Gastronomy and Wine Portal

Ukrainian winemakers celebrate eight medals and Best of Show

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Neustadt-an-der-Weinstrasse once again welcomed wine experts, buyers, sommeliers, media representatives and winemakers from around the world at the end of August – this time with almost subtropical heat and thunderstorms. In the heart of the Pfalz wine region, the international MUNDUS VINI tasting competition, celebrating its 25th anniversary this year, brought together 2,830 still and sparkling wines from countries across Europe, including Moldova, Georgia and Ukraine, as well as New Zealand, Australia, South Africa, Brazil, Mexico, the USA and many others. A separate category was dedicated to No/Lo wines, with 144 entries. Over three busy and rewarding days, the international jury, divided into 18 panels, tasted a total of 2,974 products.

 

More numbers that speak for themselves

As usual, the wines competed in different categories and were assessed blind. Samples are grouped in advance by type, origin and stylistic characteristics. During the tasting, jury members are given several details for each sample: vintage, grape varieties, sugar level and, for still wines, oak ageing. The wines are scored according to the OIV system.

The key point is that MUNDUS VINI judges do not assess wines according to personal preferences. Instead, they apply defined quality criteria for each category, helping to create as objective a picture as possible of today’s wine market.

The results of MUNDUS VINI Summer Tasting 2026 once again confirmed the high quality of the wines entered: 15 received the competition’s top distinction, Grand Gold; 1,040 wines were awarded Gold and another 643 Silver. The overall tally was 1,698 medals, including 71 (!) awards for the alcohol-free segment – but more on that later.

 

The frontrunners

The most successful participants were, first and foremost, the traditional European wine-producing countries. Italy led the field with 466 awarded wines: five received Grand Gold, 287 Gold and 174 Silver. Spain came second with 282 awards, followed by Germany with 204. Portugal took home 163 awards, while France received 100.

Looking at the regional breakdown among the leading countries, Veneto brought Italy its biggest haul with 97 awards, followed by Tuscany with 69 and Puglia with 60. In Spain, Castilla y León led with 61 awards, closely followed by Rioja with 60. In Germany, the Pfalz came out on top with 65 awards, followed by Württemberg with 44, Rheinhessen with 23 and Baden with 21 awarded wines.

There were also strong results from countries making an increasingly visible mark on the international wine scene. Georgia and Romania each received 60 awards, South Africa 58 and Austria 51. Moldova collected 29 awards, Greece 23, while North Macedonia and Hungary each took 21. Armenian wines won 15 awards, the vast majority of them Gold.

Ukrainian winemakers also made their mark, collecting eight awards: five Gold and three Silver medals. Among the more unexpected results were two Gold medals for wines from Denmark’s Jutland region.

According to the organisers, the results clearly demonstrate how much the wine world is opening up, with more countries and regions stepping into the spotlight beyond the traditionally recognised ones.

 

Best of Show: the standouts in categories

Let’s take a closer look at the Best of Show awards. They go to the highest-scoring wine in each category – wines that stand out as strong examples of the quality and character of their region of origin. This year’s winners include familiar names and classic wine regions, alongside new discoveries from regions currently making a name for themselves.

Interestingly, in the German categories, Best of Show awards were determined not only by region and wine style – red, rosé, sparkling and noble sweet – but also by the key grape varieties: Riesling, Grauburgunder (Pinot Gris), Silvaner, Weißburgunder (Pinot Blanc) and Sauvignon Blanc.

The top German Riesling at MUNDUS VINI Summer Tasting 2026 was the dry Riesling Auf der Mauer 2024 VDP.Gutswein from Geheimer Rat Dr. von Bassermann-Jordan, the renowned estate from Deidesheim.

The Best Buy category is also worth a mention, recognising wines that offer the best balance of quality and price. This year, it included the dry Riesling Deidesheimer Hofstück 2025 from Deidesheimer Weinmanufaktur in the Pfalz and Pinot Blanc 2025 from Weinhaus Köhler from Rheinhessen.

Emerging wine countries delivered impressively assured results as well. One need only recall Casa Madero Gran Reserva Cabernet Sauvignon 2021, awarded Mexico’s Best of Show. And with particular pride, we note three distinctions earned by the long‑standing laureates of the Wine Travel Awards: Best of Show Georgia for Salome 2020 from the celebrated Shumi winery; Best of Show Moldova for Castel Mimi Grand Reserve Negru de Bulboaca 2018; and Best of Show Ukraine – a title once again claimed by SHABO of Odesa for Saperavi SHABO Reserve 2025, which also received a Gold medal.

Ukraine keeps delivering

Despite ongoing missile and drone attacks, difficult logistics and a challenging economic situation, several Ukrainian wineries took part in the MUNDUS VINI Summer Tasting, winning eight medals – five of them Gold. Congratulations to all the winners!

• SHABO (Odesa region): Saperavi SHABO Reserve 2025 – Gold and Best of Show; Aged Sparkling SHABO Grand Reserve – Gold.
• BIG WINES (Kyiv region): Big Wines Big Art CABERNET SAUVIGNON OAKED 2024  – Gold; Big Wines Big Art SUKHOLYMANSKYI 2025 – Silver.
• 46 Parallel Wine (Odesa region): El Capitan 46 Parallel Pinot Gris 2025 – Silver.
• My Wine by Eduard Gorodetsky (Odesa region): Suholimansky 2025  – Gold.
• Family Winery LOWKOWO (Zhytomyr region): Cabernet Sauvignon Aged 2024 – Gold; Pinot Noir 2025 – Silver.

One further point concerning Ukraine, in our view, merits comment. In light of the troubling experience at the recent Concours Mondial de Bruxelles – whose organisers admitted not only wineries from russia, some owned by individuals under international sanctions, but also wines from the unrecognised region of Crimea, currently occupied by russia (as we reported in detail here) – the editorial team of Drinks+ and representatives of Wines of Ukraine approached the organisers of MUNDUS VINI in advance, requesting clarification regarding the participation of producers from russia and wines originating from occupied territories. We received an unequivocal response: MUNDUS VINI does not cooperate with the aggressor state, sanctioned individuals, or wineries from territories occupied by russia.

We are deeply grateful to the MUNDUS VINI team and to Meininger Verlag, the founders of the competition, for their principled and civilised stance, for their consistent support of Ukrainian wine producers – including the substantial discounts offered to our wineries – and for the warm, heartfelt welcome extended each year to Ukrainian judges invited to serve on the panel.

 

No/Lo – from niche to serious contender 

The progress in the No/Lo segment demonstrated by the MUNDUS VINI Summer Tasting 2026 is genuinely striking. The numbers tell part of the story: of the 144 entries of dealcoholized still and sparkling wines – specifically these two categories, rather than flavoured alcohol-free drinks – 71 received medals. Twenty-eight wines won Gold and another 43 Silver.

The judging process for the category is evolving too, taking into account the technological and sensory characteristics of dealcoholized wine. At the start of the tasting session, Dr Ulrich Fischer, Professor of Oenology and Sensory Science at Weincampus Neustadt and a specialist in the production technology and sensory development of alcohol-free wines, led an introductory workshop for all jury members assessing No/Lo wines. Using medal-winning wines from the previous competition, the experts calibrated their approach to judging this particularly challenging category.

The overall impression was clear: the quality of No/Lo wines has improved significantly, particularly among still white and sparkling wines. The aromatics have improved significantly, while work on the overall sensory profile continues. German researchers and winemakers are investing heavily in this field, so it comes as little surprise that German No/Lo wines took the most medals: 11 Gold and 26 Silver.

Rolf Willy Neverfull Muskateller was named Germany’s best alcohol-free wine, while the alcohol-free NIGRA Cabernet Blanc by Moselland, a large cooperative which has members and affiliated wine operations in Mosel, Nahe, Rheinhessen and Pfalz, took Best of Show Sparkling Germany. Moselland Riesling Alkoholfrei 2025 also received a Best Buy award (it currently retails for no more than €6).

In the alcohol‑free segment, the title of “Best Producers” was awarded to Henkell & Co. Sektkellerei.

Spain also performed strongly, with six Gold and three Silver medals, while Italy took seven Gold and four Silver. Together with Germany, the three countries are currently leading the No/Lo wine sector.

Beyond the medals: the judges’ take

Long‑standing MUNDUS VINI judge, Iryna Diachenkova, co-founder of Drinks Plus Media Group, looks back on more than 20 years of close cooperation with MUNDUS VINI: “Our team is sincerely grateful to the organisers of the competition, Meininger Verlag, for our long-term partnership. It would not have been possible without the shared professional values of our teams. We consider every invitation for a member of our group to join the international jury a great honour. It is always a pleasure to be part of a flawlessly organised tasting, to see the genuine respect shown to winemakers, exchange ideas with fellow judges from around the world, take part in a unique educational programme and, of course, discover the wines entered in the competition.”

In Iryna’s view, the overall standard of wines at MUNDUS VINI has always been exceptionally high, and this summer’s tasting was no exception.

“Every time, among hundreds of wines, you come across individual bottles, or even entire flights, that can surprise you. This time, I was particularly impressed by the selection of Traminer and Gewürztraminer wines, entered in three categories according to residual sugar: up to 4 g/l, 4.1–12 g/l and 12.1–45 g/l. Five of the 12 wines received Gold. The most elegant was a dry Traminer 2023 from Valul lui Traian in Moldova. Two excellent Gewürztraminers from Moselle Luxembourg also won Gold, while Trentino in Italy and Valencia in Spain produced some very strong examples as well. Among this year’s pleasant discoveries were North Macedonia, with a 2020 Carmenere and Cabernet Sauvignon-based blends, and Bosnia and Herzegovina, with the vibrant Blatina 2021 and Trnjak 2022.”

Peter Douglas, DipWSET (Germany), founder of the Sustaina Wines consulting agency, has been part of the MUNDUS VINI jury for many years, including as a panel chair. In his view, the competition’s medals have become a genuine mark of quality.

“A MUNDUS VINI medal gives buyers an indication of the level of quality they can expect from a wine before they even receive the samples. I work in B2B distribution, and this competition is one of the benchmarks I look to. I know the judging here is taken seriously, so when a wine receives an award, it gives me a good reason to take a closer look at it.”

For Douglas, the value goes far beyond the German market. “If you want to build awareness of your brand and grow it, you need external validation. MUNDUS VINI is an excellent platform for that  – both in Germany and internationally.”

Dr Matthew Horkey (USA), a certified wine expert, author and creator of a popular YouTube wine channel, has been judging at MUNDUS VINI twice a year since 2021 and has also chaired tasting panels. He says has noticed some changes in the way the jury is put together – and sees them as a positive development: “There is definitely a sense of renewal. You see more young faces among the judges. Given MUNDUS VINI’s high standards, I have no doubt about their competence: every judge here has a solid CV and relevant experience. I have never come across an inexperienced taster at MUNDUS VINI – unlike at some other competitions.”

Horkey also sees a practical benefit in the competition’s awards for smaller and medium-sized wineries, apart from major producers: “I used to think that a MUNDUS VINI medal could make a real difference for what you might call ‘supermarket wines’ – there are quite a lot of them in every competition, and they can demonstrate very decent quality within their category. But now I’m starting to think that small producers could benefit too. My last flight in this tasting was Nebbiolo, and a lot of the wines were Barbarescos from Alto Piemonte. The quality was exceptionally high. And judging by the areas they came from, there were clearly producers who don’t have a great deal of visibility yet. The medals they receive can help them gain wider recognition.”

