Gastronomy and Wine Portal

D+ recently had the privilege of speaking with Tim Hanni, a renowned expert in the wine world and one of its longest-serving Masters of Wine. His advice and programs are used by sommeliers at leading American establishments, including the Ritz Carlton, Marriott, Hyatt, and many others. Known for both constructing logical frameworks and challenging prevailing norms, Hanni has rightly earned the moniker “Wine Antisnob”. Throughout our conversation, he remained true to his reputation. Continue reading to shift your perspective.

Drinks+: First and foremost, let me thank you for participating as a judge in our Wine Travel Awards 2023-2024 – we understand how challenging this must have been given your busy schedule.

Tim Hanni: Yes, I admit, I lead a very active life, so at times there were overlaps that required extra effort. But it was an interesting new experience for me!

D+: Really? With your experience, it seems like nothing could surprise you anymore! Tim, it’s impressive that you achieved your Master of Wine status back in 1990, becoming one of the first two Americans to pass this notoriously challenging exam. Given the difficulty of the MW exams, what advice would you offer to those preparing for this path, especially considering the unique experiences and challenges you faced?

T.H.: In 1990, Joel Butler and I passed the examination to earn the credential of Master of Wine. Generally considered a very challenging examination, it was especially hard for me due to learning disabilities that were not diagnosed until many years later. After epically failing the examination in 1989 I signed up for a writing seminar and ended up going to the wrong one for three days! It was “Critical Thinking and Disruptive Innovation for Electrical Engineers,” and it changed my life!

Most importantly, I learned an outlining method called mind-mapping, and for the first time in my life, I could organize my thoughts and write coherent papers! Secondly, the critical thinking exercises were perfect for identifying valid points of view of topics and then structuring papers to show a command of the information from multiple points of view. I vigorously recommend that every aspiring Master of Wine learn about critical thinking.

D+: Overall, as a consultant, you bring a broad spectrum of knowledge and expertise. Could you share some of the most interesting client projects you’ve worked on recently? Additionally, with your extensive experience in creating wine lists and pairings, what have been some of your most rewarding or demanding experiences in that area?

T.H.: My work with wine restaurant and hotel programs focused on solving business operational problems and increasing profits while improving guest satisfaction metrics. Called the Progressive Wine List System, the focus was on improving operational efficiencies by having a sensible matrix of products, reducing the time spent on staff training, building server confidence, lowering and managing wine inventories, and more. Each program was custom-tailored to the needs of the restaurants or hotels. At one point I was working with everyone from Ritz Carlton, Marriott, Hyatt, Ruth’s Chris, Olive Garden, P.F. Chang’s, and many more companies, In 2010 the Wall Street Journal reported that well over 30% of white tablecloth restaurants in the US were employing the Progressive Wine List system. On the wine “pairing” front, my position is simple – “match the wine to the diner, not the dinner.”

D+: On the 10th anniversary of your book Why You Like the Wines You Like, which was devoted to changing perspectives on wine, promoting diversity, and challenging conventional standards (and for which you earned the title of ‘Wine Antisnob’ from the Wall Street Journal), could you share your thoughts on how wine appreciation has evolved? What changes do you see in how people value and enjoy wine today?

T.H.: I am very curious about word origins and meanings, and the word appreciation can be defined in many ways. It generally means enjoying something, but it can also be used to prize or cherish certain wines, or even be applied when a wine “appreciates” in value. In terms of wine enjoyments made great strides to become more diverse and inclusive, but it is constrained by certain entrenched ideas, promoted by wine experts and educators, of what makes wine “good” or “bad.”

I’ve long advocated for a more individualized approach to wine enjoyment, one that acknowledges the vast range of individual sensory capabilities, sensitivities, and personal preferences that people have. I have coined the term Perceptual Individualism to convey that we all live in our own unique perceptual world. Too often, wine appreciation is tied to notions of prestige, tradition, or supposedly “objective” quality standards. Perception, including taste and smell, is entirely subjective. Period. While there’s been a positive shift toward experimentation and open-mindedness, there remains a tendency to place wines into rigid categories of quality that don’t necessarily reflect the personal experiences of consumers. Then throw in wine and food pairing, and it is almost as if the consumer doesn’t exist! Genuine wine appreciation should be about finding what you enjoy, not necessarily what someone tells you should like, unless that is what the individual requests.

The wine industry as a whole and wine education programs would benefit greatly by learning to understand the variables of personal perception and preferences and revise a great deal of our thinking about not only how to understand wine quality in a new light but also critically rethink what we are doing in the areas of wine education and pairing wine with food. This is where I feel we are constrained by certain entrenched ideas promoted by wine experts and educators, as I mentioned earlier. I am working on something called The Perception Project to forward a better understanding of Perceptual Individualism and how it can be installed in all wine education programs and utilized in wine marketing and communications.

D+: How independent do you believe most modern wine experts and enthusiasts are in their preferences?

T.H.: We’re seeing a growing movement toward more independent preferences, especially among younger generations like Millennials and Gen Z. Unfortunately, this independence is largely aimed at adult beverage options other than wine. These consumers tend to reject the old hierarchical approach to wine in favor of personal exploration and enjoyment on their terms. However, there will always be a significant portion of wine experts and enthusiasts whose preferences are shaped by traditional views and the influence of established wine authorities. While some experts are relatively independent, we cannot help but be influenced by conventional wisdom about what regions, styles, or producers are “the best” without fully embracing the variability in individual perception.

D+: Following up on that, to what extent do you think authoritative opinions still shape the preferences of wine enthusiasts and experts?

T.H.: It is inevitable that authoritative opinions will, and should, always heavily influence many wine enthusiasts and experts. Critics, influencers, wine writers, and certain institutions will always have a significant influence on shaping perceptions of wine quality. For me, the question becomes, how do we connect consumers to the influencers and authorities who best match an individual’s preferences and expectations? Every system of communication, descriptive language, valuation, and rating has value but there is no single universal system. Whether the expert influencer employs 100-point ratings to stars, prosaic or poetic storytelling, or the detailed metaphorical world of fruits, herbs, spices, and vegetables, we have to accept that inevitably, they are all highly subjective opinions that represent different things to different people.

Influencers and educators on social media and independent platforms have begun to democratize wine knowledge more and more, and the media, social or otherwise, still has key figures whose opinions can greatly sway public perception. Still, with our current wine education programs and “groupthink” of what constitutes good or bad wine, this can lead to a narrow focus on certain wines that conform to these accepted standards, often sidelining wines that are equally valid but cater to different perceptual standards. The other part of the authoritative opinion equation is that while the vast majority of consumers do not follow the ratings or understand the descriptions, the wineries, distributors, salespeople, and especially wine buyers will be influenced, resulting in determining which wines will be found on the shelves, wine lists, and online.

Research that has been conducted by my means and many other individuals and organizations has shown that a large percentage, even a majority, of people distrust authoritative opinions. I am convinced that this is due to a lack of means to place the consumer first, create more trust, and guide people to the authorities and products that are the best match for them as individuals.

D+: Furthermore, who do you consider the key figures or institutions shaping wine preferences today, and how do you see their role evolving in response to changing consumer expectations?

T.H.: In terms of shaping preferences globally, there are many figures and institutions that hold significant sway in the market. The list is too long for me to call out, but most people reading this article know about the publications, podcasters, influencers, and critics. And their impact continues to hold sway, especially among older generations. However, in various regions and via various platforms, many new voices are emerging. However, I see a promising future where individual consumers, empowered by their own experiences and preferences, increasingly shape the wine market, moving beyond the influence of any one authority or institution. I am very pleased that the WSET has been adopting my principles of focusing on wine and food interactions and adding more emphasis on Perceptual Individualism. I hope that the concept becomes understood and utilized to end pointless arguments over whose opinion is more or less valid and which valuation system is better or best. Instead of “shaping” wine preferences, we need to focus on a better understanding of the amazing diversity of consumer expectations and preferences and then getting the right product into the hands of the right people. This will give the key figures and institutions larger audiences if they can successfully connect and build trust that is lacking today.

D+: Last year, at the Institute of MW symposium, the concept of ‘A Taste for the Future’ explored potential future flavors and trends in wine. This ties into a topic you’ve written about extensively – changing how the world approaches and thinks about wine. In your view, how influential are these discussions, and how critical is it for the industry to consider consumer preferences and perceptions in shaping the future of wine?

T.H.: My research on consumer preferences, behaviors, and attitudes has shown stability when wines are grouped by primary style categories based on characteristics of sweetness (or lack thereof), intensity, bitterness, astringency, acidity, and alcohol. Consumer values and fashion dictate many of the changes in sustainability, packaging, regions, varieties, and wine-related buzzwords. Unfortunately, wine education and promotion is far too focused on the product, not the consumer. We are a very myopic and stubborn industry, and I hope to change this.

D+: The wine and food pairing principles you developed are included in the Wine & Spirits Education Trust’s Advanced Diploma program. Could you share more about your approach to wine and food interactions and how these principles are being implemented at WSET?

T.H.: This is an area where the Critical thinking and disruptive Innovation seminar I attended while studying for the MW exam hit me the hardest! For the past 35 years, after retiring as a ‘Wine and Food Guru’ (according to Jancis Robinson), I focused on understanding the interactions between wine and food rather than the pairing, matching, or whatever of the current paradigm. Wine and food interactions create flavor modulations (increasing or decreasing the intensity of sensations); whether you like the change is up to the individual, and Perceptual individualism dictates the intensity of the interactions. On top of that, there is so much misrepresentation of history, traditions, and downright pseudoscience that the educational materials need serious revisions. I have been working on this with the WSET in bits and pieces. They have been using my principles for almost 15 years, but they are not implementing the materials in a cohesive or comprehensive manner. Yet.

D+: What is your perspective on current trends in wine consumption, both in the U.S. and globally? How do you see these trends impacting the industry, and what changes do you believe are necessary to address the challenges ahead?

T.H.: Everyone in the wine industry needs to examine the global picture more closely. Consumption has been trending down in the US, but elsewhere in the world, things are very bleak. Producers in the US tell me, “That’s not our problem,” without considering how this will affect US winery prices and sales! Consumption in China is down 65% over the past five years and this was a major market for France, Australia, South America, and many more countries. Wine consumption in France, Italy, and Spain is a disaster, down over 80% and still dropping in the past 70 years. The number of wineries and wine products is proliferating like never before, and we are facing another assault from the anti-alcohol forces. Where will these wine go? The US is the number one market, and heavily discounted and even government-subsidized international products are soon coming in massive quantities. Yet the wine industry “cheerleaders” are seemingly in denial and urging everyone to stay calm and stay the course. It is time for systemic change in the industry and time to do some house cleaning with how we operate, especially in consumer understanding such as trust, engagement, communications, and education.

We can do it, but it will mean giving up a lot of old baggage to get there.

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D+ recently had the privilege of speaking with Tim Hanni, a renowned expert in the wine world and one of its longest-serving Masters of Wine. His advice and programs are used by sommeliers at leading American establishments, including the Ritz Carlton, Marriott, Hyatt, and many others. Known for both constructing logical frameworks and challenging prevailing […]

It’s no secret that Drinks+ reviewers are fascinated by the history of winemakers in Northern Europe. So, for now, we offer another conversation with a very interesting person – Danilo Costamagna, the founder of the Norsk Vin winery, an Italian from Piedmont who became a winemaker in Norway. It sounds, you must agree, intriguing. That is why we decided to find out how a guy from the south ended up in the north and why he decided to get into the wine business? And also about the prospects of Norwegian wine export, which, of course, is still at its initial stage, but, as they say – he who does not take risks, does not drink… musserende vin.

