

Proceeding with drivers and barriers, Gergely Szolnoki noted: “Saving money is not the main driver, fortunately. Because sustainability is not about saving money. Though, it could be a side-effect of sustainability.” Most of the top drivers are consumer oriented.

On the other hand, when you start practicing sustainability, it requires investment, infrastructure which should be built first, human resources (having enough know-how and being motivated enough). This is an active ongoing process for which wineries need information, governmental subsidies and guidelines.

How important sustainability is in the winery’s communication? Will it be important for their visitors? Answers for these and other issues you can find in the final report here.

The results of the study “Sustainable Wine Tourism – Findings of a global survey” conducted by Geisenheim University and WineTourism.com were presented online on January 25, 2022. The streaming took place on Facebook, LinkedIn and YouTube at 4 PM (CET).