Photo: Ad Lumina, Victoria Makarova, Iryna Diachenkova

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Ukrainian winemakers celebrate eight medals and Best of Show Neustadt-an-der-Weinstrasse once again welcomed wine experts, buyers, sommeliers, media representatives and winemakers from around the world at the end of August – this time with almost subtropical heat and thunderstorms. In the heart of the Pfalz wine region, the international MUNDUS VINI tasting competition, celebrating its […]

Burgundy can be complicated: appellations, classifications, centuries of history. At Château de Marsannay, Robin Jayet’s job is to make all of this understandable without taking away the pleasure of simply being there, tasting and asking questions. As the Wine Tourism Manager, he sees first-hand what visitors from around the world are looking for – and what makes them want to stay a little longer. He shares his perspective in an interview with Drinks+ Observer’s Victoria Makarova.

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V.M.: Château de Marsannay was nominated in the “Must Visit” category by the Wine Travel Awards 2026-2027. What do you think makes a wine estate genuinely worth travelling to today – beyond a beautiful château, a cellar tour and a tasting?

R.J.: We are very grateful for this nomination. It is a wonderful recognition for the whole team at Château de Marsannay, because welcoming visitors has been part of our identity for almost 40 years.

For me, what makes a wine estate worth travelling to is not necessarily the beauty of the building, but the quality of the human experience you have there. Fine wine has this extraordinary ability to bring people together and create genuine moments of sharing. I think accessibility matters enormously. Burgundy can be fascinating but also intimidating, particularly for first-time visitors. The best estates are able to share their knowledge without making visitors feel that they need to be wine experts to enjoy their wines.

Robin Jayet, Wine Tourism Manager at Château de Marsannay

Of course, when you visit Château de Marsannay, you will discover our wines, our cellar and our winemaking process. But first, we want to give you the keys to understand what makes Burgundy so special. We take the time to explain the fundamentals: what makes Burgundy different, what a Climat (a precisely defined vineyard parcel) is, how the classification works, how a vineyard is farmed, and how all these elements eventually find their way into the glass. We try to do that without making wine unnecessarily complicated. I believe authenticity in wine tourism means being honest about who you are, how you work. If visitors leave curious enough to look at the next bottle of Burgundy differently, then we have done our job.

V.M.: Social media has made wine tourism increasingly visual. Has this changed what visitors actually want to experience, and do you ever find yourself designing an experience with the camera in mind?

R.J.: Social media has changed the way we travel. We all take photographs, and when we discover a beautiful place, we naturally want to share it. And honestly, that can be a wonderful form of recommendation for a winery.

At Château de Marsannay, social media hasn’t been our priority yet. We may look like a large estate from the outside, but in the way we operate, we’re still a small-to-medium-sized winery. Over the past ten years, most of our energy and investment has gone into more sustainable vineyard practices and creating a better experience for our visitors. So yes, we’re probably still a little behind on Instagram – although we’re always happy when visitors follow us!

More seriously, I sometimes think the most valuable experiences are the ones you can’t photograph. What happens when you simply put your phone away for an hour or two? You’re ten metres underground, surrounded by the arches and cool air of our cellar, with hundreds of barrels stretching out around you. And there’s that particular smell: a mix of oak, wine and the cool, damp air of an underground cellar. Then you taste the wines with someone who can answer your questions and tell you the story behind them. That combination of senses, atmosphere and human connection is difficult to reproduce on a screen.

Wine tourism should give people something they cannot get from social media: time together, genuine conversation, knowledge and a real sense of place. That said, if you do come to Château de Marsannay, I will happily show you the best angle for the prettiest photograph of the cellar!

V.M.: You work with visitors who may know a lot about wine – or virtually nothing. How do you create an experience that works for both without making either group feel out of place?

R.J.: That is really at the heart of what we do. I don’t think the answer is to create two separate worlds for experts and beginners, but to offer an experience that people can enter at different levels. We have different formats, from small-group visits to private tours, in both French and English. Whatever the format, though, we deliberately avoid a fully scripted tour. Every group is different, and we want every visit to feel different too.

We usually start with the basics: where you are, what makes the region distinctive, and what you’re about to taste. From there, we follow the questions and interests of the group. Having different levels of knowledge can actually make a visit more interesting: an expert’s question can open up a whole new subject for a beginner. Wine tourism works best when learning becomes something you share, rather than a test of what you already know.

The key is language. Good wine education is not about simplifying the wine, but about simplifying the language we use to talk about it.

V.M.: Younger consumers often seem less interested in traditional wine rituals and more interested in authenticity, discovery and experiences they can share. Do you see this at the château, and if so, what do you offer them?

R.J.: We are witnessing a broader change in the way people consume wine and alcohol. Younger generations seem more interested in balance, wellbeing and spontaneous experiences. They may drink less, but they often want to understand what they are drinking and choose something they genuinely enjoy. I believe that is a positive evolution for wine.

Recent research on French and Italian young adults found that sustainable practices, environmental commitment and biodiversity can positively influence their interest in wine tourism. Looks like we fit right in.

For decades, we have tried to keep the experience at Château de Marsannay as authentic as possible. We have never wanted to surround wine with an artificial sense of luxury. Instead, we want to show what really lies behind each bottle: the vineyards, the people, the work and the decisions that go into it – and, of course, the pleasure.

We produce around 45 different wines from our 40 hectares of vineyards, so there is an extraordinary diversity to explore. It means we can offer something for very different tastes and occasions.

V.M.: Wine tourism is becoming more competitive: wineries are offering workshops, vineyard walks, gastronomic and cultural experiences and much more. Where do you think the line is between enriching the wine experience and turning the winery into an entertainment venue?

R.J.: I think the line is quite simple: everything you add should help people understand, appreciate or remember the wine and the place.

Burgundy is still relatively new to this development of wine tourism. We have an extraordinary number of small, family-owned wineries that are only now beginning to open their doors to visitors from around the world. Château de Marsannay may be a comparatively young estate, yet it has been welcoming visitors for almost forty years. Over that time, we have come to understand that hospitality is not merely a matter of adding ever more activities. Of course, we continue to evolve. We now have a dedicated reception hall for larger gatherings, where wine remains the central thread running through every occasion. For groups, we offer thoughtful pairings of wine and cheese, as well as tastings of rarer, more premium cuvées.

For me, food, architecture, landscape or a walk through the vineyards can all enrich the experience, as long as they remain connected to the story of the wine. I am actually looking at a place in our vineyards where we could create a more viticulture-focused experience, with a tasting outside among the vines. That is the kind of development that makes sense to me: getting people closer to the land rather than simply adding entertainment. The vineyard itself is already an extraordinary experience. We don’t need to compete with it.

V.M.: Burgundy is already a destination in its own right. Does that make wine tourism easier, because people are already coming here, or harder, because visitors have so much else to choose from?

R.J.: I think Burgundy benefits enormously from already being recognised as a destination, but that also creates a responsibility. Visitors don’t come here only for wine. They come for gastronomy, architecture, history, culture and landscapes, particularly in Dijon. Wine tourism therefore has to become part of a broader Burgundy experience rather than competing with other activities. That is actually one of Burgundy’s greatest strengths. The wine is inseparable from the place.

In my opinion it is both an opportunity and a challenge. Competition can be a good thing: it pushes wineries to improve the way they welcome visitors and what they offer them. Ultimately, visitors benefit from that.

V.M.: Which wine-tourism trend do you think will still matter five years from now – and which one will have disappeared by then?

R.J.: The trend I believe will last is authenticity (if one may call it a trend), but authenticity in its simplest form: showing people the real work behind the bottle. More and more visitors want to know what they are drinking, where it comes from and who makes it. They don’t necessarily need more luxury or spectacle. What matters is a genuine connection with the place and meeting the people who work there. What I hope will disappear is the idea that wine tourism needs to look luxurious or impressive at all costs.

Burgundy produces some of the world’s greatest and most expensive wines. That naturally creates an association with luxury. But the reality behind every bottle remains much more fundamental: soil, vines, weather, time and an enormous amount of human work. We are facing real challenges, but I find that quite exciting. If we can welcome people into the vineyard, explain why we are changing the way we work, and share what we are learning along the way, then wine tourism can be part of that positive story.

The future of Burgundy will depend on our ability to adapt while preserving what makes the region unique. We’ll have to think more carefully about how we farm, protect biodiversity and manage water, as well as how we package and transport wine. The Bourgogne wine sector is already working hard to reduce its environmental impact, and a lot of research is now focused on how vineyards can adapt to a changing climate and how we may need to farm differently in the future.

At Château de Marsannay, I get to show visitors from all over the world not only the Burgundy we have inherited, but also the Burgundy we are trying to preserve and build for the next generations. And that, perhaps, is what makes the job so interesting.

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Burgundy can be complicated: appellations, classifications, centuries of history. At Château de Marsannay, Robin Jayet’s job is to make all of this understandable without taking away the pleasure of simply being there, tasting and asking questions. As the Wine Tourism Manager, he sees first-hand what visitors from around the world are looking for – and […]

The Wine Travel Awards team set out to answer a question that has long intrigued the wine world: what lies behind the contemporary phenomenon of Burgundy – a region that somehow manages to remain untouched by the turbulence sweeping through global wine markets? How does a region that accounts for merely 4.3% of France’s vineyards maintain its global primacy in prestige, wine prices and cultural influence? And why, at a time when wine sales and real‑estate values – including vineyard prices – are falling elsewhere, does Burgundy continue to demonstrate dignified growth across every indicator?

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To seek answers, we travelled – in the company of renowned winemakers and restaurateurs – through Burgundy’s domaines from north to south, from Chablis to Mâconnais. The epicentre of our exploration, naturally, was the legendary Côte d’Or. And above all, the bearer of the region’s cultural code: Château du Clos de Vougeot – the place where Burgundian identity took shape and its traditions acquired a sacred weight. In essence, Château du Clos de Vougeot is Burgundy’s place of power, its cultural and intellectual centre.

The Burgundians themselves sometimes compare this Cistercian château to an acropolis. An equally apt parallel is a parliament – for it is here that the meetings of Confrérie des Chevaliers du Tastevin, founded in 1934 on the grounds of Clos de Vougeot, take place. The brotherhood was created to promote Burgundy’s wines within France and beyond.

Not everyone realises it, but every sommelier in the world is, in one way or another, connected to the Confrérie des Chevaliers du Tastevin. The brotherhood’s name includes tastevin – the small silver cup from which winemakers traditionally tasted wine for maturity in Burgundy’s dark cellars. It was the brotherhood’s idea to transform the tastevin from a utilitarian tool into a symbol of professional belonging. In time, the tastevin became a global emblem of the sommelier’s craft. Among the brotherhood’s honorary members are Charles de Gaulle, other French presidents, Ronald Reagan, Alfred Hitchcock, Grace Kelly and Catherine Deneuve. Today, this remarkable community counts 12,000 chevaliers. The brotherhood is also one of the most influential organisers of major regional events – including the Saint‑Vincent Tournante festival, the Tastevinage competition and the restoration of Clos de Vougeot itself, where the annual gastronomic world championship Championnat du Monde des Œufs en Meurette is held – this year’s winner of the Wine Travel Awards.