Drinks+: First of all, we would like to thank you for taking the time to answer our questions. Drinks+ is the largest wine media project in Eastern Europe. And, of course, it is valuable for us to discover new names, to inform about new wine routes. So, let me start with Piedmont. I can’t help but ask: how did a guy from the Italian region – the leader of Italian winemaking (unless Veneto or Tuscany can compete with it) – decide to engage in winemaking in a country that is not the most wine-producing country in the world? Why did you go to the north?

Danilo Costamagna: It’s a long story… But to cut it short… I came to Norway to study IT engineering in Trondheim. Later on I discovered here an active environment of Norwegian grape growers and got caught in this fun and madness. This happened 9 years ago.

D.+: When and under what circumstances was Norsk Vin founded? Where did such a risky business idea come from?

D.C.: At the first wine competition held in Norway in 2017 I won the top prize for my wine. There I got the inspiration that it was possible to make something acceptable and even of good quality! Then I decided to start my own micro-business.

D+: I have read that your winery owns vineyards in several parts of the country. Where exactly are your vineyards located? And how is the production process organized?

D.С.: The vineyards are located in the Buskerud district, some of them – along the Oslofjord, others – more inland. Nowadays I am working on a bigger project located in the Randsfjord, near Jevnaker.

D+: Where did you study winemaking? Do you have wine gurus whose experience and knowledge you rely on, someone who advises you?

D.С.: I started studying the profession of sommelier in Norway at the “Beverage Academy”, but did not have time to graduate due to numerous projects. Later on I received WSET® Level 3 Award in Wines. I enrolled online at the European Wine Academy. There were also various courses and seminars from wine experts and winemakers where I took part, but mainly it was self-education.

D+: What wines does your company make? How many liters per year? Red Adagio from Norsk Vin received a bronze medal at the Norwegian Wine Exhibition (Norsk Vinskue) in 2018. What kind of wine is it, from which variety? What other competitions/exhibitions have you participated in?

D.С.: So far, my maximum has been 1000 bottles (both red and white). Right now, the goal for this larger project, which I have mentioned earlier, is to get 6,000-7,000 bottles from 2ha, and later on, if everything is successful, to expand.

The goal is to produce mainly sparkling wine, white wine, some orange and red. The latter one – as part of this special project, since it is not easy to get a ripe red grape variety here.

I won gold medal for some of my wines at the PIWI International Wine Award competition, as well as a nice award “wine of the week” from Jancis Robinson for my white Andante.

D+: Could you tell us about Norwegian sparkling wines? How many winemakers in Norway produce them? And do they have their own special name? Like Spanish Cava, Italian Prosecco, etc. I am not talking about musserende vin (Norwegian sparkling wine), but about some special name.

D.С.: No, today there is still no special protected name, like, for example, Italian Asti or Champagne. But we produce white sparkling wine, mostly by the traditional method, although there are many other experiments. To date, there are, probably, a maximum of 10 commercial producers of sparkling wine, but their number is gradually increasing.

D+: Do you accept tourists, what tastings or attractions do you offer? Is it also Norwegians, and not just foreign tourists, who are interested in this?

D.С.: As part of the bigger project, our biggest vineyard now hosts tourists at Thobjørnsrud Hotell (located an hour’s drive from Oslo – ed.). We offer a guided tour of the vineyard, wine tasting, visit to the wine cellar and production facility. Various tourists come to us.

D+: Are you still a board member of Norske Druedyrkere (Norwegian Grape Growers Association)? Tell us about this organization, please.

D.С: I’m actually no longer on the board of the Association, but I have been for many years. Norske Druedyrkere started its activities in the late 90s of the last century as hobby producers and now there are more than 150 members. The main goal is to unite under one roof and educate winemakers in Norway through educational events, wine tastings, etc.

D+: In 2017, you won the Winemaker of the Year and Wine of the Year nominations. What are these prizes? How is everything happening, are these international or local events? Who decides the fate of the participants?

D.С: It was and still is a local event of the Norwegian Association of Grape Growers, with more than 40 wines participating. The jury included professional journalists, tasters and wine producers.

D+: How many wineries are there in Norway that produce wine from grapes? How many producers of fruit wines are there? Is their competition with each other noticeable – since it is a fruit, not grape, wine, that is a more familiar Norwegian product.

D.C.: I cannot give exact figures for fruit wines, the number of producers is increasing, especially for apple cider. Perhaps such data can be provided by Hanen (Norwegian trade organization for rural tourism, agriculture and freshwater fisheries – ed.). The most famous product for Norwegians at all times have been fruit wines and apple cider, produced by local farmers. Grapes are something exotic and strange.

D+: Norway’s long winter climate means that only special cold-adapted grape varieties can be grown here. Could you name the main varieties grown by winemakers in Norway? What varieties do you grow directly? Do you cover the vines for the winter?

D.C.: The main variety for white wine is Solaris, for red – Rondo, but we also grow Pinot Noir Precoce, Marquette, Regent and many other PIWI varieties (the abbreviation in German PIWI stands for fungus-resistant vines – ed.). Normally, we don’t need to cover the plants, but last winter it was -26℃ in some places and we got some vines damaged.

D+: The topic of climate change has recently become increasingly acute. In this regard, winemakers in different parts of the world are experimenting with grape varieties (more resistant to temperature changes and various diseases). Can we say that climate change means that Norway has a good chance of becoming a wine producing country in the future, and it may be closer than it seems? Or is it the other way around – does climate change bring diseases and other problems? If so, could you please provide statistics, how many times a year and with what do you cultivate the vineyard, how do you protect the grapes from pests, how much sugar do the grapes gain on average before harvesting, what is the average yield per hectare?

D.C.: Normally we don’t spray the vines because we grow varieties that are resistant to powdery mildew, but recently the climate has become warmer and more humid, so we have to be more careful. Climate change has certainly affected the extension of the growing season, so we need PIWI varieties that can withstand cold winters and adapt to a short growing season. The sugar level can vary from 75° Oe to 90° Oe for white wine, depending on the location of the vines and the cultivation system used.

D+: What wines do Norwegians drink? How do they treat the wines of their kingdom?

D.C.: Norwegians are starting to like English wine and are also discovering Scandinavian wines, so that’s the future. There is mostly consumption of inexpensive wine, although there are also a large number of collectors of premium wines, all of which are purchased through Vinmonopolet.

D+: Could you tell us what the situation with exports is? To which countries does Norway send its wine? In general, how does the implementation take place under the conditions of the state monopoly? How strict and regulated is everything, at least, compared to other EU countries (in some of which wine is not equated with alcohol, but with food). After all, I for one have not met Norwegian wines in Ukraine. I saw aquavit, gin, sake, beer, including non-alcoholic, but not wine. To be honest, I am personally interested in Norway, so I would be buying Norwegian wines. What are your plans for the future, do you plan to expand exports?

D.C.: Export is certainly possible, but first of all the challenge will be to produce good quality wine at a fair price. The cost of living and wages in Norway are quite high. And the wine monopoly does not yet allow us to sell wine directly to private consumers yet. However, this applies not only to Norway. In Sweden, where Systembolaget (a state-owned chain of stores with a monopoly in Sweden for the sale of alcoholic beverages with an alcohol content above 3.5% – ed.) operates, they are also discussing how to achieve a change in the rules. So, meanwhile we are working on quality and style.

⇒ Join our social networks ⇒ Optimistic D+ editors will take this as a compliment.

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It’s no secret that Drinks+ reviewers are fascinated by the history of winemakers in Northern Europe. So, for now, we offer another conversation with a very interesting person – Danilo Costamagna, the founder of the Norsk Vin winery, an Italian from Piedmont who became a winemaker in Norway. It sounds, you must agree, intriguing. That […]

Most of us know little about the Kingdom of Norway. The warmest sweaters in the world, unique brunust cheese, fjords, Edvard Grieg, Knut Hamsun, trolls in mountain caves, the northern lights… Being located from Ukraine in kilometers no further than, for example, France, Norway seems very distant and exotic, and in the very word “Norway” there is something fabulous, and the Norwegian language sounds like a song. As for winemaking in this northern country, even less is known about it than about Norway itself. Therefore, we decided to learn about the wine and winemakers of the Kingdom from Helge Steingrim – the general manager of Egge Gård, the only Norwegian winery whose wines, under the conditions of a state monopoly, are officially presented on the country’s market.

Drinks+: First of all, Mr. Helge Steingrim, we would like to thank you for taking the time to answer our questions. Drinks+ is the largest wine media project in Eastern Europe. And, of course, we value every opportunity to discover new names and learn about new wine routes. So let me ask you a few questions in order to shed some light on the world of Norwegian winemaking.

For many, Norway is associated with northen lights, fjords and reindeer, and if we are talking about alcohol, it is aquavit. The production of wine, grape wine, is not quite a common thing for Norway. How did you come up with the idea of making this product? After all, Egge Gård was originally known for its alcoholic and non-alcoholic drinks made from apples.

Helge Steingrim: It is true that winemaking and grape growing are relatively new industries in Norway. There were a couple of crazy farmers in the 90’s, but then it was quiet. However, with the current situation of climate changes, there are now several farmers planting grapes in the south of  Norway. Nevertheless, these are still too small productions and it is too early for consumers to see any product on the market. Egge Gård is the only current Norwegian wine on the market.

We started planting grapes in 2010. The farm had been known for the production of apples and alcoholic apple ciders made traditionally using champagne method. However we had some space and location to try planting several grape varieties. In the first year it was about 2 500 vines and today we have over 21 000 vines.

D+: So, how old is grape winemaking in Norway? Who are the key players in this segment? How many wineries are there in Norway that make wine from grapes and those that make it from fruit? Is their competition noticeable?

H.S.: The production of grapes is indeed very young in Norway and currently all this is not very well organized yet. However, things are about to change now.  I would guess there are about 15-20 grape producers in Norway.  Most of them started planting vines in the last five to six years.

However, Norway has a long history of fruit wines, mostly from apples. Norwegian apples are high in sugar and especially in acidity, and our cool climate brings ciders of top quality. Egge Gård and other Norwegian cider houses have won several gold medals internationally. All our ciders are made from fresh apples. There are a lot of producers here, we can say this segment of the market is flourishing! As for grape wine, Egge is out of competition today.

D+: Is there any association of wine growers and wine makers in Norway?

H.S.: There is Hanen.no – an organization for rural tourism, agriculture and freshwater fishing. Egge Gård is its member and will be a member of the wine growers` association when it is established. I have been approached now with a proposal to establish an association of grape growers. However, it is still in the planning process. The aim of such an association is to draw attention to our producers, but also to learn from each other and help (equipment, advice, etc.)

D+: Norway’s climate with long winters means that only special cold-adapted grape varieties can be grown here. Could you name the main varieties grown by winemakers in Norway and you directly? Do you cover the vines for the winter?

H.S.:  It is Solaris that is mostly planted in Norway, but we also have Rondo, Blaufrankish, Riesling and Sauvignon Gris. It is not necessary to cover the plants for the winter. In the south of Norway, we have a lot of snow, usually the temperature in winter is from +0℃ to -6-8℃ and only a few days are colder.

D+: What are the soils like in your region and how does that affect the flavors/aroma of the grapes?

H.S.: Most of our soils are sandy or clayey. But the soils in the Lier Valley, where Egge Farm is located, are unique for Norway. The soil is mostly moraine (of the ice-age origin.) Several types of stone in combination with clay and sand are ideal for the farming of fruits, berries, and vegetables. The whole valley of Lier is the most productive in the south of Norway. As for the taste and aromas of our wines – they are very rich and expressly fruity.

