Gastronomy and Wine Portal

He knows everything about meat. Known as the Master of Steaks, Oleg Starun has 20 years of experience as a chef in some of Ukraine’s top steakhouses. We sat down with Mr. Starun to learn why American beef is so delicious, the secret to a perfect steak – and he even shared one of his signature recipes with us!

Drinks+: You hold the title of Meat Expert from the American Association of Marbled Beef Producers and trained in Texas. You’re also a food industry technologist by education, so you approached your U.S. internship from a highly professional perspective. What impressed you most during your time in America? What lessons and skills have stayed with you and helped shape you into the Master of Steaks?

Oleg Starun: My impressions of America are overwhelmingly positive. In general, studying abroad is always fascinating – I’m sure many chefs would agree. When you go to another country to learn about something familiar, like meat in this case, you’re not just gaining information. You’re gaining new emotions, learning innovative techniques, discovering different styles of presentation. These experiences broaden your perspective and fuel your creativity.

I was lucky enough to visit Texas – the meatiest state of all – at the invitation of the USMEF. What really impressed me was that the local Agricultural University is a top-tier institution, offering deep, comprehensive training. In our program, we quite literally broke down a steer like a LEGO set – identifying every muscle, understanding how they’re separated, and studying global butchery techniques. As a chef, this hands-on learning was incredibly valuable. I discovered so many new things, and yes – I still apply the knowledge and skills I gained in Texas to this day.

Drinks+: You’ve probably worked not only with American beef, but also with Australian and New Zealand products. What sets American beef apart? Why do so many chefs choose it?

Oleg Starun: First of all, it’s about culture – America has a strong tradition of raising and consuming beef. Take the Aberdeen Angus breed, for example. It didn’t originate in the U.S. – it was imported, like many other meat breeds –  but thanks to America’s thoughtful and consistent approach to raising cattle, most people now associate Angus with the U.S.

To explain the distinction, let’s talk about the feeding process. One of the key differences in American beef is that cattle destined for marbled meat and steak are corn-fed in the finishing stage before slaughter. This corn-based diet gives the meat its signature sweet undertone and rich aroma. Thanks to the higher sugar content, the meat caramelizes better during cooking, and together with the intramuscular fat, it produces an incredible aroma and flavor.

This approach is made possible by America’s vast cornfields. In contrast, Australian cattle are typically fed a mix where corn makes up just 15–20% of the grain content (alongside wheat and barley). In the U.S., it’s the opposite – corn dominates the feed mix. If you compare two steaks – one American and one Australian – the difference in flavor is unmistakable.

As for New Zealand, they generally raise their cattle on pasture, with only minimal grain supplementation. A steak from New Zealand will taste completely different from an American one – even someone who isn’t a meat expert can tell the difference.

New Zealand and Australian beef are quite different. But if you compare Australian beef to beef from Uruguay or Argentina, it becomes more debatable – some people will notice a difference, others won’t. Much depends on the producer, the feeding regimen, and the level of marbling, all of which influence the flavor. American beef consistently meets the highest global standards. 

Drinks+: Your career as a chef has been impressive – you’ve led the kitchens of Kyiv’s top-tier meat restaurants, and from what we know, you left those roles on your own terms. Eventually, you chose a restaurant with an open kitchen, and in a past interview, you cited that as the key reason. That’s quite an unusual argument for a chef to leave a successful, prestigious spot, isn’t it? What did that decision give you?

Oleg Starun: I’ve always been someone who’s open to people. An open kitchen is like a stage, like live theater. And it creates a completely different experience – both for the guest and for the chef. It’s one thing to cook behind closed doors, and it’s another when people can walk up, see how you work, and even participate in the process. Why not? That kind of interaction fascinates me.

People come to restaurants not just for the food. They come for the service, for the atmosphere – for the emotions. And emotion is what matters most. After all, anyone can cook a steak at home. But in a restaurant with an open kitchen, everything is on display. The process becomes part of the experience. It’s transparent, it’s lively, and it evokes a powerful emotional response.

Drinks+: Would you say it was this same principle – prioritizing feedback – that led to your recent decision to launch your own business at the “Stolichny” market in Kyiv? It feels like you’ve made a bold move – from the heights of fine dining to bringing premium products directly to the people. A paradoxical choice, especially in wartime. Wouldn’t it have been easier to work under the wing of an established restaurant owner?

Oleg Starun: The desire for feedback really is my main driver. But it has to be meaningful. If someone tells me, “Something’s wrong with your borscht,” that’s feedback – but I need to know what exactly they didn’t like. That’s what I’ll take seriously, analyze, and work to improve. If there are no details, then maybe it’s just a bad day for the guest, and the borscht is fine.