It is only logical that the reasons for Burgundy’s resilience in today’s economic turbulence should be sought in its historical roots. So let me recount the historical vignette we heard during our tour of Château du Clos de Vougeot – a journey back to the 1930s, to the origins of the Confrérie des Chevaliers du Tastevin.

Despite the outstanding vintages of 1929, 1933 and 1934, Burgundy at that time was in the grip of a severe economic crisis. Wine sales had collapsed; winemakers were struggling. And in the very midst of this crisis, two optimistic Burgundians from the small town of Nuits‑Saint‑Georges – Georges Faiveley and Camille Rodier – gathered friends in a wine cellar and delivered a speech inspired by the humour of Rabelais and the philosophy of Molière. And, of course, by a measure of local wine. I dare say that the final dose of courage was not exactly modest. In any case, beneath the vaults of the medieval cellar, they proclaimed:

“Fine wines such as ours must inspire joy and optimism. Enough lamentation! If our cellars are full, we must empty them – and invite friends to help. Let us revive our old bacchic brotherhoods. To defy fate, let us borrow from Rabelais his stubbornness and good humour, and from Molière his smiling philosophy and common sense…”

The meeting, they say, lasted long into the night and ended only when the participants solemnly pledged to fight “for the benefit of the great wines of France in general, and Burgundy’s wines in particular”. As historians would later recall, that gathering was “a ray of sunlight in the night of the cellars”.

Truth be told, the Tastevin of that era became a revival of the bacchic brotherhoods of the 17th–18th centuries – bachiques confréries, wine guilds that continued the ancient traditions of festivals dedicated to Bacchus – though this time the cause was not abundance but economic hardship. And who knows – perhaps the brotherhood would have remained merely a cheerful feast in the annals of history, had its first decisive act not been the purchase of Château du Clos de Vougeot, which provided a “showcase among the vines”.

Let us recall that as early as the 16th century, Clos de Vougeot held the privileged status of the largest wine producer in the area. But in line with the ambitions of the founders of the Confrérie des Chevaliers du Tastevin, quantity was to be transformed into the highest degree of quality. Their next natural step was the creation, in 1950, of the wine competition Tastevinage.

This competition is so unique that it deserves a separate explanation. In essence, it is not a contest but a test of trust – trust in the wine and in its maker. The judges, unlike in the professional evaluations we are accustomed to, do not focus on acidity, drinkability, density, colour or tannin maturity. Those who assess wines at Tastevinage must answer entirely different questions: “Do you like it? Would you offer it to a friend? Would you share this wine with someone dear to you?” I dare suggest that only Burgundy – with its regal impeccability, where the highest quality of all other parameters is assumed – can permit itself such “light‑heartedness” in wine evaluation.

Yet this empathetic angle does not exclude the highest degree of professionalism. For the sake of ideal perception, a special glass was developed for the 100th session of Tastevinage – patented exclusively for Château du Clos de Vougeot. Its tulip‑shaped bowl and distinctive slanted rim – inspired by the incline of Burgundy’s vineyard slopes, divided into legendary climats – enhance retro‑olfaction, concentrate the bouquet and allow for more precise assessment of the nuances of Pinot Noir and Chardonnay. The glass has become the modern symbol of Tastevinage and is used during official tastings at Château du Clos de Vougeot.

We are grateful to the administration of Château du Clos de Vougeot – and to our good fortune. During the Wine Travel Awards nominees’ tour, we were received at the highest level, in the hall reserved for honorary ceremonies, and the tasting was conducted using these new original glasses – delicate instruments created for the utmost precision in evaluating Burgundy’s wines. It seems fitting here to remind our readers of the correct serving temperatures: reds at 16°C, whites in the 11–13°C range.

The rich tasting organised for our group at Château du Clos de Vougeot led us through the principal stylistic lines of Burgundy and Vosne Romanée, home to six of the region’s thirty‑three grands crus. These are the legendary vineyards that produce wines of global renown – including the incomparable Romanée‑Conti, whose 1945 vintage is valued today at hundreds of thousands of dollars. And most intriguingly, experts assure us that the wine is still alive –  still capable of giving pleasure.

We tasted white wines from 2019 and 2020: the first vintage – classic and structured; the second – born of a hot summer yet astonishingly balanced. In the reds of Vosne Romanée, the sommelier showed us two stylistic lines – floral (rose petals, violet) and berry (blackcurrant, raspberry) – explaining how heat shifts the aroma towards the blackcurrant spectrum.

The samples from the commune Chambolle‑Musigny (Côte de Nuits) are traditionally described as Burgundy’s “feminine” wines – and this is not a metaphor but an officially recognised characteristic of the appellation. Its style is distinguished by exceptional elegance: velvety tannins, a floral bouquet of violet and rose, delicate notes of raspberry and strawberry, and a silky texture that Burgundy describes as soie et dentelle – “silk and lace”. Despite its gentleness, AOC Chambolle‑Musigny possesses a firm yet exquisitely presented structure, creating a unique balance of strength and delicacy. The sommelier at Clos de Vougeot commented on it precisely as such – the most elegant and refined expression of Pinot Noir in Côte de Nuits.

The wines of Volnay and Pommard demonstrated the contrast between finesse and structure, as well as the importance of the concept of climat: a single letter in a vineyard’s name today may signify different soil, exposure and an entirely different wine character. This is why one parcel in these parts may be valued at €9 million per hectare, while just across a footpath another may be suitable only for grazing calves.

Let me remind you: Burgundy has more than 1,200 climats – historical micro‑terroirs listed by UNESCO. Each has its own story, and together they produce the remarkable statistics shared with us at Château du Clos de Vougeot. These current figures allow us – at least partially – to understand the nature of the Burgundian phenomenon.

Burgundy in numbers

(sources: Douanes, IRI, BIVB, DRAF, CAVB, DGDDI; averages for 2019–2023)

Vineyards and production

• 32,301 ha of vineyards – 4.3% of France’s vineyard area
• Territory – 203 km²
• Average annual production – 1.49 million hl
• Production structure: 61% white wines, 27% red and rosé, 12% Crémant de Bourgogne

Appellations and varieties

• 84 AOC – 23% of all French appellations
• 33 Grands Crus
• 44 Villages and Premiers Crus
• 7 regional appellations

Varieties

• Chardonnay 57%
• Pinot Noir 34%
• Aligoté 6%
• Gamay and Sauvignon 3%

Regional structure

• Chablis & Grand Auxerrois – 20% of area and production
• Côte de Beaune – 13% of area, 11% of production
• Côte de Nuits – 6% of area, 5% of production
• Côte Chalonnaise – 5%
• Mâconnais – 6%
• Regional appellations – 50% of area and more than half of production

Economy and production structure

• 3,489 domaines, of which 1,926 produce more than 10,000 bottles
• 316 négociant houses
• 16 cooperatives
• Contribution to regional GDP – 3.3%
• Employment – 45,200 people (7% of the labour market of Bourgogne–Franche‑Comté)
• Average domaine size – 8.51 ha

Exports

• 50% of production exported
• Main markets: USA – 20%, UK –  16%, Canada –  9%,  Belgium –  8%,  Japan –  8%

Financial indicators

• Total turnover –  €2.3 billion – 58% exports – 33% traditional channels (restaurants, cavistes, direct sales) – 9% supermarkets and hard discount
• Burgundy’s share in global wine trade – 4% of value with 0.4% of world production
• In France: 25% of export turnover with 5.5% of national production

These figures show that Burgundy is a wine region whose cultural and economic weight far exceeds its physical scale. In truth, Burgundy is an economic and cultural giant disguised as a small region. Yet nothing offers clearer perspective than comparison. So the Drinks+ editorial team conducted a brief – perhaps cursory –  study: “Burgundy vs Bordeaux”.

• Varieties Bordeaux – multi‑varietal blends Burgundy – mono‑varietal wines dominated by Pinot Noir and Chardonnay.
• Terroir Bordeaux – classification by estates Burgundy – the cult of micro‑terroir, classification by vineyards and climats.
• Style Bordeaux – powerful, structured wines Burgundy – refined, elegant, transparent to the soil.
• Vineyard area (2025) Bordeaux – 110,800 ha Burgundy – 30,000–32,000 ha.

The ratio is almost 4:1, yet in reality it is Burgundy that is often more expensive, more prestigious and more unattainable. Perhaps scarcity breeds desire.

The exclusivity of land – the foundation of Burgundy’s stability

During our journey, we visited domaines where vineyard prices reach €9–12 million per hectare. And even at such prices, parcels are not for sale. At all. This closedness, inaccessibility and ultimately elitism form Burgundy’s unique advantage. Unlike Bordeaux, where estates can expand, Burgundy’s land has sacred value. It is passed down, protected, preserved as heritage.

According to many observers, this is precisely why Burgundy has maintained its remarkable stability throughout the global wine crisis – prices have not fallen, demand has not waned, and the value of land continues to rise. Denis Anjuere, Export Manager at Albert Bichot, offered a succinct explanation: “If you look at Burgundy’s potential in terms of vineyard surface, over the past 40–45 years it has expanded only very modestly – by roughly 1,000 hectares – while neighbouring regions have grown by 10,000 to 20,000. I believe this is the key reason. And, of course, more and more people are discovering Burgundy for themselves – as a region producing truly unique wines – which is why prices continue to rise despite the broader crisis.”

Climate change – a troubling horizon

Our June expedition lasted a week. In the final days, temperatures held at 38–40°C. For us, it was not merely a test of endurance during tastings (for which the D+ team is especially grateful to everyone who embarked on that scorching journey), but a revelation: even the Golden Slopes – Côte d’Or, famed for cool summer rains – are not protected from global warming. Today, France, which endured that June heatwave with difficulty – and even with human losses – stands on the threshold of revising many of its principles, including the ban on installing air‑conditioning in historic buildings.

Moreover, we heard from several winemakers – calmly, without drama – that within a few years Burgundy may cease to produce its incomparable, delicate Pinot Noir. This is a fact, a reality for which preparations are already underway. And a new question arises: is there a region on the planet capable, under the pressure of warming, of taking over Burgundy’s fine‑wine baton? For now, the answer is unclear. But it is precisely such questions that keep the wine world alive –  and compel us to return to Burgundy’s golden slopes again and again.

Dossier

Grand Auxerrois Grand Auxerrois is a wine sub‑region of Burgundy that unites several appellations around the town of Auxerre. It is not a separate AOC but a geographical wine zone within the broader Bourgogne region.

It includes a group of appellations located near Chablis yet possessing their own stylistic identity and history:

• Irancy AOC • Saint‑Bris AOC (the only Sauvignon Blanc in Burgundy) • Côte d’Auxerre • Bourgogne Côtes d’Auxerre • Bourgogne Coulanges‑la‑Vineuse • Bourgogne Épineuil • Bourgogne Chitry
• Stylistically, Grand Auxerrois offers: • Pinot Noir with bright fruit and light tannins (Irancy, Épineuil) • Chardonnay in a fresh, mineral style • Sauvignon Blanc in Saint‑Bris – unique for all of Burgundy • Aligoté and other local expressions.