D+: When I was reading about Norwegian winemaking, I came across a very attractive maxim that in Norway there is a special quality of light – the grapes get the sun from the reflections from the fjords and thanks to this berries acquire numerous aromas… What do you think about it?

H.S.: That is a very nice explanation indeed. It is true that light is important for growing apples and grapes. During the growing season, the sun here rises at four in the morning and still shines until midnight. The usual temperature from May to September is about + 20℃. On a warm summer day it can reach + 26-30℃. Egge Gard is located only 3 km from the sea and is surrounded by hillsides, so the weather is mostly stable all year long. It is good for the harvest. Local fruit have fresh acidity and incredibly pure aroma.

D+: Mr. Helge, Egge Gard produces sparkling wine, including rosé, using the traditional method. How did you dare to come to this? Where did you study? Where did you get your knowledge from? Experts claim that despite the fact that many people associate rosé with “lightness”, making it is the most difficult. Many factors play a role: grape varieties, vineyard care, pressing and fermentation, lees management and aging, many other subtleties. So – where do you get your knowledge from?

H.S.: Our sparkling Egge ONE was launched in 2014. To obtain sugar in grapes, we mostly use hybrids of varieties dominated by Solaris. Yes, we used to make rosé, but now we are only producing white sparkling wine. At the moment Egge Gård has better red grapes than before and perhaps later we will be making sparkling rosé again, with a little addition of red grapes to achieve a good color and a distinctive style.

Egge Gård has an independent winemaker who was educated in New Zealand and worked there for several years, as well as in Italy (Tuscany). For the last ten years he has been helping Egge Gård and other grape growers in Norway. In the early years of its production, Egge Gård had consultations with German winemakers, and also communicated with a winemaker who specialized in cool climates of Nordic countries.

As for me, first of all, I have the education of a sommelier, I have been engaged in importing wine for the last 20+ years. In general, I have been engaged in winemaking and product development (wine) since 1999. The owner of Egge Farm is one of the largest wine importers in Norway (Gaia Group) and we have a wide range of well-known wine producers from Italy and other countries. Some producers have visited us, all happy to give good advice to improve the quality of vineyards and wine production in Norway.

D+: When I was looking at your site, ISEPLE caught my eye. Do I understand it right that this is an analogue of Ice Wine? But Ice Wine is made from grapes frozen on the vine. And what about apples in this case? What is the technology? Does the variety of apples matter? Are you planning to make a classic Ice Wine?

H.S.: ISEPLE is an Ice-Cider and yes, the philosophy is based on Ice Wine. However, (luckily!) there are no long frosts in the Lier Valley. Therefore, we achieve the necessary conditions artificially.  Apples are larger than grapes, so you need to use a larger freezing container for making Egge ISEPLE.

The technology is as follows: Freshly pressed apples juice, in 1000 Liter containers, is placed in a room with a temperature of minus 22℃. As soon as the water in the wort freezes and begins to crustallize, we take the containers out and obtain the juice, which at that moment has a high level of sugar and acidity.  25-30 kilograms  of apples are needed to produce one Liter of ISEPLE. Fermentation takes place over a long time until the level of alcohol reaches 10 %.  Nothing else is added to this drink, ISEPLE is pure apple! The drink has 260 g/l of natural sugar, and acidity is 26 g/l. It is a very fresh and very sweet dessert wine. The apple varieties used for this production are Aroma-apple, Gravenstein and Discovery.

And of course it would be cool to produce Norwegian grape Ice -Wine. Perhaps we will start doing that in the future.

D+: Recently, such a form of association as Wine of… has been gaining popularity. National stands under their auspices participate in the most famous wine exhibitions (Vinitaly, ProWein, London Wine Fair, etc.) and export wines to different countries… How about these things in Norway? How popular are Norwegian wines in Norway itself? What wines do Norwegians drink? What is their attitude to the wines of their kingdom? In the wine list of restaurants, what is the ratio of Norway/Wine of other countries?

H.S.: Since the 1980s, the Norwegian market and consumers have come to prefer wine over stronger alcohol and beer. The dominant country in terms of demand is Italy, especially such its regions as Piedmont and Veneto. In recent years, German reslings have become an important part of the demand.

In Norway, the monopoly on the sale and production of alcohol (strength above 4.7%) belongs to the state. That is, such drinks can be sold only through Vinmonopolet monopoly stores located throughout the country. Private importers sell products to Vinmonopolet. Today, Vinmonopolet sells about 40,000 different products to consumers through its stores, the Internet or a mobile phone application with an option of pickup from a local store. A regular store has from 700 to 3,500 products on the shelves, but through the application and the Internet consumers have access to 40,000 products.

Alcohol tax is high (political decision), table wine is expensive, however, if you want high quality wines, the prices are lower than in France, Italy, etc. because the tax is fixed only on the level of alcohol.

So I think it is a bit early for Norwegian wines to visit ProWein or other international exhibitions. The production is too small and the price is too high. However, Egge Gård was at ProWein-2024, although not with wine, we were showcasing  ciders and spirits.

Regarding the wine list – in restaurants you will mostly find good wine lists with a selection from famous producers from all over the world: Italy, Spain, France, Greece, Germany, Austria. New World wines can mostly be found in Vinmonopolet stores. Except for wines from California and Oregon, which are popular now (especially Pinot Noir).

Egge Gård mainly sells products to wholesalers, directly to hotels and restaurants, as well as to Vinmonopolet. But we have a shop on the farm, I guess about 5% of our products are sold directly from the farm.

D+: Tell us what is the situation with exports? To which countries does Norway send its wine? In general, how does sale of products take place under the conditions of a state monopoly? How strict and regulated is everything? At least, compared to other EU countries (in some of which even wine is equated not to alcohol, but to food). I, for one, have not met Norwegian wines in Ukraine. I have seen akvavit, gin, sake, beer (including non-alcoholic), but not wine. To be honest, I am interested in Norway and I would buy Norwegian wines. What are your plans for the future, do you plan to expand exports?

H.S.: As a producer (or importer) we are free to sell all Horeca wines without any problems with the Government. We can sell our own products with alcohol up to 22 % vol. at our farm-shop. However, to private consumers, we can do it only through the Vinmonopolet system.

We are currently starting with export to UK. And export will be a priority in the future. Here we are talking, however, about our Ciders and spirits. No producer in Norway is ready today to export its product. I think that Egge will be the first to start exporting when the new vineyard is ready to give good quality grapes.

D+: Have your wines participated in any wine competitions (within the country or abroad). Have you visited any wine exhibitions?

H.S.:  I have already said about exhibitions, it was ProWein-2024. Nationally, we have received good feedback from the wine-media and the wine community. We are planning to keep the wines longer on sediment and improve quality even more. However, we have not attended any international tastings yet.

D+: Currently, wine tourism is becoming more and more popular. Please tell us what exactly is the program of the visit to your winery? Are your guests Norwegian or foreign tourists?

H.S.: We are in contact with companies like VISIT NORWAY and VISIT OSLO to receive tourists to our farm. Egge is only 30 minutes from the centre of Oslo.

Now, we accept groups from 10 to 50 persons. Normally, we show guests our vineyard and the apple orchards, visit he production area, the distillery, the cider-room and the barrel room. We offer a tasting of several products; and before they leave, our guests can visit our farm-shop. Special tastings can also be arranged. Anyone interested can contact us via e-mail egge@egge.as.

D+: Regarding wine tourism… During the quarantine related to the pandemic, many wineries of the world made virtual tours, virtual tastings, created training courses online. In short, they wanted to survive themselves and help other people survive total isolation. How did your winery live during the quarantine?

H.S.: It is true. The pandemic was hard for the farm. Some people at the farm had to stay at home and seasonal workers were not allowed to travel. Financially this was stressful for Egge Gård.

Restaurants could not accept guests, and a lot of them went bankrupt.  Alcohol producers were forbidden to engage in marketing among private consumers, only HoReCa However, Norwegians started to make a lot of good food at home. Wine Monopoly was selling great volumes of wines and spirits in this period. A lot of tastings were done through the internet. Usually a journalist or independent product person took part in that.

D+: Are there sommelier schools in Norway? How popular is this profession?

H.S.: Sommelier schools were established in the beginning of 1990. Norway has today approximately 1000 sommeliers and 6 MW. It must be said that the interest for wine and food is very high in Norway. In the past only people from restaurants attended this school, but today we see highly motivated persons from other industries wishing to receive a sommelier education.

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Most of us know little about the Kingdom of Norway. The warmest sweaters in the world, unique brunust cheese, fjords, Edvard Grieg, Knut Hamsun, trolls in mountain caves, the northern lights… Being located from Ukraine in kilometers no further than, for example, France, Norway seems very distant and exotic, and in the very word “Norway” […]

One crisp morning in the heart of the Cognac region, I walk through sun-dappled vineyards towards a stately château. This is the home of Camus, one of the world’s most prestigious Cognac houses, and I’m here to meet Cyril Camus, the 5th generation owner. As we settle into comfortable armchairs in his wood-panelled study, surrounded by family portraits and vintage bottles, Cyril begins to share the rich tapestry of history, innovation, and passion that defines Camus.

Kateryna Yushchenko: Cyril, you’re the 5th generation to lead Camus. What does that legacy mean to you personally?

Cyril Camus: It’s both a tremendous honour and a weighty responsibility. Every day, I’m acutely aware that I’m not just running a business but also the custodian of my family’s legacy. The portraits you see around us (he gestures to the walls) – these are my ancestors who built this company from the ground up. Their spirit and passion are all distilled into every drop of Cognac we produce.

K.Y.: How has Camus remained family-owned for over 160 years when so many others have been sold?

C.C.: It hasn’t always been easy, I can tell you that. We’ve had a unique succession system where, for every generation, one of the children bought out the others. It’s allowed us to remain independent, with the family member running the company also owning 100% of the shares. But more than that, it’s about instilling a sense of purpose and responsibility in each generation. We’re not just inheritors; we’re entrepreneurs.

This approach has allowed us to avoid many of the conflicts that can arise when ownership is divided among multiple family members. In France, inheritance rules are obvious and strict. You have to give equally to all your children. If you have three kids, you’d typically end up with three shareholders in the next generation. But in our case, one child would buy out the others, consolidating ownership. This means that for five generations now, the person running the company has also owned 100% of it.

K.Y.: Can you elaborate on that sense of purpose? How has it evolved over the generations?

C.C.: Absolutely. For my grandfather, it was about making the best Cognac in the world for those who appreciate the finer things in life. My generation has evolved to “bring about beauty and refinement, to create emotion and pleasure.” It’s not just about the product anymore; it’s about the entire experience.

I grew up in an environment where we had people from different parts of the world at our dinner table every night. By the time Cognac was served, there was this incredible atmosphere of warmth and connection. That’s what we want to create for our customers.

This sense of purpose is what animates and motivates both the family and everyone in the company. It’s where you have a match between the community – all the employees, the distribution partners, and so on. This alignment between them and the family allows the company to stay the course in more difficult times but also to innovate when needed.

K.Y.: That’s beautiful. How do you balance this rich tradition with the need to innovate?

C.C.: It’s a constant dance, I’ll tell you. The Cognac industry is heavily regulated, which can be frustrating at times. But we’ve found ways to innovate within these constraints. (He stands up and walks to a shelf, picking up a uniquely shaped bottle) Take this, for example. We innovated on the packaging, creating a stopper that’s part crystal, part cork. Everyone in the industry said we were crazy, that cork wasn’t ‘premium’ enough to be used with crystal. But we realised that the stopper is in the bottle 99% of the time, just sitting there looking good. So, we created something that looks beautiful and solves the problem of leakage. It’s been a great success.