As for Stolichny, I wasn’t fixated on the location – I was focused on the idea: street food with restaurant-quality ingredients and execution. We’ve had great feedback so far; people are coming back. And Stolichny is just the beginning. I’m planning to expand and create a network of street food spots across the city.

Drinks+: Would you say that your vision of a true “chef’s table” has finally come to life? Can you tell us more about your working principles, your goals, and how things are going now? Do you run any masterclasses? And what about wine – there’s meat, but where’s the pairing?

Oleg Starun: Things are going well, as I mentioned – people are drawn to us. When it comes to principles, it’s all about the guest’s satisfaction and using the right product. Not just claiming to use top-grade ingredients, but actually doing it. Above all, I believe honesty is key – being honest with yourself, with your team, and in business overall.

I don’t conduct masterclasses very often at the moment, though I’m open to requests, especially from restaurants seeking something specific.

As for wine – well, we don’t serve it at our current location. We do offer our own house-made lemonades and a few low-alcohol options. But let’s be honest – it would be a bit odd to stand in the middle of a bustling market with a decanter saying, “This grand cru is the perfect match for this shawarma…” It just doesn’t fit the setting, and honestly, it’s kind of funny.

That said, I’ve got ideas brewing. I’m planning to launch a barbecue project, and when that happens, I’d love to collaborate with a sommelier. That would be the right context to bring wine into the picture.

Drinks+: As far as we know, your wife is also a chef. Tell us a bit about your other half! Does she support your ventures? What are your shared culinary passions? And, most importantly – how do two chefs manage to share one home kitchen?

Oleg Starun: Yes, my wife is also a chef. We’ve worked together in the past, attended masterclasses side by side, and now we continue to work together – four hands in perfect sync. We don’t need to lay out plans or divide responsibilities; everything flows naturally without a lot of words. I really got lucky—I’ve got my own personal chef at home! As for our home life, it’s simple: whoever feels like cooking, cooks. It might sound hard to believe, but that’s genuinely how it is.

Drinks+: How would you assess the current state of product supply, especially meat, during the war? What are the main risks? Previously, it took about 10 days to deliver meat from the U.S. to Ukraine – what’s the situation now?

Oleg Starun: Right now, logistics take about twice as long, mainly due to the absence of direct air routes. Where chilled products used to arrive within 10 days, and frozen ones by sea in about 90, now it’s 20–25 days for chilled deliveries.

That said, it’s not critical for meat – during transport, it undergoes a natural maturation process, known as autolysis, which can even improve its quality. But there are still risks. The meat often comes by plane, then continues by refrigerated truck, and if the border is closed, suppliers have to wait. Everyone feels these logistical challenges. For example, before New Year’s, some shipments didn’t arrive at all because of border closures.

Drinks+: What is the general path a product takes to become a perfect steak?

Oleg Starun: First and foremost, it starts with a quality product. Then, it requires a person who truly understands how to work with that product. And finally, you shouldn’t mask the meat with some generic spicy, salty, sweet, or sour sauce – because then neither the sauce nor the steak stands out. You need to be clear and intentional about what you’re doing, and whether the guest will want to come back for that dish again. That’s one reason I love an open kitchen – I can see the guest’s genuine reaction in real time.

Drinks+: Which distributors do you work with for meat? Who do you prefer and why?

Oleg Starun: I’ve been happily working with the company “7 Continent” for a very long time – since around 2010. Over the years, I’ve prepared well over a ton of meat that they imported.

Drinks+: Has the meat assortment changed due to the war? Which products are now more convenient or profitable to work with, and why? What kind of meat will you offer at your new location?

Oleg Starun: I think the assortment has shifted across the industry. Some items disappeared, others were added. Still, all the key premium products – including American steaks – continue to be imported, even if not in the same volumes as before the war. This includes impressive beef tomahawks and stunning ribeye steaks, which have a name that really resonates with Ukrainians these days! At the new location, we’ll be offering American meat to Kyiv residents during BBQ weekends.

Drinks+: I came across a story where you make roast beef sandwiches and pizza with Italian mozzarella – how do you manage the economics of cooking with premium products at the market? (At the market!)

Oleg Starun: If we’re talking business economics, Polish cheese is indeed cheaper than Italian – but only by about 20%. The thing is, I don’t use that much cheese. And if I’m using Italian flour for my pizza dough, letting it ferment for 72 hours (yes, I do take the time), then why wouldn’t I put Italian cheese on that pizza? The business is doing well. The economics work out. We only opened our container windows in November, so we haven’t hit the peak season yet. Let’s see how things go over the next year.

Drinks+: When we talk about American beef, a very interesting topic is alternative American cuts. It seems this is not covered enough. Could you tell us more about it?