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The Wine Travel Awards team set out to answer a question that has long intrigued the wine world: what lies behind the contemporary phenomenon of Burgundy – a region that somehow manages to remain untouched by the turbulence sweeping through global wine markets? How does a region that accounts for merely 4.3% of France’s vineyards […]

This summer, Burgundy – that intricate mosaic of climats, limestone and centuries‑old savoir‑faire – welcomed a group of Ukrainian winemakers whose presence felt both symbolic and quietly momentous.

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Their visit to Burgundy was part of a professional tour organised by Drinks+, guided by Aleksandra Minenko‑Decamps  –  Wine Travel Awards ambassador and one of the top wine guides recognised by the WTA community. Her deep knowledge of Burgundy, combined with her ability to connect cultures through wine, shaped the experience into something far more meaningful than a technical study trip.

The itinerary offered Ukrainian producers a rare opportunity to observe how one of the world’s most revered wine regions continues to evolve. Even in a period of global market contraction, Burgundy demonstrates a paradoxical vitality  –  a phenomenon that intrigued the visiting group and sparked thoughtful conversations in cellars, tasting rooms and vineyard paths.

For Ukrainian winemakers, many of whom work under the pressure of war, logistical uncertainty and the emotional weight of defending their homeland, Burgundy became a place of reflection. Standing among the grand cru slopes, they were reminded that wine is always more than a beverage  –  it is identity and a form of cultural resistance.

Their presence in Dijon on August 24, during the celebration of Ukraine’s Independence Day, added another layer of meaning. Wines from Valery Narovilo, BIG WINES, My Wine by Eduard Gorodetsky, SHABO, Leleka Wines, GIGI Wine House and the meadery Medovyi Spas were poured for French guests who approached the tasting tables with curiosity and genuine warmth. The wines spoke for themselves: confident, expressive, modern and unmistakably Ukrainian.

For Wine Travel Awards, this moment encapsulates the essence of wine tourism: the exchange of cultures, the discovery of new identities and the celebration of human resilience through the lens of wine. The fact that these winemakers had travelled through Burgundy earlier this year  –  learning, tasting, debating  –  under the guidance of a WTA ambassador, made their return to France as representatives of Ukrainian wine all the more poignant.

Wine tourism thrives on stories, and Ukraine’s story today is one of courage and a determination to remain part of the world’s vinous dialogue. Burgundy heard that story.

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Photo: Aleksandra Minenko-Decamps 

This summer, Burgundy – that intricate mosaic of climats, limestone and centuries‑old savoir‑faire – welcomed a group of Ukrainian winemakers whose presence felt both symbolic and quietly momentous. Their visit to Burgundy was part of a professional tour organised by Drinks+, guided by Aleksandra Minenko‑Decamps  –  Wine Travel Awards ambassador and one of the top […]

It is difficult to find a Burgundian producer that embodies the spirit of the region more precisely than Maison Albert Bichot. Founded in 1831, this family enterprise is now led by the sixth generation, and owns 106 hectares of vineyards surrounding six historic estates in Burgundy’s most prestigious appellations.

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Today, the Albert Bichot family crafts wines that have made the name one of the most recognisable in Burgundy.

When shaping our travel route through the region – a group that included not only journalists but also winemakers, restaurateurs and advanced winelovers from Ukraine – visiting the Albert Bichot domaines was simply inevitable. In fact, we visited two.

We are deeply grateful to the esteemed Richard Bampfield MW, judge of the Wine Travel Awards and a sincere friend of Ukraine, for facilitating our visits to these distinguished estates.

From négociant to one of Burgundy’s most influential producers

Maison Albert Bichot began as a négociant and still defines itself as a négociant‑vinificateur‑éleveur. The family has lived in Burgundy since 1350 and maintains a profound connection with the region – including its most emblematic wine event, the Hospices de Beaune auction. As noted earlier, Domaines Albert Bichot unites six historic estates stretching from Chablis to Beaujolais: Domaine Long‑Depaquit (Chablis), Domaine du Clos Frantin (Nuits‑Saint‑Georges), Château‑Gris (Nuits‑Saint‑Georges), Domaine du Pavillon (Pommard), Domaine Adélie (Mercurey), and Domaine de Rochegrès (Moulin‑à‑Vent, Beaujolais).

Organic viticulture and deep respect for terroir

Maison Albert Bichot is currently led by Albéric Bichot, who joined the family business in the early 1990s and became president in 1996. Since then, the company has significantly expanded its vineyard holdings, invested in modern facilities and embarked on a large‑scale transition to organic viticulture.

The philosophy is clear: wine quality begins in the vineyard. Sustainable and organic practices are applied, with natural fertilisers and strict control not only over estate vineyards but also over partner growers’ plots (although wines from purchased grapes are not certified organic).

Manual work is widely used, soils are treated with care, and on certain parcels sheep graze in winter to support natural soil health and biodiversity. Combined with ecological packaging, these efforts reduce the environmental impact of the company’s activities.

This gentle, low‑intervention approach continues in the cellar. Each domaine has its own winemaking team and modern equipment, working with maximum respect for terroir. No cultured yeasts are added – only indigenous yeasts from the vineyard. Gravity flow replaces mechanical pumping to preserve purity and aromatics. 

Ageing lasts 12–18 months in oak barrels from various coopers and with different toast levels, ensuring the subtle, harmonious oak integration that characterises Albert Bichot wines.

A leading buyer at the Hospices de Beaune auction

It is no exaggeration to say that Albert Bichot has become an integral part of the legendary Hospices de Beaune auction – not only through historical ties and charitable tradition, but also thanks to its exceptional wines. The company has participated since 1876, supporting the Hospices when it functioned as a hospital and later contributing to other charitable projects. Albert Bichot has repeatedly made landmark purchases, including the celebrated Pièce des Présidents, acquired on behalf of the House’s clients. All proceeds from this unique barrel go to medical, social and charitable causes. The Pièce des Présidents – the auction’s most expensive lot, often reaching tens or hundreds of thousands of euros – is promoted with the help of celebrities from film, art and sport.

In 2020, for example, a barrel of Clos de la Roche Grand Cru was purchased for €660,000. Over the past 30 years, Albert Bichot has been the auction’s leading buyer, acquiring around 25% of all lots for clients worldwide. Some particularly coveted barrels are purchased for the House itself – for ageing and later release. Participation in the Hospices de Beaune has become a distinct business direction. In 2009, Albert Bichot revolutionised access to the auction by launching www.hospices-beaune.com, enabling wine lovers around the world to bid online, from a single bottle to an entire barrel.

Maison Albert Bichot is Burgundy’s most influential company and the largest buyer at the auction – a testament to its weight in the region’s wine history.

The Drinks+ and Wine Travel Awards journalists had the privilege of visiting two Albert Bichot estates, where our delegation was warmly welcomed and hosted by Denis Anjuere, the company’s Export Manager. During the visit, our group of experts had the opportunity to taste wines from nearly all of Albert Bichot’s domains.

Domaine du Clos Frantin – tasting Côte de Nuits and Côte de Beaune

Our first visit was to Domaine du Clos Frantin, a picturesque 18th‑century estate in Nuits‑Saint‑Georges, at the heart of the Côte de Nuits.

The domaine’s vineyards cover 13.2 hectares, where Pinot Noir performs superbly; 3.9 hectares are classified Premier and Grand Cru. Organic certification was achieved in 2012, chemical fertilizers and herbicides have been replaced with compost and traditional plowing, and since the 2018 vintage all wines from the estate are certified organic. The cellars date back to the 16th century – the atmospheric setting where Denis Anjuere guided us through a tasting of Albert Bichot wines from both Côte de Nuits and Côte de Beaune.

 

Tasting Notes

Mercurey Les Champs Michaux 2024 Domaine Adélie 

A rare white wine from Mercurey, Côte Chalonnaise, grown on a parcel Les Champs Michaux with unusually high clay content and broad limestone bands. Chardonnay was planted here experimentally on 0,25 ha 65 years ago among Pinot Noir vines – with excellent results. Wine made from 20‑year‑old vines now covering 1.2 ha; hand‑harvested; fermented in oak (15–20% new); aged on fine lees in oak barrel. Mineral, rounded, with a long finish and excellent gastronomic potential.

Meursault 2024 Domaine du Pavillon

A Pinot Noir from Meursault – a village famed for its whites – sourced from a 0.33‑ha parcel less than 400 metres from Les Santenots in Volnay. So here, all the conditions are in place to produce excellent wines from 35–40-year-old Pinot Noir vines. Hand‑harvested, fermented in conical oak vats. Aromas of red berries with violet and rose; a rich, structured palate with a velvety finish.

Gevrey‑Chambertin Les Murots 2023 Domaine du Clos Frantin

Gevrey-Chambertin, a wonderful appellation in the Côte de Nuits. The Les Murots climat covers 1.5 hectares at the foot of a hillside, where calcareous clay and gravelly soils provide excellent drainage and promote the optimal ripening of Pinot Noir. The grapes are hand-harvested, fermented in conical oak vats, and aged in oak barrels for 14–16 months, with 25–35% new oak. The wine is rich in ripe fruit aromas, complemented by notes of spice, oak, and subtle animal nuances. Harmonious and well-balanced, it has a delicate velvety texture and a long, fruit-driven finish.

Nuits‑Saint‑Georges 1er Cru Château‑Gris Monopole 2023 Chateau-Gris

Pinot Noir is grown on the lower terraces around Château-Gris, covering an area of 2.55 hectares with calcareous-clay soils. The grapes are hand-picked, fermented in conical oak vats, and aged in oak for 16–17 months, with 35–40% new oak. Aromas of red and black berries are complemented by floral notes of rose, violet, and peony, along with subtle notes of oak. Rich and fruity on the palate, with good structure and refined tannins. A long, elegant finish.

Nuits‑Saint‑Georges Les Terrasses Monopole 2024 Château‑Gris

Another rare white wine in our line-up, as less than 4% of Nuits-Saint-Georges wines are white. Chardonnay vines are planted on the upper terraces around Château-Gris, covering just 0.85 hectares. The grapes are hand-picked, fermented in oak barrels (25–35% new oak), and aged on fine lees in oak for 14–16 months. Both the nose and palate are marked by pronounced minerality and elegant, restrained oak notes. Long and refined finish.

Pommard Clos des Ursulines Monopole 2023 Domaine du Pavillon

Many thanks to Denis Anjuere for the unique opportunity to taste two additional samples of the 2025 Pinot Noir and experience the nuances of aging in different barrels: a fourth-fill 2022 barrel, and a 2025 barrel.

Domaine Long‑Depaquit – exceptional Chablis

Our second visit was to the remarkable Domaine Long‑Depaquit in Chablis – a jewel of wine tourism. The estate’s history dates back to the French Revolution, when the Long‑Depaquit family acquired land confiscated from the Cistercian abbey of Pontigny. It became part of Maison Albert Bichot in 1968.

The grounds, with centuries‑old trees and rose gardens, offer a serene setting; the orangery is open year‑round. In 2014, a new eco‑friendly winery was built, which we visited with Denis and the domaine’s winemaker. Modern equipment allows even greater precision and purity.

The company’s vineyards in Chablis cover 52.1 hectares and are managed using a sustainable approach to viticulture, with yields carefully limited and intervention during the winemaking process kept to a minimum. This allows the production of authentic, mineral-driven, and elegant wines. Oak aging is used sparingly to preserve the expressiveness of each terroir.