But innovation isn’t just about packaging. We’re constantly looking at ways to improve our production methods, too. We call it the “science of traditions.” We’ve revisited every step of the production process, looking at how things used to be done and analysing if there was value in those old methods that we’ve lost through modernisation. Sometimes, we find ways to reproduce those beneficial effects using modern, economically viable methods.

K.Y.: Camus has survived through significant market changes. Can you discuss some of the biggest shifts you’ve seen and how you’ve adapted?

C.C.: One of the most significant shifts in my father’s time was the emergence of Japan as a major market. It went from nowhere in the 70s to being our largest Cognac market in value by the late 80s. Now, it’s about 10% of what it used to be. More recently, we’ve seen the rise of China and the U.S. as key markets.

These shifts require us to be incredibly adaptable, not just in terms of marketing but also in product development. For instance, the Japanese market really drove innovation in packaging and premium presentations. That’s where Cognac started to break out regarding bottle shapes and decanters.

Another significant change has been in consumer demographics. Today, Cognac consumers are much younger than they used to be. This presents its own challenges, as I’m now older than many of our consumers. In a non-family business, you might simply change the CEO to someone from the consumers’ generation. In a family business, we have to find other ways to stay relevant and connect with younger consumers.

K.Y.: How does Camus differentiate itself from larger competitors in the Cognac industry?

C.C.: It’s essential to understand that Cognac is a tiny category in the spirits world with an outsized reputation. Our challenge is to maintain relevance and visibility in a crowded market. Unlike larger, corporate-owned brands, we have the advantage of being more agile and willing to take risks. We’re not bound by quarterly reports to shareholders, which allows us to make decisions with a longer-term view.

However, this can also be a double-edged sword. Larger competitors often have more resources for marketing and distribution. They can sometimes lock up access to markets or dominate the share of voice. We counter this by focusing on innovation, quality, and creating unique customer experiences.

One of our key differentiators is our focus on aromatic intensity. We’ve spent the last 25 years changing every step of our production process to achieve this distinctiveness. It’s taken a long time, but it’s given us a unique profile in the market.

K.Y.: What do you see as the biggest challenges facing Camus and the Cognac industry today?

C.C.: We’re grappling with several challenges. First, there’s the rise of other premium spirits categories. Single malt whisky, for instance, has been a significant competitor over the past 20 years. They’ve adopted some of the storytelling techniques Cognac pioneered and have fewer production limitations.

Then, there’s the challenge of staying relevant to younger consumers. The natural market share of Cognac in any given country is relatively small, usually less than 1%. We need to continually work to maintain our visibility and appeal.

Another major challenge is sustainability. We’re looking at ways to reduce our energy consumption, particularly in the distillation process. The current method of distilling with a naked flame is energy-intensive, and we’re eager to adopt more efficient technologies. However, regulatory hurdles mean this process of change is slow. It could take up to eight years before we can implement more sustainable distillation methods, even though we know they work and produce excellent Cognac.

Lastly, there’s the challenge of maintaining our ‘share of voice’ in the market. Cognac has this aura that’s completely out of proportion with the actual size of the industry. We must ensure that people continue to know about and aspire to drink Cognac, even if they don’t do so daily.

K.Y.: How does being a family business impact your approach to these challenges?

C.C.: Being a family business gives us both advantages and disadvantages. On the plus side, we can take a longer-term view. We’re not as pressured by short-term profit demands, which allows us to invest in quality and innovation that might not pay off immediately.

Family businesses are often more value-driven, too. We’ve always had a strong sense of social and environmental responsibility, not because it’s trendy, but because we live where we work. We want to preserve and improve our community and environment.

However, we also face limitations. We typically have less capital to deploy than our corporate competitors. We tend to be more conservative with leverage and risk-taking, which can sometimes slow our growth or limit our ability to seize opportunities.

Another aspect is that in a family business, key decisions often involve family dynamics. This can lead to more stable, values-driven decision-making, but it can also sometimes slow us down, especially when facing critical decisions in times of crisis.

K.Y.: Speaking of innovation, if you could change one thing about Cognac regulations, what would it be?

C.C.: Oh, that’s easy. I would love to be able to do the finishing, similar to what’s done in the whisky industry. (He leans in as if sharing a secret) We’ve had some experiments that have produced incredible results, but we can’t bring them to market due to current regulations. It’s a shame because I think it would allow us to bring more diverse taste experiences to our consumers.

I believe the Cognac industry needs more diversity in taste experiences. We need to create more distinctive profiles while still clearly identifying as Cognac. Finishing could be a quick way to bring new taste experiences that would work well for consumers. It could help us compete better with other spirit categories that have more freedom to innovate in this way.

K.Y.: How do you prepare the next generation to take over such a storied business?

C.C.: It’s a delicate balance. We want to provide them with the knowledge and skills they’ll need and allow them the freedom to find their own path. We focus a lot on education – not just about the business, but about family dynamics and values.

My kids are still young, but I can already see their different personalities emerging. One is very finance-oriented, like my grandfather. The other is more into project management and marketing, more like me. Whatever path they choose, the most important thing is that they understand the responsibility that comes with our name.

We’ve built our legacy around four pillars: entrepreneurship, sense of purpose, freedom to innovate, and education. We try to instil these values in the next generation, along with an understanding of how to manage family dynamics in a business context. This isn’t just for those who might run the company but for all family members. It’s crucial for maintaining family harmony and business success.

K.Y.: Looking ahead, what’s your vision for Camus in the next decade?

C.C.: Our goal is to continue pushing the boundaries of what Cognac can be while respecting its rich heritage. We’re investing heavily in sustainable practices, not just because it’s the right thing to do but because we believe it will enhance the quality of our product.

We’re also focusing on creating more diverse taste experiences for our consumers. If regulations allow, we’d love to explore finishing techniques to bring new flavour profiles to Cognac.

Digitally, we’re looking at ways to enhance the consumer experience, perhaps through augmented reality or other technologies that can bring the story of Cognac to life.

We’re also constantly working on improving our production methods. Even though Cognac has been made the same way for centuries, we believe there’s always room for improvement. We’re using modern science to understand and enhance traditional methods.

Ultimately, our vision is to ensure that Camus remains at the forefront of the Cognac industry, known for its innovation, quality, and the unique experiences we provide. We want to pass on to the next generation a company that’s surviving, thriving, and shaping the future of this industry we love.

K.Y.: Finally, I have to ask – what’s your personal favourite Camus Cognac?

C.C.: That’s like asking me to choose between my children! But if I must… (He stands and walks to a cabinet, pulling out a bottle) This is our Camus XO Borderies. It’s fantastic as an after-dinner drink. But for an all-around favourite, I’d choose our Camus Special Dry. (He pours a small measure into two glasses, handing one to me) It’s versatile and works well in various settings. It represents the perfect Cognac moment – you’re in the right place, with great people and a beautiful landscape. You don’t necessarily need a bar nearby. Just this, and good company. Santé! (We clink glasses)

As our conversation concludes and we sip the golden liquid, it’s clear that Cyril Camus is navigating a complex landscape of tradition, innovation, and market pressures. His analytical approach, combined with a deep respect for his family’s legacy, positions Camus uniquely in the Cognac industry. While challenges abound, from sustainability concerns to changing consumer preferences, Camus seems poised to meet them with time-honoured wisdom and forward-thinking strategies.

The passion with which Cyril speaks about his family’s legacy, the depth of his knowledge about the industry, and his clear vision for the future are truly inspiring. It’s evident that for the Camus family, Cognac is not just a product but a way of life – a legacy passed down through generations, each adding its chapter to the story.

In an age of rapid change and corporate consolidation, there’s something profoundly reassuring about knowing that some things – like the passion and craftsmanship behind a fine Cognac – remain constant, passed down from one generation to the next.

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One crisp morning in the heart of the Cognac region, I walk through sun-dappled vineyards towards a stately château. This is the home of Camus, one of the world’s most prestigious Cognac houses, and I’m here to meet Cyril Camus, the 5th generation owner. As we settle into comfortable armchairs in his wood-panelled study, surrounded by […]

Drinks+ spoke to Tabor Istvan, chief executive of the Winelovers Wine Awards. Our editor-in-chief Olga Pinevich-Todoryuk, as last year, was invited to the team of judges of the competition, and participation is free for Ukrainian winemakers. The event will take place in Budapest on June 28-30.

Considering all info listed in your website, can you, however, define the key special features of Winelovers Wine Awards? What makes it different from other international contests?

Winelovers Wine Awards is not only a competition, but a complete project that includes an international wine contest, a 3-day-event with several trade related side events focusing on Central Eastern European countries, and online wine magazine and social media. This focus on the CEE countries is our special feature and it is going to be more and more feasible in the future. I am being honest with you: in the first two years we had fancy topics of the masterclasses (side events of the contest), and the winelover public as well as the jury members were happy to taste Champagnes or other highly esteemed wines. At the recent, 3rd edition the masterclasses will present only CEE wines, for example the wines of Romania or indigenous varieties from 10 countries of the region. We also plan to have a guest country each year from the next edition, again countries from the Central Eastern European region.

Piotr Pietras MS will be hosting a masterclass at the event

Does your competition have a mechanism regulating the number of medals granted to the participants? How does it work, practically?

Our contest is a so-called “Anglo-Saxon” competition, so we do not limit the number of medals granted to producers. Wines are scored out of 100 and judging comes to a decision based on independent blind tasting, and a collective discussion. However, judgings are half-day affairs so we have incorporated this element from the OIV, Organisation Internationale de Vin, system.

What are the most meaningful advantages the participants are getting from your competition? What are the benefits for those who don‘t win the medals?

The medal winners are featured in several ways from our digital and print magazines to social media posts and events. Maybe the digital publication is the most relevant for entering producers: the award-winning wines will be featured in an English-language digital publication and distributed to more than 4,000 key international decision makers (importers, head sommeliers, wine merchants and wine writers).

As for the non-medal-winners, well – they can learn from the results, since the jury consists of renowned wine professionals from all over Europe. Can you mention any wine contests, where the jury members are introduced before the contest? There are a few, but not many. We want to be as transparent as possible. From the website, the photos, the videos, wine producers can actually see which experts have tasted their wines. Are you a winemaker, entering a rosé? This year Jonas Röjerman MW will be the specialist of the rosé wine tasting table. If your wine does not win medal, will you say that he is not a seasoned taster? Or will you revise the way your rosé was made?

The wine map of the world has been expanding in the last 10-15 years. How did that influence your competition (participants, judges)? Which countries, except Hungary, are represented among the participants and the jury members?

You are right: the last edition of The World Atlas of Wine features countries that were not known as wine countries earlier. Also, there are more and more developing wine countries, like Taiwan – now wonder we will have guests from Taiwan, though not as jury members, but as buyers. This Buyer’s Program is a novelty, and extra opportunities for wine producers and generic boards to introduce their wines to potential importers.

As for your second question, the proportion of foreign experts is much higher than last year.

This year we have 30 foreign jury members and 17 Hungarians, and the next year there will be even less local experts. The jury members come from several countries: Finland, Sweden, Norway, Denmark, the USA, Columbia, the United Kingdom, Ireland, Croatia, Romania, Bulgaria, Serbia, Slovenia, Poland, Israel, Italy, Portugal, Spain, the Netherlands, Belgium, France, Switzerland, Germany and Austria.

We do not preach water: we will make this wine contest THE Central Eastern European wine competition.

There’s a certain stereotype in the wine community: if a contest is held in Germany / Italy / France / UK, it focuses mainly on the buyers and consumers of that country. Do you think it’s true — and what are the core “markets of influence” for your competition?