Oleg Starun: That’s true – consumers often don’t know much about this. But it’s actually a fascinating subject. When working with alternative American beef cuts, it’s important to understand what you’re dealing with. Take, for example, a premium boneless Ribeye – from one cut, you get about 12-14 steaks, and they’re mostly uniform. But with other cuts like Chuck Eye Roll, you can get more steaks, yet you need to know how to properly cut and clean it; otherwise, the steak may turn out tough. The same goes for the Hanging Tender (also known as Butcher’s steak) – if you don’t know how to cook it correctly, the dish might fail. Many of these cuts require specific knowledge: how to slice, at what angle, which side to cut from, whether to trim fat, and how to deal with connective tissue inside. Sure, some people learn from trial and error, but it’s much better to learn from professionals. By the way, USMEF regularly offers training on this. Personally, among alternative American beef cuts, I’m a big fan of brisket, which is used to make pastrami. It has incredible flavor and juiciness – you’ll definitely find it featured at my BBQ weekends!

Drinks+: We know you’re not a fan of strict recipes and prefer authorial improvisation, but we’d love to benefit from your expertise and learn a little something ourselves. Could you share a holiday dish recipe for our readers?

Recipe by Chef Oleg Starun

Chateaubriand with Foie Gras, Berry Sauce, and Spinach-Tomato Garnish

Ingredients:

• 400g beef tenderloin (main part)
• 150g foie gras escalopes
• Fresh thyme
• 2g garlic
• Salt
• Mixed peppercorns
• Vegetable oil

For the berry sauce:

• 60g mixed berries
• 10g sugar
• 50g red wine
• 1g fresh thyme

For the garnish:

• 50g fresh spinach
• 50g cherry tomatoes
• 20g butter
• 2g garlic
• Salt and pepper

Preparation:

1. Steak:
   Season the beef tenderloin with salt and pepper. In a hot frying pan, sear the steak on all sides with garlic and thyme added for aroma until golden brown. Transfer to a baking sheet and roast in a preheated oven at 180°C (356°F) for 10 minutes, until the internal temperature reaches 45°C (113°F). Let the steak rest for 3 minutes.
2. Foie gras:
   Season the foie gras escalopes with salt and pepper. Fry them quickly in a hot, dry pan (no oil) on all sides until browned.
3. Berry sauce:
   In a saucepan, bring the berries, sugar, and red wine to a boil. Add thyme sprigs and simmer for 3-5 minutes. Remove thyme, blend the mixture until smooth, and strain through a fine sieve.
4. Garnish:
   Sauté spinach and cherry tomatoes in butter with garlic. Season with salt and pepper.

To serve:
Place the spinach and tomato garnish on a plate. Slice the steak into medallions and alternate with foie gras on top of the garnish. Drizzle the berry sauce along the edge of the plate.

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Photos provided by TD “7 Continent”

He knows everything about meat. Known as the Master of Steaks, Oleg Starun has 20 years of experience as a chef in some of Ukraine’s top steakhouses. We sat down with Mr. Starun to learn why American beef is so delicious, the secret to a perfect steak – and he even shared one of his […]

In this insightful interview, Micaela Fonseca, a Portuguese architect and wine producer, opens up about her unique journey from architecture to founding Women in Wine Portugal, a pioneering initiative that champions gender equality in the wine industry. Micaela reflects on the challenges and rewards of transitioning from her family’s winery project, Quinta do Ferro, to establishing a platform that empowers women in the world of wine.

With a blend of creativity and resilience, Micaela discusses her experience in international competitions, her architectural training, and how these diverse influences have shaped her vision for the future of Portuguese wine. Through Women in Wine Portugal, she continues to foster a community that supports women’s leadership and innovation in wine production. Her story is a testament to the power of passion and purpose in creating meaningful change in the industry.

Veronika Busel: Let’s begin with a brief introduction. Could you tell us how your journey in the wine industry started, and what kind of projects you’ve been involved in?

Micaela Fonseca: I didn’t come from the wine industry originally – I’m actually an architect by training. But in 2011, my path shifted when my father, who had founded a winery called Quinta de Ferro in the Vinho Verde region, invited me to take over the project. It was a bold venture: the first winery in the region dedicated to producing traditional method sparkling wine with native grapes, which was quite pioneering back in 1999.

At that time, the winery was struggling. I was in my early 30s, a woman, an architect – not exactly the usual profile for someone entering this male-dominated business. And we were also right in the middle of a global financial crisis, which hit Portugal especially hard. Still, I fell in love with the project and decided to take on the challenge.

From the beginning, I told my father I could only lead the project if I had full independence. He agreed. While he initially helped with some context and explanations, the responsibility was mine. I had no experience in wine, no knowledge of the business. I was starting from scratch – learning everything on the job.