I would like to express our gratitude for the almost royal welcome our group received here, accompanied by top-level professional guidance. Denis organized a visit to the new winery and cellars, where, in the cool surroundings – particularly welcome given the heat – Ukrainian winemakers had the opportunity to ask a wide range of technical questions. The answers provided us with many fascinating and not always obvious insights, even for experienced professionals.

For example, we learned that the grapes are not only harvested by hand but also undergo further manual selection. The Dpomaine Long-Depaquit does not use the common optical sorting systems that automatically reject lower-quality berries; this process is also carried out by hand, as nothing can replace the discerning human eye. We also learned that malolactic fermentation takes place in barrels, while stainless-steel tanks are used primarily for fermentation. Since 2023, 130-litre glass wineglobes have also been used for the maceration of Grand Cru wines.

Our team was treated to an exceptional tasting in the VIP room, featuring a selection of wines chosen especially for our visit. The attention to detail was remarkable: even the tasting sheets were personalized with our name – Wine Travel Awards. And, of course, the experience was enhanced by the unmistakably aristocratic atmosphere of this historic house, bathed in the warm summer sunshine and surrounded by the fragrant gardens of Chablis.

Tasting Notes

Chablis 2023 Domaine Long‑Depaquit

Chablis 1er Cru Les Vaillons 2023 Domaine Long-Depaquit

This Premier Cru comes from the left bank of Chablis, where greater sun exposure produces a complex wine with 13% alcohol. It is made from grapes sourced from several climats on the Vaillons hillside, primarily the Épinottes climat, whose soils are predominantly clay.

The wine is fermented 90% in stainless-steel tanks and 10% in oak barrels (first- to fourth-fill). It is then aged on fine lees for 10 months, with 90% in stainless steel and 10% in the same oak barrels, followed by a further two months of maturation in stainless-steel tanks. The nose is complex and intense, revealing aromas of white flowers, citrus, and green apple. Beautifully balanced, with a long, elegant finish.

Chablis 1er Cru Les Vaucopins 2023 Domaine Long-Depaquit

Les Vaucopins is a 5.2-hectare Premier Cru vineyard located on the right bank of the Serein River. It stands apart within the Domaine Long-Depaquit portfolio thanks to a terroir that closely resembles that of the Chablis Grands Crus: a southern exposure, a steep slope, and abundant Kimmeridgian marl, which gives Chablis wines their distinctive minerality. Elegant and refined, Chablis Premier Cru Les Vaucopins offers ageing potential comparable to that of many Grand Cru Chablis wines.

The grapes are hand-harvested. Fermentation takes place primarily in stainless-steel tanks (85%), with the remaining 15% in first- to fourth-fill oak barrels. The wine is then aged on fine lees for 10 months in the same proportions, followed by a further two months of maturation in stainless-steel tanks.

With 13% alcohol, the wine is the embodiment of balance and minerality. It has a rich structure and concentrated flavours, combining ripe fruit with subtle smoky and flinty notes. The finish is exceptionally long.

Chablis Grand Cru Les Preuses 2023 Domaine Long-Depaquit

А tiny 0.25‑ha parcel of the Les Preuses climat, where the vines are planted at a high density of 8,500 vines per hectare. This encourages competition between the vines, resulting in smaller berries with greater concentration. The Kimmeridgian soil is rich in clay and strewn with numerous surface stones. The average age of the vines is 17 years.

Fermentation and then 10 months of ageing on fine lees takes place in 500-litre oak barrels (first- to fifth-fill). The wine then undergoes a further six months of maturation in stainless-steel tanks.

Chablis Grand Cru Moutonne Monopole 2023 Domaine Long-Depaquit

The La Moutonne Monopole is a 2.35-hectare site located in a natural amphitheatre in the heart of the Grand Cru vineyards, with 95% of the parcel in the Vaudésirs climat and 5% in Les Preuses. Its configuration and ideal location ensure maximum sun exposure, giving this Chablis remarkable aromatic and flavour persistence, as well as excellent ageing potential and elegance. The soil is calcareous clay over a subsoil of Kimmeridgian limestone marl. The average age of the vines is 40 years.

Fermentation takes place 75% in stainless-steel tanks and 25% in oak barrels (first- to fifth-fill). The wine is then aged on fine lees for 10 months, in the same proportions, followed by a further six months of maturation in stainless-steel tanks.

The nose is rich and complex, combining aromas of white and yellow fruits, including peach, nectarine, apple, and citrus, with delicate floral notes. Full and generous on the palate, it displays expressive minerality, freshness, and harmony, with a subtle touch of well-integrated oak. Balanced and elegant, the wine has an exceptionally long finish.

 

A note for travellers: all wines from Maison Albert Bichot, along with accessories, can be purchased at the estate shop.

A modern Burgundy icon

Maison Albert Bichot is one of Burgundy’s most successful producers, tactfully combining nearly two centuries of history, a wide geographical spread of vineyards, modern management, a strong commitment to sustainability and cutting‑edge technical expertise. This makes the House compelling for both professionals and wine lovers.

It is clear why Albert Bichot wines – vivid expressions of both modern and classical Burgundy – are so admired across continents.

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It is difficult to find a Burgundian producer that embodies the spirit of the region more precisely than Maison Albert Bichot. Founded in 1831, this family enterprise is now led by the sixth generation, and owns 106 hectares of vineyards surrounding six historic estates in Burgundy’s most prestigious appellations. Today, the Albert Bichot family crafts […]

This summer, the Drinks+ and Wine Travel Awards team, together with everyone who joined our journey through Burgundy, visited one of Beaune’s most celebrated historic landmarks – the Hospices de Beaune. In fact, this was the very place where the first day of our educational wine tour began, and the choice was anything but accidental. This extraordinary site is renowned far beyond Burgundy not only for the architectural legacy of the famous Hôtel-Dieu but also for its unique model of financing healthcare through wine producers. And, of course, for one of the world’s most prestigious wine auctions, held here every autumn.

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Why is the Ministry of Health mistaken?

Today, this site welcomes hundreds of visitors daily from around the world, offering a magical opportunity to stroll through the medieval halls of the Hospices and immerse oneself in a remarkable history that, in our view, deserves far deeper study. Founded in 1443 by Nicolas Rolin, Chancellor to the Duke of Burgundy, and his wife Guigone de Salins, the Hospices de Beaune began as a charitable hospital for the poor. The Hôtel-Dieu quickly became a symbol of medieval Burgundy, admired for its colourful roof of glazed tiles in mustard, deep blue and terracotta tones, its Gothic architecture and its philanthropic mission. Although the historic site no longer functions as a hospital, it remains one of Beaune’s most important cultural and tourist landmarks. So what exactly took place beneath the roof of this building that resembles a castle from a children’s fairy tale?

Let us begin with the founding principles developed by Nicolas Rolin and the institution’s celebrated financial patron, Duke Philip the Good. Their central idea was to create a “palace for the poor” – a place where medical treatment was inseparable from spiritual care. Philip the Good supported the creation of the hospital as part of a broader policy of recovery after the Hundred Years’ War and widespread epidemics. His belief was that the state must care for its poorest citizens, for doing so strengthens society as a whole. Together with Rolin, his chancellor, the Duke invested his own funds to demonstrate Burgundy’s strength and moral authority. The hospital became a symbol of stability and generosity on the part of the rulers of that era. And, indeed, such a philosophy would be welcome in our own time.

The economic model developed during Philip the Good’s reign had intriguing nuances. The hospital was financed not by the state but through private donations – often land, farms or vineyards. The first vineyards were gifted to the hospital as early as 1457. Viticulture became the foundation of the Hospices’ independence and long-term sustainability. In addition, Chancellor Rolin founded the order of the sœurs hospitalières, who were tasked with healing both body and soul – through care, prayer, discipline and moral support. Treatment included medical procedures, nourishing food (naturally, accompanied by wine), prayer and spiritual conversation. The sisters lived alongside the patients, ensuring constant care.

Today, the Hospices de Beaune function essentially as a museum – one of the best-preserved examples of medieval medicine. Tourists can see original instruments, the apothecary, the kitchen, the beds and the Salle des Pôvres – the hall for the sick. This hall is astonishing: a grand space more reminiscent of a sanctuary than a ward, yet designed for patients, with beds separated by velvet curtains, a high ceiling with wooden beams and stained-glass windows.

The complex included an apothecary stocked with herbs, tinctures and balms. Medicinal plants were grown in the hospital’s own garden, which still survives in one of the courtyards. The sisters used herbal preparations, syrups and balms made in the castle kitchen, as well as remedies brought from Flanders and other parts of France.

Diet was an essential part of treatment. Food played a crucial role, especially for those weakened by famine and epidemics. Patients received warm meals, wine (which, unlike the modern position of the healthcare system, was considered medicinal – and we suggest not arguing with that), bread and soups. In the hall where the beds stood, strict hygiene and order were maintained: for the fifteenth century, this was truly revolutionary – clean bedding, regular ventilation. Separate zones were introduced for different types of patients, and those with infectious diseases were placed in dedicated isolation rooms.

The architecture of the Hospices encouraged light and ventilation – both considered part of the healing process. Later, art joined wine as a therapeutic element, and the halls of the Hospices became a place for collecting paintings. Today, millions of art and history enthusiasts travel to Beaune to see Rogier van der Weyden’s Last Judgement polyptych – one of the most valuable works of Flemish art, displayed at the Hospices de Beaune.

As for our group of experts and winemakers travelling through Burgundy this summer, the wine domaine of the Hospices de Beaune was of particular interest as a unique model of a “hospital-winery”, where healthcare is funded through the proceeds of wine auctions.

The charitable mission of the Hospices also shaped its wine legacy. Over centuries, vineyard donations formed the prestigious wine estate of the Hospices de Beaune. Today, it produces wines from some of Burgundy’s most renowned appellations. Each autumn, these wines are sold at the famous Hospices de Beaune auction.

The event takes place every November and is one of the most significant dates in the international wine calendar. Enthusiasts, collectors, négociants and professionals from around the world gather in Beaune to participate in futures sales – bidding on wines still ageing in barrel.

A special highlight of the auction is the Pièce des Présidents – the charity barrel that attracts particular attention each year. In 2025, the Pommard Premier Cru Les Rugiens was sold for €400,000, with the proceeds directed to charitable projects. This tradition perfectly reflects the essence of the Hospices de Beaune – a place where Burgundy’s wine heritage has been inseparable from philanthropy for centuries.

Not only the auction

The Hospices de Beaune is not merely a destination for auction enthusiasts – buyers, agents or private collectors. Its unique blend of history, wine culture, architecture and gastronomy makes it an essential stop for anyone discovering Burgundy. Allow us to offer a few recommendations from our editors for visiting.

The connection between wine and gastronomy will be especially vivid in the coming months during a series of prestigious events linked to Saint-Vincent Tournante 2027 in Volnay. The 83rd edition of Saint-Vincent Tournante will take place on 30–31 January 2027, marking the 90th anniversary of the Volnay AOC. As part of the celebrations, the historic Bastion des Hospices de Beaune will host distinguished gastronomic banquets.

Registration is now open for two evenings:

– Héritage Vivant.  29 January 2027

–  Élégance Rare. 30 January 2027

Both events will combine fine Burgundy wines, haute cuisine and the region’s characteristic art de vivre. Renowned chefs will participate. Tickets are priced at €350 per person.