Hungary is not a target country for most of the other CEE countries, because it is a wine producing not a wine importer country. There are some exceptions – like Pannon Borbolt with a significant selection of Balkan wines –, but the majority of the Hungarian buyers and consumers are at the phase of discovery when it comes to for example Ukrainian wines. However, we are a catalyst in this process – and we are the only one in this country with this mission.

But more importantly, our aim is to open a gate to the region. We are obliged to invite buyers and other experts of the west, and winemakers of the east and to create a professional environment to meet, taste, network and make business. We are seeking the competitive edge of the Central Eastern European wine producing region, the facets that can make this region interesting for the distributors and consumers of well-established wine importing countries.

What is your experience with Ukrainian wines? Do you see them as competitive as other wines of the Old and the New World within Winelovers Wine Awards?

Last year we had 3 gold medals from Ukraine, 15 silver medals and 6 bronze medals from 6 Ukrainian wineries. This year we are aiming to have 50+ entries from 10+ wineries. We are progressing step-by-step, and I think it is time to learn more about Ukrainian wines. Winelovers Wine Awards is ready to make your wines more recognized! It is up to you to join or not.

The medal winner Ukrainian wines from the last edition of Winelovers Wine Awards

Jury members of WWA 2024

International buyers of WWA 2024

Registration & entry of samples

Drinks+ spoke to Tabor Istvan, chief executive of the Winelovers Wine Awards. Our editor-in-chief Olga Pinevich-Todoryuk, as last year, was invited to the team of judges of the competition, and participation is free for Ukrainian winemakers. The event will take place in Budapest on June 28-30. Considering all info listed in your website, can you, […]

One of the most significant expo events in Europe is approaching — it is the London Wine Fair. Just before this important event Hannah Tovey, Event Director of London Wine Fair, despite the incredible amount of organizational tasks, found time to talk to the head of the Drinks+ Media Group. After all, despite the fact that the British market has historically attracted all those who are concerned with wine sales, this year the LWF organizers are introducing a number of innovations that will enhance the presentation capabilities of this expo hub and attract an additional audience of traders from around the world.

In 2024, the London Wine Fair, as the largest event in the beverage trade sector in the UK, is introducing a range of new features. Could you please name 3–5 of the most significant new options for exhibitors, in your opinion?

We have a host of new features for 2024, as well as several first time and returning exhibitors, so the Fair will have a real sense of “newness”.  One of the most significant new features is Judgement of London.  And we have a brand-new exhibitor area: The Discovery Zone, a dedicated section which will host non-wine drinks, including No and Lo.  Another first for 2024 is the Hosted Buyer Programme which will be available for all exhibitors and visitors as well as a full Concierge Service for 50 of the UK’s top buyers.

As it is known, the British market is one of the leading arenas for wine traders, always having unique advantages for wine trading. However, how does LWF additionally attract leading trading companies? Could you please elaborate on the motivation and services? Perhaps the Wine Buyers Awards play a significant role — what’s new in this project this year, and how does the motivational mechanism work?

LWF has an enviable reputation as an event for drinks professionals from the UK and beyond.  This is based on three key elements: business; education; and networking.  We are very much a platform for our exhibitors, be they distributors, wine brands, generic bodies, boutique distillers to show their portfolios to the UK’s top buyers from supermarkets to independent merchants to sommeliers.  It is this happy marriage of our exhibitor and visitor audiences which makes the LWF such an attractive proposition.

Who among the new participants this year would you particularly like to highlight — new ones or those who have returned after the break?

Several of the UK’s leading agents, importers and logistics companies are returning this year. Mentzendorff will take a stand for the first time in 12 years and will host a series of unmissable masterclasses; Buckingham Schenk; Freixenet Copestick; Hillebrand Gori UK; Lanchester Wines; and Origin Wine are also all returning.  We will also host Japan with a generic pavilion for the first time and we have four Chinese producers attending.

Wines of South Africa will return with a large Pop-Up Tasting on the Tuesday.  The tasting will bring together some of South Africa’s best producers and highlight a wide spectrum of wines on offer, from well-known names such as Spier, DGB, Waterkloof and Springfield to less well-known producers and those seeking representation. Groupings for Cap Classique (South Africa’s traditional method sparkling wines) and the Stellenbosch Cabernet Collective highlight how important these two categories are for South Africa in the UK market.

We will also see many of our long-standing exhibitors at the show: Hatch Mansfield, Awin Barratt Siegel, Richmond Wine Agencies, Ellis Wines, EWGA, Felix Solis, H2Vin, Marcato Direct, Beyond Wine and Friarwood Fine Wines., to name just a few.

The most important aspect, perhaps, of organizing such global forums as LWF is meeting planning. Is there any statistics on how visitors and participants utilize the communication opportunities provided by you through the online platform? In this regard, what advice could you give to wine producers who would like to attract the attention of effective traders/buyers, etc.?

Our searchable database of exhibitor products at the show, which is managed by Bottlebooks, is invaluable for visitors who wish to create a personalised tasting sheet to maximise their time at the show.  This is very widely used, and last year we saw 7,000 unique users of the product list.  The Hosted Buyers Programme will give visitors and exhibitors access to London Wine Fair’s digital networking and show planner platform, where they can book sessions and invite other attendees to meetings, all based on bespoke searches.  VIP buyers have specifically requested a bespoke service, and this has resulted in a dedicated space for meetings “The Hosted Buyers Lounge”.

Could you please explain in more detail for potential users how the integration of a resource like Bottlebooks into your services is planned?

The Fair’s official digital directory is run by Bottlebooks; a now universally used platform for wine data capture, which launched with the LWF back in 2016.  Bottlebooks is a tool  that gives the wine industry one place to host and exchange comprehensive, producer-entered product information including product information, photography, maps, controlled by the source – the producer.  As such it really enhances the visitor – and exhibitor – LWF experience.

Perhaps, it would be worthwhile to provide more information about the exhibition layout on the eve of the event. As for me, the following sections sound particularly appealing: DRINKS BRITANNIA, ESOTERICA, TRADING FLOOR, WINES UNEARTHED… What exactly will visitors find there, and who are they intended for?

Drinks Britannia celebrates our English and Welsh producers; we have a record number – 18 – signed up this year, some of which are exhibiting under WineGB.  Esoterica is always one of the busiest sections; it hosts boutique, independent importers mainly targeting the premium on-trade and independent merchants. The Trading Floor is the main area of the show and hosts the larger UK agents distributors and generic bodies.  And Wines Unearthed hosts non-domestic producers seeking a UK agent for the first time.

DISCOVERY ZONE — I suggest delving into this in more detail. Do we already know which startups and innovative technologies will be presented here?

The Discovery Zone has been moved to the heart of the exhibition. The idea is that the products and services that are hosted in this zone, are really at the centre of future-proofing our industry. Whether that’s a sustainability agency, an App, or a logistics company.”

Are there any new venues or sections in your exhibition this year that will appear for the first time? What prompted their introduction?

For the first time we have a large, hosted meetings lounge. This was prompted by a conversation last summer with two key buyers. They explained that meetings on stand are often great for tasting, but sometimes they need a more private location to have in-depth meetings with suppliers.

I can’t stay aside and not ask you about the JUDGMENT OF LONDON — who exactly came up with the incredible idea to recreate the famous tasting in Paris now in London? The media group Drinks+ has already outlined the principles of the upcoming tasting on its resources in general terms. And we hope to have the opportunity to cover its results. But I would also like to clarify — how were the wine analogs from the Old and New Worlds selected, do you personally have any forecasts or premonitions?

I first dreamt up Judgement of London in 2019, with the intention to launch it at the 2020 show but that was scuppered by Covid-19 and the subsequent UK Lockdown.  Logistically, it has been quite a significant addition to the show, but we felt this year we were in a perfect place to revisit the original idea. Judgement of London will pay homage to Steven Spurrier’s ground-breaking Judgement of Paris but will have a broader remit.

Instead of a France vs California blind tasting,  Judgement of London will feature pairs of wines from Europe and the Rest of the World; eight white, and eight red. These have been selected to be comparable in terms of style and readiness for drinking.  Two of the UK wine industry’s most experienced professionals, Ronan Sayburn MS and CEO of The Court of Master Sommeliers, and high respected wine writer and tasting judge, Sarah Abbot MW, will be selecting the wines and curating the tasting and we have a panel of 20 of the UKS most impressive palates to judge,  Judging will take place on the first day of the show, and we will announce the results on the Tuesday on Centre Stage.

I have no preconceptions of how this will pan out, but whatever the results are it will be an incredibly interesting exercise.

It’s logical to continue the topic with global trends, which JUDGMENT OF LONDON will undoubtedly demonstrate through its results. Could you please name the main directions in which the wine world is moving, and which ones do you personally observe from the perspective of your own experience and years of activity in general? Which of them will have a critical impact on the industry? For example, could you comment on a phenomenon that LWF focuses on — such as regenerative.

Sustainability is the number one issue for wine right now and The Fair gives an opportunity to shine a spotlight on this and create an environment to instigate change.  2023 was the most sustainable show to date, and we have strengthened that focus for 2024, with more seminars and masterclasses on the key challenges our industry faces such as climate change and carbon emissions.  We will also report back on our Bottle Collection Initiative which we platformed for Sustainable Wine Solutions and The Porto Protocol last year.  The LWF is very much a showcase for future trends in the wine industry and 2024 is no exception: the use of Artificial Intelligence for example.

Perhaps, it’s worth focusing separately on the designated zone at LWF — MINDFUL DRINKING EXPERIENCE. How is this segment growing, and are wines with low alcohol content or even zero capable of regaining some lost audience of wine lovers — as global statistics, as far as known, indicate a decrease in demand for wine in almost all segments? Could you please detail the initiatives of an association like Club Soda?

No and Lo remains one of the fastest growing sectors within the drinks industry and also one of the most innovative and exciting.  We will be hosting 16 exhibitors / brands in the Mindful Drinking Experience this year, 7 for the first time.

According to observations by Drinks+ observers, competition between exhibitions — the world leaders in the professional wine community — has sharply intensified after the pandemic. Does London feel the pressure? What are your strongest positions that allow you to stay in the top league? What are the plans — if not a secret — for the coming years?

Having an event the scale of London Wine Fair which serves the UK market – one of the most diverse in the world – has never been more needed.  Having a platform which raises the most pertinent issues and challenges – as well as opportunities – is absolutely essential.  The impact of Brexit, the looming changes to duty, falling wine consumption, our carbon emissions all need to be debated and solutions implemented and LWF provides the space to do this, alongside doing business and identifying trends for the future.

One of the most significant expo events in Europe is approaching — it is the London Wine Fair. Just before this important event Hannah Tovey, Event Director of London Wine Fair, despite the incredible amount of organizational tasks, found time to talk to the head of the Drinks+ Media Group. After all, despite the fact […]

One of the most authoritative winemakers in Italy, the President of Assoenology Marche, Luigi Costantini, found the opportunity in his busy schedule to answer the questions of the director of Drinks+ International Communication Media Group. Luigi Costantini was born in the Marche region and has been working exclusively with local wines for 45 years. By joining forces with the owners of Tenuta Manoylo and the unique data of the terroir, Luigi Costantini managed to create a pool of brilliant wines at this winery. And from the first steps on the international stage, these wines won the highest awards of the prestigious international competition. How success was achieved, what direction the winemakers of Marche are moving in — we asked about all this in this interview.

D+: We know that your whole life is dedicated to the development of winemaking in Marche, the revival of local grape varieties and the international recognition of wines from this historical region. Five years ago, in particular, you, as an enologist, began collaborating with Tenuta Manoylo on the idea of ​​producing “grande vino rosso”. We ask you to explain what meaning you put into this phrase. What should such wines be like?

(Editor’s note: the winery is a nominee for the international Wine Travel Awards, you can vote for Tenuta Manoylo here until March 31 inclusive).

Luigi Costantini: The meaning is quite simple and expresses the idea of ​​the project to obtain red wines with specific characteristics that are the optimal expression of a particular grape variety and climatic environment, with differences, even minimal, related to the climatic trend. These red wines should have niche characteristics to satisfy clients who are able to appreciate and understand the nuances highlighted by the terroir, with differences related to the vintage, but with the same common theme. Therefore, these are long-lived, complex, elegant, deep and powerful red wines that evoke sharp emotions in the taster.

D+: This year we are already seeing the fruits of this collaboration. In 2024, Tenuta Manoylo received the highest awards from the Mundus Vini competition: Grand Gold — 2021 Marche IGT Sangiovese; Silver — 2021 Falerio DOC Pecorino and Best of Show Marche for the excellent wine 2021 Marche IGT Sangiovese. Can you comment on the specific outstanding characteristics and features of each wine, noted by the esteemed judging panel?

Luigi Costantini: Indeed, this year we are finally beginning to see the results of the work started in 2020: all this became possible thanks to the owners of the winery, who believed in us — I say “in us”, because I work with colleagues: Lucciarini Vincenzo, who heads the analytical laboratory, and Lucciarini Matteo. I will try to briefly describe each of these wines.

Marche IGT Sangiovese 2021 — is the embodiment of the history of Sangiovese, one of the most important Italian grape varieties, which has an ancient origin and has been known since Etruscan times. The first documented reports date back to 1500 and refer to the central Apennines, the region between Umbria, Marche, Romagna and Tuscany. Sangiovese is able to best convey the features of climatic microzones. If we describe the appearance of this wine, then I note the ruby-red color with weak purple reflections. The aroma is intense, complex, refined, enveloping and ethereal, with notes of underbrush, with hints of ripe red fruits, plums, raspberries and cherries, with spicy and balsamic tones. These features complement each other and give the wine balance, elegance and harmony. There is a noticeable presence of tertiary aromas, such as toasted, vanilla or spicy notes. Light balsamic notes complete the complex aromatic picture. Taste: dry, sharp, warm and fruity, gives elegance to the wine and demonstrates evolution. Thanks to elegant and balanced tannins and low sugar content, it acquires a piquant and persistent taste with balsamic final notes and a spicy tertiary aroma.

Falerio DOC Pecorino 2021 

The local vine of this ancient variety was rediscovered in the Arcquatano del Piceno area by Guido Cocci Grifoni in the 80s. The 90s were marked by the revival of Pecorino, an excellent wine with a striking appearance and powerful acidity, but only in the 2000s, after experiments in the field and on the vineyard, DOC was created. And since 2011, it can be produced on the territories of Moresco, Falerio DOC Pecorino. Pecorino today is a symbolic wine and ambassador of the Piceni Fermani region: it is defined as “red in white clothes”. It has a beautiful straw-yellow color, tending towards golden, with soft greenish reflections. The aroma is deep, a complex bouquet, with an elegant structure with intense notes of white flowers and ripe fruits and with light notes of vanilla and balsam. Pecorino demonstrates a good range with very noticeable and clear aromas, with a predominance of herbal and sage tones. This wine has a wonderful structure, good acidity, full, piquant and pleasantly mineral, with a persistent taste.

Marche IGT Passerina 2021

The “Passerina” wine is one of the most famous wines of Marche and Abruzzo, produced from grapes of the same vine. The reason why this wine is called “Passerina” is that sparrows particularly like to peck at the grapes on the vine, from which the name of the wine comes. This vine was highly valued by winemakers and was called by such synonyms as Cacciadebiti, Scacciabebito, Pagadebito and Uva d’Oro, clearly indicating the variety’s ability to guarantee a good harvest every year and reliable profitability. Passerina has a nice straw-yellow color with golden reflections. The intense aroma of medium complexity has strong floral notes of lime and hawthorn, with broad fruity notes, mainly pear; cedar and ripe grapefruit notes and elegant mineral hints complete the aromatic trail. The proximity of the vineyards to the sea adds a characteristic taste — fresh, pleasant and soft, with a good structure. It is clear and persistent, with light citrus and aromatic herb notes.

D+: We and, of course, our readers would like to learn more about the unique wine Peconero, a white wine with red properties, created by macerating Pecorino grapes on the skin of Petit Verdot using amphorae made of local volcanic clay. Please comment on this idea — how do these two varieties work together, how does the wine material develop in the amphora? What characteristics does such wine acquire?

Luigi Costantini: The project to create Peconero was born from the fact — already mentioned by me — that Pecorino has always been defined as “red in white clothing”. Varieties: Pecorino no less than 90%, Petit Verdot up to 10%. The yield is ensured by agronomy and is about 70 quintals per hectare. The harvest, which begins in early September for both vines, when the grapes reach the optimal and necessary level of ripeness, is carried out manually in boxes. The cleaned and slightly pressed grapes are macerated and fermented at 15-20 °C in steel tanks with flooding to promote the extraction of the anthocyanin component from the red skin and the aromatic component from Pecorino; maceration is stopped as soon as the optimal color is achieved. After the end of fermentation, the wine remains on the fine lees for at least 20 days. Here I note that malolactic fermentation should not be carried out in order not to lose the typical freshness of Pecorino. Then the wine moves on to the aging phase in wooden barrels and amphorae for 2-4 months. After bottling, Peconero does not require further processing. Pecorino matures early; gives wine with a wonderful structure, with very noticeable and clear aromas, with a predominance of herbal notes, sage. The wine has a wonderful structure, good acidity, full, piquant and pleasantly mineral, with a persistent taste. Petit Verdot, on the other hand, matures late, but we harvest it early to have a ruby-red color, fresh and slightly sour, with fruit and floral aromas that make it similar to Pecorino. These two grape varieties complement each other, and we still have a ruby-red color with complexity in the nose, waiting to be opened. This wine is very balanced in taste, even if Pecorino has a slight advantage. It must be consumed fresh. This is, so to speak, a “summer, fish red”.

D+: By the way, about amphorae — is this traditional vessel for aging wines in your region?

Luigi Costantini: Amphorae are very ancient vessels, dating back to 6000 BC, used primarily by the Greeks and Romans for transporting wine and other agricultural products. It is no coincidence that the history of amphorae, produced in the Adriatic region, from Pedaso to the hilly area, begins with the Greeks, continues with the inhabitants of Piceni and the Romans, as evidenced by some archaeological finds, around the mouth and along the banks of the river Aso, Roman ruins, which testify to the production of amphorae for transporting wine. According to these artifacts, our amphorae are made of volcanic clay in the area of Monteleone Fermano, a few kilometers from Moresco. That is why they are unique and have a volume from 100 to 500 liters. In fact, this is a unique material — since the clay is porous, the amphorae allow moderately oxygenating the crushed grapes or must, and later the wine itself, which gives the aromatic and organoleptic components of the wine noticeable typicity and territorial characteristics.

D+: As we know, you are a professor of viticulture and winemaking, and such deep and comprehensive education allows you to conduct very productive experiments both with grape varieties and with different vessels for fermentation and aging of wines: steel tanks and oak barrels, concrete eggs and clay amphorae, in order to create wines with the best reflection of the terroir of Marche. Our readers are mostly professionals, so could you please dwell on this topic and tell us how exactly the vessels affect the organoleptic properties of wine? Perhaps on the example of the above-mentioned award-winning wines?

Luigi Costantini: I would like to note that our company is very sensitive to environmental issues, with rational management from the vineyard to the cellar. We have succeeded in obtaining the EQUALITAS certification, which is a standard that defines the requirements according to the three pillars of environmental and socio-economic sustainability in the wine supply chain. We also use biotechnology in the cellar for aging, maximally avoiding the use of chemicals. In the company, we use different types of containers: stainless steel tanks, concrete tanks, oak barrels, tonneaux, barriques and amphorae. Obviously, the use of these different containers depends on the final goal — the product you want to obtain. Our grapes, washed and dried, are vinified separately, except for DOC ROSSO PICENO, using stainless steel tanks, the Ganimede vinificator and roto vinificator; all the vessels are equipped with temperature control devices. We also use wooden vats. Maceration and fermentation vary in time, depending on the type of grape and the product you want to obtain, and since there are many variables — from harvesting to the end of fermentation, it is necessary to know how to understand and plan all the stages of winemaking. Red wines, which are always kept separate, after a certain period of time on the fine lees are moved to cement or wooden vessels and/or amphorae, always and in any case depending on the product itself and the desired result. The duration of stay varies from a minimum of 2 months to 12-14 months. Careful and periodic analytical and organoleptic checks allow us to determine the optimal time for any planned blending and bottling. In fact, the final organoleptic properties are not always the same, they depend on all the variables, starting from the harvest to maturation and aging.

D+: So, you not only revive and apply in practice the old traditional winemaking technologies involving the grape varieties of the Marche region, but you also, as we see, experiment with international grape varieties and innovative winemaking methods. Can you share your plans – what is happening today behind the scenes of Tenuta Manoylo, which innovative wines should we expect in the near future from this potential winery?

Luigi Costantini: Undoubtedly, the varieties of our grapes are traditional for our territory: Sangiovese, Montepulciano and Alicante, as well as international grape varieties for red wines, exclusively local for whites Pecorino and Passerina. It is true that we implement modern winemaking technologies in practice, such as the use of the Ganimede vinificator or rotary vinificator, but we also rediscover old winemaking technologies, first of all vinification under water and of whole grapes. The results of these winemaking methods can be predicted, but to draw final conclusions, we need to wait a few months. At the same time, we began research and selection of wild yeasts: this work will be quite long, but we hope to obtain proprietary yeasts that will further characterize our product. For the next few years, we have several projects for red wine, and we have already talked about Peconero. Another project that we have been conducting since 2023 is dedicated to Alicante. This grape variety has been present on our territory since 1800, we will vinify the grapes according to an ancient technology, which I do not want to reveal yet. In addition, we are already working on a wine in an international style using traditional grapes from our territory, Montepulciano. Both of the last projects will be implemented, I assume, in 2025.

D+: You started your professional career in the same region of Marche, in Ascoli Piceno. And you remain faithful to this region. But Marche, unfortunately, is not such a widely known region in the wine world, as a whole list of other Italian winemaking territories. But you prove with your work — and the success of Tenuta Manoylo is the best fresh confirmation of this! — that the wines of Marche deserve more attention from wine lovers and professionals. Tell us about its features. And why did it happen that at some point it undeservedly found itself on the sidelines of fame?

Luigi Costantini: I entered this profession back in 1973, as soon as I received a diploma in “Winemaking and Viticulture” from the Ulpiani Institute in Ascoli Piceno. I have always worked exclusively in this region until 2005. But since then I started working abroad, mainly in Albania. Unfortunately, it is true that the Marche region is not very well known, although its winemaking potential is high. It is undeniable that the average wine production does not exceed one million hectoliters, as can be seen in 2022, when this figure was 93,000 hl. However, the wine palette is diverse and interesting, in fact we have 5 DOCG (Conero 10,000, Castelli di Jesi Verdicchio Riserva 8,700, Offida 35,200, Verdicchio di Matelica Riserva 2,100, Vernaccia di Serrapetrona 900), IGT Marche and 15 DOC: Bianchello al Metauro 11,700, Colli Maceratesi 8,000, Colli Pesaresi 7,200, Esino 1,400, Falerio 33,000, Lacrima di Morro d’Alba 13,800, Terre di Offida 1,200, Rosso Conero 8,700, Rosso Piceno 72,000, Verdicchio dei Castelli di Jesi 148,000, Verdicchio di Matelica 26,800, Serrapetrona 1,000, I Terreni di Sanseverino 97, Pergola 460, San Ginesio 370, La I.G.T. Marche 268,600. Undoubtedly, the flagship product of our territory is Verdicchio for whites and Rosso Piceno for reds.