For travellers planning a wine journey through Burgundy in early 2027, these events offer a wonderful opportunity to experience several defining features of the region at once: its historical heritage, prestigious wines, gastronomy and culture of hospitality.

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This summer, the Drinks+ and Wine Travel Awards team, together with everyone who joined our journey through Burgundy, visited one of Beaune’s most celebrated historic landmarks – the Hospices de Beaune. In fact, this was the very place where the first day of our educational wine tour began, and the choice was anything but accidental. […]

During the recent BI‑Annual Meeting of Porto Protocol – an online gathering where members reviewed the achievements of the first half of 2026, discussed the outcomes of collective work and received updates on ongoing sustainability projects – the organisation announced a landmark event: the inaugural Porto Protocol Community Day, to be held on 14 November 2026 at Fattoria La Maliosa in Tuscany.

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The meeting, opened by Founder and CEO Adrian Bridge and led by coordinators Marta Mendonça and Cristina Crava, highlighted the community’s major accomplishments:

• fifteen Climate Talks featuring over forty‑five international speakers;
• the launch of New Generation Climate Talks in France, Italy, Portugal and California;
• active participation in global wine fairs including ProWein, Wine Paris, London Wine Fair and Slow Wine Fair;
• and the publication of Saving Every Drop in Wine, a 200‑page study on responsible water management, developed with contributions from thirty‑nine Porto Protocol members.

Against this backdrop, the announcement of Community Day stood out as one of the key highlights of the meeting.

Fattoria La Maliosa – recognised this season within the Wine Travel Awards for its progressive sustainable practices and celebrated alongside fellow WTA winners Spier Wine Farm and Tablas Creek Vineyard – will welcome Porto Protocol members from around the world for a day dedicated to knowledge exchange, presentations of regenerative and ecological solutions, tastings and collaborative discussions on the future of sustainable winegrowing.

The event will serve as a practical continuation of the themes raised during the BI‑Annual Meeting, reinforcing Porto Protocol’s commitment to strengthening its global community and expanding hands‑on dialogue around climate resilience in wine.

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During the recent BI‑Annual Meeting of Porto Protocol – an online gathering where members reviewed the achievements of the first half of 2026, discussed the outcomes of collective work and received updates on ongoing sustainability projects – the organisation announced a landmark event: the inaugural Porto Protocol Community Day, to be held on 14 November […]

The Drinks+ and Wine Travel Awards teams, as partners and active members of the international Porto Protocol community, took part for the second time in the organisation’s BI‑Annual Meeting – the traditional online gathering of its global network. The event offered an opportunity to review the achievements of the first half of 2026, assess the results of collective work, hear updates on member‑led projects and gain insight into what lies ahead in the coming months.

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The meeting opened with welcoming remarks from Porto Protocol’s Founder and CEO, Adrian Bridge, followed by coordinators Marta Mendonça and Cristina Crava, who presented the community’s key accomplishments and outlined its priorities moving forward.

Over the past year of membership, the Drinks+ and Wine Travel Awards teams have not only participated in regular online meetings but also met the Porto Protocol team in person. The organisation is highly active offline – hosting its own events, lectures, tastings, presentations and masterclasses, as well as participating in major international wine fairs.

At ProWein 2026, Porto Protocol curated the Sustainability Hub, where the Drinks+ team had the opportunity to meet and speak with representatives of the organisation. Porto Protocol was also present at Wine Paris, London Wine Fair, Slow Wine Fair, and organised events in Canada and Mexico.

 

Climate Talks and the New Generation of Winegrowers

In the first half of 2026, Porto Protocol organised 15 Climate Talks online forums featuring more than 45 international speakers. Participants presented over twenty practical solutions addressing the most pressing challenges in contemporary wine production.

A new format – the New Generation Climate Talks – was launched in France, Italy, Portugal and California, held in local languages. The central theme, Leading Sustainability in Wine, brought together representatives of the new generation of winegrowing families, who shared their experience in implementing sustainable practices and adapting to climate change.

“Saving Every Drop in Wine” – The Landmark Release of the Year

The organisation’s most significant achievement in the first half of the year was the publication of Saving Every Drop in Wine – a comprehensive 200‑page study dedicated to responsible water management in viticulture and winemaking.

Drinks.ua was among the first to announce the release. The report includes analytical insights, practical case studies and 28 solutions for efficient water management – from vineyard to winery. Twelve experts and 39 Porto Protocol members contributed to the study, including participants of the Wine Travel Awards, with material covering 19 wine regions worldwide. The report is available for free download.

Porto Protocol and Wine Travel Awards: A Growing Collaboration

A dedicated segment of the meeting focused on the collaboration between Porto Protocol and the Wine Travel Awards.

In the 2025-2026 season, under the patronage of Porto Protocol, seven members of the international eco‑community were nominated in the Progressive Approach category – recognising wineries that operate with forward‑thinking methods, including modern sustainable and ecological practices.

Two of these nominees – Spier Wine Farm (South Africa) and Tablas Creek Vineyard (USA) – became winners of the Wine Travel Awards, while Fattoria La Maliosa (Italy) was among the public‑vote winners. These three estates were highlighted during the meeting as exemplary leaders of sustainability and innovation, and their achievements sparked active discussion among participants.

Notably, Fattoria La Maliosa will host the first‑ever Porto Protocol Community Day in Tuscany, scheduled for 14 November 2026 – an event announced during the BI‑Annual Meeting. The gathering will be open to all Porto Protocol members and will serve as a platform for sharing experiences, presenting sustainable practices, tasting sessions and exploring new formats of collaboration.

What Lies Ahead

Among the key projects for the second half of the year, Porto Protocol announced:

• continuation of the international Living Vineyards Tour: A Regenerative Journey Across Europe;
• global promotion of Saving Every Drop in Wine, already downloaded more than 1,500 times;
• preparation of the new publication 101 Climate Solutions for Wine;
• organisation of the UK sommelier competition Wine for the Future;
• development of additional international educational and environmental initiatives.

A Community That Drives Change

The Porto Protocol team emphasised that the organisation’s greatest strength lies in its members and ambassadors across the world. Coordinators encouraged all participants to be more active – to join events, share their practices and solutions, propose topics for future meetings and invite new members.

The organisation also reminded attendees of opportunities to support its mission through membership contributions (starting at €95 per year), charitable donations or sponsorship of events. Another way to contribute is by participating in the Porto Protocol Auction, scheduled for 15 October 2026 at WOW Porto.

Join the International Community

Porto Protocol and Wine Travel Awards unite professionals who believe that the future of wine is inseparable from international cooperation, environmental responsibility and continuous knowledge exchange.

We invite you to join Porto Protocol and take part in the new Wine Travel Awards season 2026-2027. Together, we create new values and strengthen the global wine industry.

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The Drinks+ and Wine Travel Awards teams, as partners and active members of the international Porto Protocol community, took part for the second time in the organisation’s BI‑Annual Meeting – the traditional online gathering of its global network. The event offered an opportunity to review the achievements of the first half of 2026, assess the […]

Ukrainian winemaking, together with the entire country, has lived through five wartime years that can only be described as a stress test for survival. A near‑halving of vineyard area, declining processing volumes, the loss of part of the production infrastructure – all of this could have broken the industry, were it not for the inner resilience of Ukrainians. Drinks+ publishes data from the “Ukrainian Wine Market Study”, conducted by the Diia.Business team at the initiative of Wines of Ukraine. Respect is due to the authors – analysing statistics during wartime is a challenge in itself. And this is the first comprehensive study of the situation carried out over the past five extraordinarily difficult years.

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Yet despite these dramatic figures, the study reveals a notable positive trend: in 2024–2025, the first signs of recovery appear across Ukraine. We are not seeing a leap or an explosive surge, but rather a quiet yet confident return to growth. We hope this trajectory will shape the future of Ukrainian winemaking.

Vineyards: Early Shoots of Recovery

Between 2019 and 2023, vineyard area fell almost by half – a figure that could sound like a verdict. In 2022 the decline reached –20.9%, and in 2023 a further –23.9%. These are not just statistics: they represent vanished vineyards, abandoned estates, shattered plans. Yet 2024 delivered +6.6%. It was a signal that the sector was reviving faster than experts predicted. And although 2025 tempered optimism – vineyard area for wine grapes fell by 1%, and table grapes by 44% – we suggest viewing these figures comparatively, as evidence that producers are prioritising wine varieties as a strategic choice that may reshape the market structure in the coming years.

Regional Map: Three Regions Form the Core of Viticulture

• Odesa – 9,000 ha, 348.5 thousand centners, yield 29.5 centners/ha
• Mykolaiv – 3,100 ha, 136.4 thousand centners, yield 49.9 centners/ha
• Zakarpattia – 700 ha, 14.8 thousand centners, yield 14.1 centners/ha

Thus, the average yield can be calculated at 40.4 centners/ha.

Outlook: if the trend continues, Mykolaiv may become the new centre of viticultural revival, as its yield already exceeds the national average by nearly a quarter. Overall, the sector continues shifting toward the southern regions, yet the study highlights the potential of Zakarpattia.

Grape Processing: A Long Decline and an Unexpected Upswing

The average annual decline in grape processing volumes between 2019 and 2025 was 24%. In essence, the sector was losing nearly a quarter of its processing volume each year – a trend that could have proved fatal. Yet in 2025, processing volumes increased by 25.4% compared to the previous year.

In 2025, grape processing volumes reached 40 thousand tonnes. This is the first strong indication that producers are returning to full-scale operations and that the industry is regaining momentum.

Varietal Structure: Classics Hold the Market

Processing leaders in 2025:

• Pinot – 6.3%
• Cabernet Sauvignon – 9.3%
• Saperavi – 5.6%
• Sauvignon Blanc – 5.1%
• Merlot – 4%

Declining varieties:

• Aligoté – 14.3%
• Chardonnay – 10%
• Cabernet Sauvignon – 1.8%
• Rkatsiteli – 5.7%
• Muscat – 4.9%

Although the Cabernet Sauvignon figures in the study appear inconsistent, the country’s vineyards remain dominated by Aligoté, Chardonnay, Cabernet Sauvignon, Pinot (Blanc, Noir and Gris), Rkatsiteli and Muscat (White, Pink, Ottonel, etc.). The lowest average annual decline (up to 15%) was recorded for Aligoté, Rkatsiteli, Chardonnay, Saperavi (Northern) and Odesa Black.

While classic European varieties continue to dominate, indigenous cultivars such as Odesa Black, Sukholymanskyi White and Citronnyi Magaracha are increasingly shaping the international identity of Ukrainian wine.

We did not see statistical data for Telti Kuruk, yet fresh information shows that several producers are betting on this distinctive variety and expanding plantings. And they are right. The future belongs to Ukraine’s unique indigenous grapes – autochthons are a strategic advantage.

Potential for Premium Wines

Ukraine clearly has natural prerequisites for producing wines with high ageing potential. Sugar concentration – one of the key parameters defining style and longevity – is central here.

In 2025, the highest mass concentration of sugars was demonstrated by: Traminer Pink, Sauvignon Blanc, Merlot, Odesa Black, Cabernet Sauvignon.

Outlook: if producers focus on premium wines, Ukraine may occupy a niche actively sought by international importers – wines with character, history and distinctive terroir.