D+: How much importance do you attach to terroir in general and what potential do the vineyards of Tenuta Manoylo have? After all, not for nothing did a specialist of your level take up this project!

Luigi Costantini: I would like to note that in managing the vineyard I work with my colleague Giuseppe Camilli, one of the most knowledgeable agronomists in Marche. As for the terroir, it is a very important concept, really basic. The company’s vineyard is diverse, it consists of different plots, distant from each other. This diversity means that there is an opportunity to obtain wine from one and the same grape, but which will express the differences of the terroir: in each glass you will feel different soils, etc. Now we are testing different varieties to optimize stylistics, product quality. To better understand the vineyard of the estate, I will give a table.

Total: 23,5646 ha

D+: From the height of your positions — ex-president of Assoenologi regione Marche and current president of Harvest Group Centro Ricerche Enologiche – you probably have a good view of what winemakers in Marche should do today to win the battle for recognition of their wines in the world, which today has been launched by such wineries as Tenuta Manoylo. What role can Harvest Group play in this? Can you briefly outline the roadmap: in what style to move, with which grape varieties, how to promote, etc.?

Luigi Costantini: A complex question… Undoubtedly, the wine sector of the region needs to create its own system, abandon limitations, focus on specific projects to create the opportunity to develop a synergistic strategy between all components of the supply chain and the territory. In order to finally overcome critical problems and improve the situation on the market. One of the main problems that determine the weakness of the regional wine and agri-food sector is the extraordinary fragmentation of the production and, above all, commercial system. In the provinces of Ascoli and Fermo, the agri-food sector, in particular the wine sector, has invested more than 130 million euros in improving the quality of production over the past 10 years, distributing the budget between modernization of processing structures, renewal of vineyards, diversification of agricultural activity, etc. But there is still no adaptation of these efforts to advertising and commercial policy, which remains the weak link in our production system.

D+: Dear Mr. Luigi! Thank you very much for your time answering our questions, success to you and your wines and well-deserved fame — to the Marche region!

One of the most authoritative winemakers in Italy, the President of Assoenology Marche, Luigi Costantini, found the opportunity in his busy schedule to answer the questions of the director of Drinks+ International Communication Media Group. Luigi Costantini was born in the Marche region and has been working exclusively with local wines for 45 years. By […]

Mr Adrian Bridge, CEO of The Fladgate Partnership,  Taylor’s Port, The Portuguese WOW (this museum complex was nominated for Wine Travel Awards this year) and The Yeatman Hotel found time to talk to a representative of Drinks+ Communication Media Group.

Dear Mr Adrian Bridge, let me start our interview with a personal question. After all, as we see, people are at the heart of all the businesses you lead. Even the Fladgate Partnership is named after John Fladgate, a famous 19th-century distributor and partner of Taylor’s brand who was awarded the title of baron for his services to the wine industry. Port wine itself is a special drink that requires a personal approach to consumption. So we would like to ask you to spend a little time telling us about your long journey in this field — you started with a successful career as a Royal Guard officer, who was awarded the Sword of Honor. And to the wine industry, you were led by love?

I grew up in England and attended The Oratory School where a good friend of mine was David Sandeman – my first real contact with someone in the Port industry.  After leaving school I went to the Royal Military Academy Sandhurst where I was awarded The Sword of Honour – an award given to the best Officer Cadet of the year.  I was commissioned in 1st The Queen’s Dragoon Guards where I served for 5 years – including a year with the United Nations Peacekeeping force in Cyprus.  When I left the Army I became an Investment Banker – firstly working at Merill Lynch and then at NatWest where I rose to lead the US Equity Sales team.

I met my wife in 1982, before I joined the army, and we were married in 1989.  In 1994, my father-in-law asked me to leave Investment Banking and come to Portugal with the aim of taking over managing the company.  We arrived in 1994 and I became Managing Director in 1998.

When I started in the company I looked after the UK and USA – two markets that between them accounted for over 50% of our business.  The company was fairly small with the two brands of Taylor’s and Fonseca and about 140 people.  Since 1998, we helped to consolidate the Port business, buying 7 different port companies or their assets.  We have expanded into distribution, hotels, tourism and, most recently, table wine.  The group now has 1,346 employees.

Can you list the main historical milestones of The Fladgate Partnership and what brands are currently united in this holding? What is the company’s position in the port wine market?

Our main brands are Taylor’s, Fonseca and Croft.  We have sold Delaforce and Krohn.  The three main brands are leaders in Special Category Ports where we represent about 1/3rd of the global market.  We have expanded to serve about 103 markets with Taylor’s Port which is probably the most consistently positioned Port brand and has an enviable reputation for quality.

We have always promoted innovation.  Our work in the vineyards earned us the Banco Espirito Santo Biodiversity Award – the first private company to win this.  In 2008, I created Croft Pink which was the first ever Rose Port.  In 2010, we launched Scion, an aged tawny from 1855 which was the pioneer for old releases by the Port trade – it was the first Port to be launched at a price of over Euro 1,000 per bottle (price was Euro 2,500).  More recent innovation is the launch of RTD (ready to drink) which is Port and tonic in a can.

We remain the leading specialty Port company despite now also being in hotels, tourism and distribution. In 2018, we launched the Porto Protocol where I invited Barack Obama to give the keynote speech.  The Porto Protocol is a global initiative to promote and share best practice in environmental response and we have members in 20 countries on 5 continents.

In your opinion, what place does port hold among wine drinkers today? We would be grateful if you could provide some comparative statistics for the last few years, how consumption is changing. Is the audience for this wine stable?

Port is both an aspirational drink and one that offers a wine range of styles.  Since 2000, the total sales of Ports have declined but the value of the sales has remained and this is because the growth has all come from Special Category Port.  France, the largest Port market, has lost 1/3rd of its volume since 2000 but all the volume lost has been in standard, commodity cheap Ports.

Port as a drink offers a rich style of wine that has layers of deep flavors and can be paired with many foods and consumption moments.  It goes very well at the end of the meal either on its own or with desserts.  However, we are also seeing increasing use of Port in cocktails given that it is a full bodied drink, with natural sweetness and about 50% of the alcohol that Spirits have.

Today, The Fladgate Partnership, while remaining the flagship of aged port production, is expanding its scope of interests to include dry wines from the Douro region. What is the reason for this expansion? What are these wines, varieties, and characteristics?

We bought a business last August (2023) which was making table wine in Minho, Dao and Bairrada.  We bought them because they were great vineyards making fantastic world class wines.  There is a growing interest in Portuguese table wine and when we were offered the chance to buy such a quality portfolio we took it.  We will produce table wines from the Douro but we have to purchase a vineyard especially for this so that we do not compromise the production of a Ports.

Perhaps this is a result of a cursory glance, but it seems to us that port producers are paying more attention to mixology. If so, please comment.

Port can provide body and natural sweetness to a cocktail and only has 20% alcohol which makes it a perfect addition for mixologists who are seeking the best ingredients for their creations.

Would you say that your creation of a new style of port in 2008, Croft Pink, a multi-generational port, is a consequence of the same trends as port-based cocktails and dry wine production — i.e., a search for an additional audience? Over the 15 years of its history, this drink has gone from a solid port reputation to a somewhat frivolous image of a youthful drink in a stylish metal can, associated with the Barbie style and a favorite on the catwalks. What is the difference in technology and has the new type of port wine succeeded in taming the youth?

Croft Pink was a response to the increased interest in Rose wines around the world.  It did create more consumption moments and brought new consumers to the Port category.  It is a serious Port that uses the finest fortifying spirit that we have; spirit that is normally only used for Vintage Port.  It has been used in cocktails but is probably most often consumed on its own, often with tonic water.

It was a natural progression to offer a pre-mix Croft Pink and tonic for two reasons.  Firstly, we make our own tonic water that is actually dryer than commercially available tonic.  Secondly, it provides consumers with convenience as it is a single serving.  For example, it has been popular on airlines due to its easy of serving.

The fact that it was launched in 2021 and that there has been a subsequent movie called ‘Barbie’ has not correlation.  We have served it at fashion shows because it is cool, fun and tastes great.

Last year, in 2023, at the TFWA World Exhibition and Conference in Cannes, your company presented a unique drink for the first time — Taylor’s Port City Edition — the embodiment of the spirit of wine tourism, where even the packaging itself is a work of art — it contains an illustrated map of the Port, decorated with Taylor’s recommendations of places worth visiting. Who came up with this idea, what does this port represent? Is this a one-off release or will there be repeats, what are your plans for developing the idea?

This is a logical creation given that consumers are often looking for unique gifts that they can purchase at the airports.  We used a bottle shape that had proved very popular in 2017 when we celebrated our 325th anniversary of our foundation in 1692.  We plan to make other releases with other cities.

It would probably not be wrong to say that the most daring project in the field of wine tourism from your company is the creation of WOW. The Portuguese WOW space is a unique world-class phenomenon. Today, perhaps, it is possible to evaluate it as a business project, isn’t it? If so, please comment on the extent to which expectations and realities have coincided. We would also be grateful if you could tell our readers about the special training program in Portuguese winemaking offered by WOW’s The Wine School.

We have 5 permanent museums and two for temporary exhibitions.  We have 6 restaurants, 5 cafes and a wine bar.  We also have a wine school.

The wine school offers short courses for several hours followed by a meal or can run workshops such as the popular Wine and Chocolate or Port and Chocolate.  It also does WSET courses up to and including level 2.

WOW has used the city center location where we previously stored Port and is an entire cultural district.  It is a city asset open to all visitors. Many come for events, museums, shops, tastings and the wide number of activities that we offer.  It was launched on 31st July 2020 in the middle of Covid.  It was built to serve 80% tourists and 20% the local market.  That had to change rapidly and it has taken time to establish.  It is unique in the world which has made it more challenging to promote as people do not always understand what it is.  However, it is in the heart of the city, has fantastic views over eth city area and has something to appeal to everyone.  In 2023 we had just under 150,000 people visit the museums and 300,000 meals served in the restaurant.

Your company Taylor’s Port and the Gérard Basset Foundation announced this year the award of Taylor’s Port Golden Vines® Diversity Scholarships. This program of professional development is an honorable mission. Are the scholarships related to the development of knowledge about Portuguese winemaking? Can you tell us more — will all participants take this course and will it take place in Porto? Are there any plans to develop this educational project?

I knew Gerard Basset and his work in the UK.  He was a man with great knowledge but with a humble approach; someone who was willing to share his passion for wines.  When we were asked to sponsor the Diversity Scholarship it was a perfect opportunity to help people who were striving for wine knowledge to develop a professional career in the wine industry.  We are a strong believer in education and I also feel that a 330 year old company can take a leadership role in our industry.  We have been delighted to sponsor this program and to welcome the Scholars to Porto.  The education that most are looking for is to help them qualify as MWs or MS so the scholarship helps them to gain this knowledge wherever they travel in the world.

Since we are talking about high missions, it is logical to ask you to explain such a concept as The Porto Protocol — what exactly does it include, what is its purpose, and which manufacturers it unites? If you have such plans, please announce the next forums on this topic. Who can join them and how?

The Porto Protocol is a not-for-profit foundation that is helping the wine industry globally to share best practice and case studies of successful solutions to climate change.  It is funded by Taylor’s Port (part of that leadership role in the industry).  We now have members in 20 countries right across the world and the Porto Protocol has become the best place to find solutions for the wine industry to climate change.  We hope that in future we will have others help in funding the charity so that its work can grow.

Mr Adrian Bridge, CEO of The Fladgate Partnership,  Taylor’s Port, The Portuguese WOW (this museum complex was nominated for Wine Travel Awards this year) and The Yeatman Hotel found time to talk to a representative of Drinks+ Communication Media Group. Dear Mr Adrian Bridge, let me start our interview with a personal question. After all, […]

Congratulations to WTA nominee Daria Kholodilina from Georgia, who won the IWSC 2024 Emerging Talent in Wine Award sponsored by the London Wine Fair!

The list of exceptionally talented candidates for this award was announced last week. After a detailed review, the judges chose Daria Kholodilina. They were simply fascinated by Daria’s creativity and abilities. “It changes and moves forward the entire Georgian wine industry,” experts noted. “Her influence, ingenuity and work are creating markets and changing the way we think about wine.”

Daria Kholodilina is an expert in the field of wine tourism in Georgia, she is a big fan and popularizer of Georgian wine, has a WSET 3, Georgian Wine Expert certified by the Georgian Sommelier Association. She regularly blogs about Georgian wine in social networks. In 2022, Daria Kholodilina joined the WTA community in the nomination Wine & Food Influencer/The Brightest Journey.

Daria was born in Ukraine, and in 2013 she moved to Georgia and has since fallen in love with this country. She participated in the development of Georgia’s national tourism strategy for 2015-2025, focusing on marketing and promotion.

The judges were impressed by how Daria Kholodilina acquired deep knowledge in such a deep topic as Georgian wine in a few years and became a respected specialist in the field. She is the co-author of the book about Georgian wine, the only English-language guide to the wine regions of Georgia “Georgia: A Guide to the Cradle of Wine“;  she hosts a podcast and radio show on the same topic, and also created her own wine tourism company, Trails and Wines.

In 2020, Daria spent several months traveling around Georgia, visiting wineries and filming interviews with winemakers. She gave her notes to Georgian wine importers in Germany, France, Switzerland and the Netherlands to help them promote the wines. In addition, Daria organizes training on the development of wine tourism and conducts numerous tasting events, presenting Georgian wine in Georgia and abroad.

The IWSC 2024 Emerging Talent in Wine judges praised Daria Kholodilina’s work and expressed their admiration for her intention to use her £2.5k travel award to help her community and expand her impact. In her application, Daria said she had two ideas for how to spend her scholarship – an internship at a European winery to conduct more in-depth training sessions for Georgian winemakers, and representing small Georgian producers at one of the major trade fairs.

Daria Kholodilina is sincerely happy about her award: “Georgian wines have already received several medals from the IWSC, but I am happy to bring home the first award in the field of wine communication and marketing in Georgia!”

The Wine Travel Awards team hopes that this year will be a stellar one for Daria – and she will win this project as well. Public voting for the nominees of the 2024 award will start on March 1 and we invite readers to support Daria by visiting her page from March 1 to 31 and giving her a “like”.

Congratulations to WTA nominee Daria Kholodilina from Georgia, who won the IWSC 2024 Emerging Talent in Wine Award sponsored by the London Wine Fair! The list of exceptionally talented candidates for this award was announced last week. After a detailed review, the judges chose Daria Kholodilina. They were simply fascinated by Daria’s creativity and abilities. […]

Only in 2023, Ukrainian wines have won more than 150 medals from various international competitions, evaluated and awarded by wine professionals and experts from around the globe. We do believe that these numbers will grow in 2024, especially now that every year we witness the growth in quality of Ukrainian wines. 

The range of wine competitions is really wide, so what differs one from another? Drinks+ decided that the best way to find that out is to talk to insiders. Victoria Makarova‘s interview with Thomas Brandl, the representative of Concours Mondial de Bruxelles for Eastern and Central Europe and owner of xenos-comm, is, hopefully, one in a row, providing useful insights to Ukrainian winemakers.

How did your career wir CMB begin? I am sure there‘s an interesting story behind it. 

Yes, indeed, there is. Back in 2007, during my time as Communication Director of Stuttgart International Trade Fairs, I was invited as a judge to a national wine competition in Chile. That was the time when I met Baudouin Havaux, the Chairman of Concours Mondial de Bruxelles. We are the same age, we had (and still have) a lot in common —  as you may know, wine is connecting people. Baudouin had a “campo” in the Maule region of Chile, and he invited me to spend a few days in his country house. A year later, in 2008, the Chilean competition was already co-organised by CMB, it took place in Valparaiso — I was invited to join the jury. And in 2009, I found myself as panel chair of the big CMB in Valencia / Spain. Since then, I do this every year. In 2012 I became the official CMB Ambassador for Germany, Austria and all Eastern European countries.

So you are currently working with lots of so-called „emerging“ wine regions. Which of the recent years’ discoveries you would call the most impressive ones, and why? 

During my 14 years at Messe Stuttgart the winemaking of Eastern Europe was my focus. We did many presentations and press conferences for the Intervitis   vitivinicultural technology trade show to attract visitors to Stuttgart. When I started  my own PR agency xenos-comm in 2011, I continued working in this field. I helped wine countries like Georgia, Moldova, Bulgaria, Romania and North Macedonia to gain visibility in Central Europe, as well as Turkey and Greece. Recently I started a collaboration with Wines of Armenia, and every now and then I’m helping my Ukrainian friends a bit as well.

In the last few years, Ukraine and its wines have probably been the biggest surprise years for me. I didn’t expect such a quality revolution in Ukrainian winemaking within such a short time — and especially during the on-going russian aggression in Ukraine.

You are well familiar with Ukrainian wines. Which categories could be the most relevant for the range of CMB competitions and have better chances to win medals?

So far, I think your chances are better with white wines and sparklings. Odesa Black (the famous local red) can deliver very powerful, spicy red wines. But sometimes I find them a bit rustic. The indigenous Telti-Kuruk or the local Sukholimansky are very interesting white varieties in my opinion. Of course, there are better and better Merlot and Cabernet Sauvignon produced in Ukraine as well, the question is, however, are the export markets waiting for them…? There is already a global oversupply with the wines made of these French varieties.

Ukrainian wineries have already participated in CMB and won some medals. What would be your recommendations to those who are planning to do it for the first time? Is there a “must do” checklist, maybe?

No, there’s no “must do” checklist. But, of course, as Concours Mondial regulations are the strictest in the world, only top quality wines should be sent there. We follow the rules of OIV with maximum 30% medal awards, unlike, for instance, some British competitions, where 80% of all participating wines get medals. I don’t think flooding the world with medals is a very serious business behaviour, to me it seems more like a “money printer”. Each producer should be aware of the value of his medals obtained in a competition where 4 out of 5 wines are getting one. This may not be so obvious to the consumer, but definitely clear to the expert community. 

To be awarded at the “big” CMB for red and white or the specialized editions for Rosé, Sparkling and Sweet wines might not be as easy, but the producers can be sure that their accolades at CMB do count amongst the best wines in the world. And the organizers do a lot to promote the award winning wines and wineries globally. 

Could you tell us a bit more about the special features of Concours Mondial de Bruxelles? What makes it different from other international contests?

CMB defines itself as the “United Nations of Fine Wines”. No other competition in the world has such an international tasting panel, with people coming from over 50 countries and from all continents. There are other important competitions, for example in Germany and the UK, but, as far as I know, the tasters there are mainly German or British. 

Another distinctive point is the cooperation with the University of Louvain in Belgium for statistics and the “quality control” of our tasters: every day they are tasting the same wine twice blindly without knowing it – and if their scoring differs remarkably, they will have a problem.    

So CMB has a mechanism regulating the number of medals granted to the participants. How does it work, practically?

We follow the 30 percent rule strictly. When the tasting sessions are over, our IT system does the necessary corrections of scores to remain within the 30 percent frame. This may result in some wines getting into a “small silver” range, meaning they are within the general “silver” score, but not winning a medal.

Sounds tough. Considering the strict evaluation procedure, what are the most meaningful advantages the participants are getting from your competition? And what are the benefits for those who don‘t win the medals?

As I already mentioned, 50% of our tasters are international journalists, another 15% are international buyers and importers. The award-winning wines very quickly raise the public awareness of the producers. Just to give you an example: in 2022, 3 days after winning the trophy of the Best Red Wine in Show, a wine from Moldova was completely sold out! It was the first time that a wine from Eastern Europe won this award at CMB. In 2023 another red wine from Bulgaria followed, with a similar success rate.

All participants, including those who do not win medals, receive an elaborated sheet with the details of the tasting panel, comments from tasters, and the aroma profile of their wine, which they also can use for their marketing purposes.  

The wine map of the world has been expanding in the last 10-15 years. How did that influence your competition (participants, judges)?

Since I began to work for CMB the number of samples submitted by wineries from Eastern European countries have more than quadrupled! This goes hand in hand with the quality revolution we have been witnessing there recently. Of course, the number of tasters from Eastern Europe has risen at the same speed. Many of them do a very good job and have become important members of the big CMB family, some of them also serving as panel chairs. I’m very happy about this evolution!   

There is a certain stereotype among the participants: if a contest is held in Germany / Italy / France / the UK, it focuses mainly on the buyers and consumers of that country. Do you think it’s true? And what are the core “markets of influence” for your competition?

I think this perception is quite true. If producers are targeting merely the German market, they are in good hands at Mundus Vini. If they are interested in the British market, there are several competitions to be considered there. The competitions in France, Italy and Spain are heavily dominated by national producers and judges. CMB is actually the only international event which travels every year, thus exploring new wine regions and countries and putting them on the global winemaking map. The biggest number of samples are submitted by the winemakers of France, Italy, Spain and Portugal, followed by Eastern Europe in the meantime.

Our recent creation of “Wine Bars“ and “Wine Corners by CMB” in important global cities like Mexico and Tokyo in combination with our new collaboration with United Airlines and their Business Lounges offers CMB medal winners unbelievable marketing possibilities in the future – all around the world!

In 2023 we surpassed the former Iron Curtain for the first time, when we organized CMB in Slovakia. In 2016 we were in Plovdiv, in 2020 in Brno, in 2023 in the Croatian Poreč. Why not come to Odesa one day, when this horrible russian aggression is history? I’d love to realize this dream…        

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The CMB Red & White Wines Session will take place in the city of Leon, Estado de Guanajuato, Mexico, on June 7th, 8th, and 9th. This is the first time the competition will be held in North America. The State of Guanajuato has a rich winemaking history that dates back five centuries. 

More details about CMB sessions and registration can be found here:

Rosé Wines Session

Sparkling Wines Session

Red and White Session

Sweet And Fortified Wines Session

IMPORTANT INFO: on the request of Wines of Ukraine, the CMB organizers are offering Ukrainian participants a 20% discount for submitting their samples, valid for all tasting sessions in 2024. For further details and promo code, please contact Wines of Ukraine team at info@ukr.wine.

Photos: Thomas Brandl, Concours Mondial de Bruxelles 

Only in 2023, Ukrainian wines have won more than 150 medals from various international competitions, evaluated and awarded by wine professionals and experts from around the globe. We do believe that these numbers will grow in 2024, especially now that every year we witness the growth in quality of Ukrainian wines.  The range of wine […]