Wine Materials: Table Wines Dominate, Sparkling Returns

Production structure in 2025:

• 68.3% – table wine materials
• ≈25% – sparkling
• Brandy and fortified – partially missing data

Dynamics 2019–2025:

• Total wine materials: –18.1%
• Table: –14.2%
• Sparkling: –13.1%
• Brandy: –48.2%
• Fortified: +40.4%

Outlook: excluding fortified wines, the sparkling segment is among the most promising. After cyclical decline, it shows recovery – a potential entry point for investors. Ukrainian sparkling wines already have the potential to compete in Central and Western Europe.

Market Operators: Small Producers as the New Driving Force

As of 2024, the industry counted 204 operators, the majority being micro and small enterprises. This makes it flexible for experimentation and stylistic exploration, yet limits technical capacity and overall scaling without cooperation with stronger partners.

Dynamics by NACE codes:

• NACE 01.21 – growth in 2023, mixed dynamics in 2024
• NACE 11.02 – decline in 2022, growth in 2024 above 2019 levels

NACE 01.21 shows that 2023 was a year of recovery for viticulture. After wartime losses in 2022, the sector received initial investments, restored part of the area, and new companies emerged (registry data show active registrations of viticultural enterprises in 2024–2026). The mixed dynamics of 2024 may be due to weather fluctuations (droughts, spring frosts), logistical constraints, rising costs (fuel, fertilisers), and uneven regional recovery (southern Ukraine remains at risk).

Viticulture is capital‑intensive with long payback cycles – fluctuations in 2024 are natural for a recovery period.

NACE 11.02 – grape processing and still wine production (excluding sparkling) – showed a logical decline in 2022 due to wartime destruction, loss of part of the harvest, and logistical barriers. But in 2024 it demonstrates stable recovery, and importantly, wine production exceeded the pre‑war level of 2019 – a clear sign of structural adaptation. The number of new wineries also increased (registry data show active registrations in 2024–2026).

Why is winemaking recovering faster than viticulture? Likely because some producers import wine materials or use reserves. Processing is less dependent on climatic risks. Export opportunities for Ukrainian wine are expanding (successes in EU and Asian markets).

According to industry income statistics, 2023 showed +4.2%, and in 2024 the sum reached 4,509 million UAH. If the 2023 growth repeats in 2025–2026, the industry may return to pre‑crisis levels within two years.

This dynamic is a strong signal for investors. Yes, the industry needs investment – but it is ready to receive it now. After hostilities end, it is easy to predict queues for vineyard plots or shares in wineries.

Strategic Conclusions and Forecasts for Ukraine (2025–2027)

Viticulture will likely show moderate growth with high volatility. Expect gradual expansion in safer regions (Zakarpattia, Odesa, Mykolaiv – partially), investment in irrigation and technology, and an increase in small farms.

Risks remain: climatic fluctuations, high production costs, regional security factors.

Wine production appears set for annual growth of 5–12%. Further export recovery is expected, rising domestic demand for local wines, active development of craft wineries, and integration of Ukrainian wines into international ratings.

The Ukrainian wine industry is entering a phase of structural recovery and modernisation.

Outlook: by 2027, Ukraine can form a new model of the wine industry – focused on craft, export, technology and regional diversification.

Challenges That Cannot Be Ignored

• Loss of part of production capacity
• Low financial resilience of enterprises
• Long‑term decline in processing

Opportunities Producers Should Develop Today

• Export of niche wines
• Cooperation among small producers
• Investment in sparkling wines
• Positioning Ukraine as a country of indigenous varieties
• Development of wine tourism

Drinks+ has repeated for at least five years: wine tourism, given Ukraine’s specifics and its entry into competitive European markets, must become a leading driver of the industry. It is the most logical development path for Ukrainian wineries and the most effective tool.

To promote enotourism locations (wineries, hotels, restaurants) both internationally and domestically, our media group founded the Wine Travel Awards platform – and invites all progressive and active enterprises to join. The new call for nominees begins in November 2026.

The review is based on data from Diia.Business “Ukrainian Wine Market Study” (2019–2025).

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Photo: Diia.Business, Big Wines vineyards

Ukrainian winemaking, together with the entire country, has lived through five wartime years that can only be described as a stress test for survival. A near‑halving of vineyard area, declining processing volumes, the loss of part of the production infrastructure – all of this could have broken the industry, were it not for the inner […]

Today, the editorial team of the Drinks+ Media Group was due to publish an article about this year’s Concours Mondial de Bruxelles, held in Armenia earlier in May, a competition that Drinks+ has proudly supported as a media partner for many years. We wrote our story with a deep sense of gratitude to the organisers, whose invitations have enabled our journalists, for decades, to travel to some of the world’s most remote wine regions and taste some of its most remarkable wines. The piece also paid tribute to our host country, Armenia – its vibrant cuisine, remarkable wines and legendary hospitality. (We will return to Armenia’s wine industry in a dedicated feature.) And, of course, we were looking forward to sharing the good news that Ukrainian wines had once again been awarded medals at the 2026 Concours Mondial de Bruxelles…

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Like every responsible media, we waited for the official results before publishing. When they finally appeared, however, our story took an unexpected turn. What follows is an examination of how sanctioned Russian wines and products from occupied Crimea made their way into one of the world’s most prestigious wine competitions.

Behind the Blind Tasting

The events surrounding this year’s Concours Mondial de Bruxelles 2026, held in Armenia, have sparked growing international attention. At the centre of the controversy is the competition’s decision to admit – and ultimately award – sanctioned wines from Russia and the temporarily occupied territory of Crimea under the artificially neutral designation “Crimea.” The move stands in stark contrast to the policies adopted by other leading international wine competitions. The UK’s Decanter World Wine Awards and Germany’s MUNDUS VINI continue to block Russian entries entirely while offering dedicated support and preferential conditions to Ukrainian producers. Against this backdrop, the precedent set by Concours Mondial de Bruxelles in Armenia appears all the more striking – and raises difficult questions about the motivations behind it.

Even more disturbing is the fact that Ukrainian wine professionals were invited to serve on the judging panels, while medals were ultimately awarded to wineries owned by Vladimir Putin, an internationally sanctioned leader widely accused of war crimes.

Following the publication of the results, many Ukrainians took to social media asking a legitimate question: “Who were the judges?” It deserves a clear answer.

A representative of the Drinks+ editorial team was among the Ukrainian judges at Concours Mondial de Bruxelles 2026, allowing us to provide a first-hand account of the events. The report we had intended to publish – a professional account of this year’s competition – has therefore become something quite different. Only after the official results were released, almost a month after the judging had concluded, did the full picture emerge.

Instead of celebrating another successful year for Ukrainian winemakers – and there were genuine achievements worth celebrating – we are compelled to examine an apparent attempt to legitimise wines from occupied Crimea and to ease Russia’s return to respected international institutions. In that context, the presence of the Ukrainian delegation on the Concours Mondial de Bruxelles 2026 judging panels inevitably served another purpose: to project an image that a wide russian presence in the Yerevan competition was perfectly normal.

In retrospect, the credibility of Ukrainian experts appears to have been used to lend legitimacy to sanctioned wines. The Ukrainian delegation included representatives of several of the country’s leading wine institutions, among them Wines of Ukraine. 

Like most major international wine competitions, Concours Mondial de Bruxelles follows a rigorous blind tasting protocol. Samples are served without revealing the producer, country of origin or even the grape variety. Because the competition’s rules explicitly prohibit disclosing a wine’s origin or identity during judging, no member of the jury could possibly have known that some of the wines in their glasses came from occupied Crimea or Russia.

It is important to note that none of the Russian or Crimean wines were included among the samples evaluated by the Ukrainian judges (which can be easily verified through official tasting sheets and jury records). However, had this been the case, the judges would have had an opportunity to identify the presence of such entries and raise their objections with the organisers at the end of the tasting session, when the wines evaluated by the panel are disclosed – rather than only discovering the issue after the publication of the official list of award winners.

Therefore, our experts evaluated only legitimate international wine entries. The Ukrainian side learned about the presence of such entries in other competition panels only after the results were published on the competition’s website.

“Ukrainian experts were effectively used to legitimise the russian occupants’ sanctioned business on the international stage. We did not have, and could not have had, any information about which countries had been registered by the organising committee. This represents a direct violation of the principles of fair partnership and professional ethics. I expect that the Ukrainian judges, who were involuntarily drawn into this international controversy, will soon submit an official request to invalidate the scores and disqualify the competition results, at least with regard to the Crimean wines presented without the Ukrainian flag. For my part, I call on the organisers to issue an official statement clarifying that the Ukrainian judges did not participate in the evaluation or awarding of any wines from occupied territories or Russia. It would also be fair to disqualify all awarded sanctioned entries, including those from the temporarily occupied territory of Crimea. Until these steps are taken and a strict compliance system is introduced to prevent sanctioned operators from being promoted, I am suspending any future cooperation with Concours Mondial de Bruxelle,” – says Iryna Dyachenkova, a long-standing international competition judge, including at CMB, and co-founder of Drinks+, commenting on the situation.

Olha Pinevych, an expert at VH Selection, shares her perspective on the incident: “As representatives of Ukraine, we attended the event following an official invitation from CMB. However, the organisers did not inform us in advance that wines from Russia and the temporarily occupied territory of Crimea had been included in the programme. As a judge of international competitions, I consider this highly inappropriate. Since the competition rules are based on strict blind tasting, where judges see only the vintage, the actual origin of the wines became known only after the official announcement of the results. I am reassured by the fact that I know exactly the wines evaluated by my panel, and I can confirm that no such samples were included in my tasting session.”

The case history

Crimean wineries currently operating in the temporarily occupied territories and controlled by new owners holding russian passports are frequently involved in attempts to circumvent restrictions, export products illegally and legitimise their presence on international markets.

Due to strict US and EU sanctions, direct exports of Crimean wine to Western countries remain blocked. As a result, Russian companies rely on shadow schemes, rebranding strategies or Asian markets to promote their products while presenting them as “Russian” wines.

Russia seized and nationalised some of Crimea’s most prominent wineries, including Massandra, Inkerman and Novy Svet. Today, these producers are actively seeking access to markets in China, Belarus, Kazakhstan and other Asian countries. Some brands have also spent years using complex legal structures involving foreign intermediaries in an attempt to maintain at least a limited presence in international markets. At the same time, new brands linked to the occupation are emerging on the international wine map – wineries built or modernised with Russian investment after 2014 now appear on the award lists of CMB. These producers have become key instruments of what can be described as a form of cultural expansion.

They are increasingly submitting wines to international competitions in Asia that are more “accessible” to them (a recent example being the Korea Wine Challenge 2026) and participating in exhibitions in Latin America, seeking to create the impression that Crimea is either “part of russian winemaking” or, at the very least, no longer connected to Ukraine.

Why the “Crimea” category conflicts with international law

Let us examine what happened at Concours Mondial de Bruxelles as a potential legal precedent involving the breach of European law. For now, we will set aside questions of partnership, years of professional relationships and the disappointment that, given Russia’s war against Ukraine, the organisers should at least have informed Drinks+ and other invited Ukrainian judges about the participation of Russian and Crimean wines in the competition.

Instead, let us focus on the legal framework. Since the company behind Concours Mondial de Bruxelles, the Belgian company Vinopres, is registered in Belgium, it should be guided primarily by European Union legislation, meaning they should consider that, since 2014, the Council of the EU has imposed strict restrictions on the import and any commercial promotion of goods originating from Crimea unless they are accompanied by certificates issued by the authorised Ukrainian authorities (Council Regulation (EU) No 692/2014). Moreover, even the mere shipment of samples from Crimea for participation in the competition contradicts the sanctions regime. By accepting these bottles for evaluation, the European organisers effectively circumvented the restrictions.

There are also questions regarding compliance with the rules of the World Trade Organization (WTO) and the International Organisation of Vine and Wine (OIV) concerning geographical indications. It is important to remember that the international wine trade system is based on a clearly defined hierarchy: country of origin → wine region → appellation (PDO/PGI).

For competition and exhibition organisers, presenting the “Crimea” region as a separate category, without the Ukrainian flag, constitutes an apparent violation of European legislation by creating an informational framework that enables the promotion of sanctioned goods. Listing occupied Crimea as a separate territorial category – “Crimea” – rather than identifying it as “Ukraine, Crimea” represents, in our view, a violation of the principles of international trade law, which does not recognise “neutral territories” when issues of state sovereignty are concerned.

According to UN General Assembly Resolution 68/262 (“Territorial Integrity of Ukraine”), Crimea is recognised as part of the territory of Ukraine, and international organisations, companies and specialised agencies are called upon to refrain from any actions that could be interpreted as recognising a change in the status of the peninsula. The creation of a separate “Crimea” category directly plays into the interests of the occupying authorities. The use of a “neutral” geographical designation represents a legal manipulation and an attempt at commercial compromise that seriously undermines established regulatory principles.

Another aspect that may have legal implications for Crimean producers concerns potential violations of geographical indication (GI) rules. OIV standards form a foundation of international wine trade regulation, including frameworks applied by the World Trade Organization and the European Union. OIV standards and WTO intellectual property rules establish that a geographical indication cannot exist in a legal vacuum – it must be officially registered and controlled by a sovereign state.

At the same time, the internationally recognised right to use and certify geographical names associated with Crimea (for example, “Crimea” or “Southern Coast of Crimea”) belongs exclusively to the state of Ukraine. Russian companies exploiting these terroirs and vineyards are effectively engaging in the appropriation of intellectual property.

 

When wines wake a back door route instead of the wine route

One could say that Concours Mondial de Bruxelles 2026 allowed Russian and Crimean wines to pass –knowingly or unknowingly – through a winding path of leniency. Yet, as is often the case for those attempting to bypass regulatory mechanisms, such routes eventually meet the hard reality of international law, which leaves little room for ambiguity. Therefore, for those promoting wines from occupied territories, it is important to understand that violations of geographical indication rules and the unauthorised appropriation of Crimean terroirs may have the following serious consequences for producers:

1. Complete criminal and civil illegality in the EU and the US

Any attempt to import Crimean wine into countries enforcing sanctions by presenting it as a “Russian region” may be classified as sanctions evasion, misrepresentation of product origin and infringement of intellectual property rights, since rights to Crimean geographical names belong to Ukraine. Such products may be subject to seizure, detention and destruction, while importers may face financial penalties or criminal proceedings.

Importantly, preventing sanctioned goods – including Russian and Crimean wines that received medals at the 2026 CMB session in Armenia – from entering the markets of the UK and the US does not depend on monitoring individual wine competition results. It is carried out through strict state mechanisms of financial compliance, customs controls and sanctions enforcement. In June 2026, the US Office of Foreign Assets Control (OFAC) and the UK Office of Financial Sanctions Implementation (OFSI) issued joint regulatory guidance on strengthened cross-border sanctions controls. Under these requirements, alcohol importers and distributors in the US and the UK are expected to apply risk-based compliance procedures, including checks of ultimate beneficial ownership (UBO).

This means that even if a wine awarded in Armenia is submitted for import through an Armenian or another supposedly neutral intermediary company, banks and customs authorities may require disclosure of the producer’s full ownership structure. If Russian ownership interests or sanctioned individuals are identified behind the chain of ownership, for example, in the case of wine brands linked to producers in occupied Crimea, the transaction may be blocked. Authorities also monitor potential trade triangulation, where goods are routed through third countries in an attempt to circumvent sanctions. Given Armenia’s role as a potential channel for Russian commercial and cultural promotion, the UK and US have introduced additional scrutiny measures related to Armenian trade routes in 2025–2026. The UK government portal GOV.UK has issued guidance for companies in Armenia and their British partners regarding the risks of unauthorised re-export and concealment of the true end user or origin of goods.

Meanwhile, the UK tax and customs authority HMRC, under new Sanctions End-Use Controls, examines not only product labelling but also the origin of raw materials and supply chains. If a wine carries, for instance, Armenian documentation, but an audit of the supply chain identifies Russian or Crimean origin, the product may be subject to seizure, while the importer may face criminal prosecution or significant financial penalties.

Therefore, under this regulatory logic, a legitimate importer in London or New York would be unlikely to accept into distribution any wine awarded at CMB 2026 if it carries a Russian connection, as this could expose the company to sanctions-related enforcement action by OFAC or OFSI.

2. Loss of legal protection for brands

Crimean producers cannot officially register their trademarks internationally (through the WIPO system or the Madrid Agreement) under the Russian flag. This means that any company anywhere in the world could potentially copy their labels or brand names, while producers operating under the occupation would have no effective way to defend their rights in international courts.

3. The Asian market remains a “grey zone”

Even if countries supportive of Russia, such as China, purchase these wines, they cannot obtain internationally recognised certificates of authenticity for them. As a result, these products are sold without premium status – effectively as ordinary bulk or mass-market wines – depriving Crimean wineries of the ability to legally capitalise on their unique historical terroirs on the global stage until Crimea is returned to Ukraine.

Consequences of the incident

The position taken by the organisers has placed the results of the competition as a whole under scrutiny. Any winemaker, and especially Ukrainian producers, who received awards in Yerevan this year, wants to celebrate their achievements, not have their medals become associated with a controversy linked to russian aggression.

For Ukrainian winemakers, who today create their wines under constant missile attacks and in conditions that are fundamentally incompatible with normal business operations, the Yerevan episode is particularly painful. How can the winners of Concours Mondial de Bruxelles 2026 fully enjoy their success when they now find themselves sharing the winners’ podium – entirely unexpectedly and through no fault of their own – with Vladimir Putin or other russian and Crimean winery owners whose businesses support the war against Ukraine?

At the same time, we want to express our respect and support for Ukrainian winemakers. Their achievements, earned under extraordinary conditions during a war against an aggressor, cannot be overshadowed by any actions of Russian forces, in any context. We also hope that the organisers of Concours Mondial de Bruxelles, recognising the consequences of this situation for all parties involved, will make the right decision, including the disqualification and removal of all wines originating from occupied and sanctioned territories from the awards list. The reputational damage caused by this incident far outweighs any financial benefits. Reputation has a value.

Until this unfortunate moment, the organisers of the competition, Baudouin and Quentin Havaux, had spent many years building a strong family partnership in international wine communication, which had contributed significantly to the reputation and authority of Concours Mondial de Bruxelles and Vinopres. Now this reputation is at risk. 

According to figures published by wine journalist Davide Bortone, Armenia invested €1.6 million in hosting the event in Yerevan. The country had every reason to expect a positive outcome for its international image and for its talented winemakers. Unfortunately, this situation is also unlikely to benefit Armenian wine. Drinks+ will nevertheless publish a dedicated feature soon about this remarkable wine region and its impressive wine tourism destinations. 

At the same time, there has been little sign of reciprocity from Russia. Against the backdrop of growing political tensions between Moscow and Yerevan, Russia has this year expanded trade restrictions against Armenia, publicly presented as “sanitary measures,” and suspended sales of several leading Armenian wine and brandy brands on its market. We assume this may only be the beginning of further pressure.

According to our sources, several Ukrainian wine institutions are already preparing official statements regarding attempts to legitimise wines from occupied territories and the admission of samples from a sanctioned country to Concours Mondial de Bruxelles.

 

How similar reputation cases were handled in the past

A relevant example is the widely criticised San Francisco International Wine Competition (2025). As soon as information about the participation of russian wines reached the media, American and European judges issued a clear demand to the organisers, The Tasting Alliance. They stated that their names could not be associated with a platform that legitimised sanctioned products.

The result was the complete disqualification of all 95 russian entries before the official results were announced.

Similar precedents can also be found in culture and sport, where attempts were made to reintroduce russian participants under a “neutral status.” In many cases, when international federations sought to bring russian representatives back under a neutral flag (a situation comparable to the “Crimea” category at CMB), Ukrainian representatives immediately withdrew from governing bodies or boycotted final stages of events, clearly stating that such decisions violated the principles of international law.

Another revealing example is the attempted return of Russian sommeliers to the Association de la Sommellerie Internationale (ASI). ASI is the leading global institution representing national sommelier associations. Following the beginning of Russia’s full-scale invasion, the status of the Russian Sommelier Association (RSA) was “frozen.” However, at the end of May 2026, during the ASI General Assembly in Taipei, Taiwan, a major diplomatic dispute emerged. The ASI board unexpectedly brought forward a proposal to partially restore the rights of russian sommeliers. The proposal would have allowed russian professionals to participate in international competitions and take prestigious ASI examinations, but only under a “neutral status” – without the russian flag or reference to the Russian Sommelier Association. The Ukrainian wine community and the Association of Sommeliers of Ukraine immediately condemned the initiative as unacceptable against the backdrop of daily destruction of Ukrainian vineyards and ongoing Russia’s missile attacks. Ukraine’s position was strongly supported by colleagues from the Baltic states, Poland, the United Kingdom, the United States and Scandinavian countries.

The vote ended with the proposal being rejected. The international community demonstrated solidarity, and in the final vote, 24 ASI member countries firmly opposed any relaxation of the restrictions. As a result, the sanctions and full limitations imposed on the Russian Sommelier Association and its members remained in place.

Taking previous cases into account, Drinks+ Media Group expresses its protest to the organisers of Concours Mondial de Bruxelles 2026 against placing the names of Ukrainian experts and Ukrainian wine brands on the same platform as russian wines, as well as against promoting wines from occupied territories without identifying them as “Wines of Ukraine.”

• Drinks+ calls on the organisers of Concours Mondial de Bruxelles 2026 to disqualify all sanctioned wines, including those from occupied territories submitted under the “Crimea” category.
• We also urge the organisers to revise their sample submission procedures to prevent products from sanctioned regions from entering the competition in the future.
• Finally, we call for a public explanation of their position both to European and Ukrainian winemakers whose awards now appear alongside those received by producers from the aggressor state, and to the Ukrainian and other international judges invited to participate in the competition.

In our view, the situation represents a breach of the principles of good-faith partnership between the competition and its experts.

Today, Ukraine once again appeals to the international wine community for support. Until the war against Ukraine is brought to an end, Ukrainian representatives call on global wine institutions to completely block the participation of russian brands in international events, reject the illegitimate presentation of “winners,” refuse the certification of stolen Crimean vineyards, and prevent any marketing manipulation involving wines from Russia and occupied Crimea.

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Picture: Oleksandra Rodionova

Today, the editorial team of the Drinks+ Media Group was due to publish an article about this year’s Concours Mondial de Bruxelles, held in Armenia earlier in May, a competition that Drinks+ has proudly supported as a media partner for many years. We wrote our story with a deep sense of gratitude to the organisers, […]