V.B.: Let’s go back for a moment – growing up, what was your relationship with wine like? Any early memories that stayed with you?

M.F.: When my father asked me to take on the project, it wasn’t something I expected. Wine had never been part of my professional world, even though I was close to it through him. I accepted the challenge out of love for the place and the project – and perhaps also because of my own romantic, dreamer personality.

Looking back, I think my innocence protected me. I didn’t know how difficult the journey would be. I was brave, but I didn’t realize it at the time. If I knew then what I know now, I might have hesitated. But that youthful idealism gave me the courage to say yes.

V.B.: What were those first years like, leading a project with such little background in the wine industry?

M.F.: Intense – very intense. In those first years, I was essentially alone, leading a project with very little background in the wine industry and almost no resources. Quinta do Ferro was a small operation in a fragile position, with many problems accumulated over the years. The team consisted of just four or five people, and I was the only one who spoke English. We were selling only in Portugal, which is a small and highly competitive market with very low price points.

There was no room to delegate – I had to do everything, literally everything, much like running a household: clean, cook, fix, plan, sell… That was me in the company. I quickly realized that if we were to survive and grow, we had to look beyond our borders. So, I started studying the international market and ventured out to find clients abroad. Everything was new to me -market research, export logistics, presenting our wines internationally.

It was incredibly demanding, but I was determined. I knew our product had potential, even if it was very niche. Our sparkling wine – made by the traditional method from native Vinho Verde grapes – was far from mainstream. I had to find the right people who could appreciate its uniqueness.

Over time, things started to shift. I built an incredible network and met truly wonderful people – especially women – many of whom became part of my journey later on.

V.B.: Did you ever feel pressure stepping into a male-dominated industry – not just as a woman, but also as your father’s daughter?

M.F.: Absolutely. In the beginning, I wasn’t fully aware of it. But as I progressed, I noticed how all eyes were on me. Some people seemed to be waiting for me to fail. I was young, inexperienced in wine, a woman, and “the daughter of” – which carries a certain baggage. There’s always that unspoken pressure.

But I turned that into motivation. Over time, I proved that I was serious, that I could lead. Today, I can look back and say, yes, I was brave. Naively brave, perhaps – but brave nonetheless.

V.B.: Do you remember some of your early international ventures – markets you entered, experiences that stood out?

M.F.: The first major trip I made was to China, in early 2012. At the time, everyone was talking about China as the next big market. I went on a 20-day roadshow organized by ViniPortugal. But once I was there, I realized that it wasn’t the right fit for my product. Sparkling wine from Vinho Verde, with its acidity and native character, didn’t resonate with the Chinese palate at the time.

Then came Japan, which was a completely different story. The Japanese market welcomed our wines much more quickly. They’re sophisticated and knowledgeable about wine, which gave me confidence in what we were offering. That experience really encouraged me – it showed me we had something special.

We also began entering other markets – France, the United States – very gradually, always targeting specific clients who could understand and appreciate our wine. I didn’t go to big fairs expecting everyone to fall in love with it. I knew the product required a particular audience. So, I focused on finding the right partners and building strong, personal connections.

V.B.: What are some highlights or proud moments from those years?

M.F.: There have been many. It’s hard to choose because it’s been such an intense ride, full of learning – sometimes getting things wrong, sometimes getting them right.

But a few milestones stand out. Being recognized by respected wine critics like Robert Parker and Sarah Ahmed was a big deal. Receiving international awards also helped us gain visibility and credibility. And every time I opened a new market or formed a connection with a client who really “got” the wine, it felt like a small victory.

V.B.: What international recognition has your work received over the years?

M.F.: Oh, many, many… I can’t even remember all of them right now! But one story I always recall – it wasn’t exactly a competition, but something quite special – was from Belgium. I had a very good client in the northern part of the country, in Flanders. One day, they called me, super excited, saying: “We just read in the newspaper that your sparkling wine is ranked in the top three of the national market!” It was the first time a Portuguese sparkling wine had ever achieved that recognition in Belgium.

What made it even more interesting was how they found out. Apparently, there’s this group of sommeliers and wine journalists – no one really knows who they are – and they go around picking wines anonymously from shops and wineries to taste blind. One of those tastings featured my sparkling, and it ended up in the top three. My clients only learned about it through the newspaper – it was a complete surprise to all of us. But it was a beautiful sign that the product truly spoke for itself.

I’ve also won awards in Japan, Austria, and the UK… quite a few! But I usually don’t keep count – what matters most is the recognition and validation that the wine resonates with people across cultures.

V.B.: When did your work begin expanding beyond the family winery?

That happened gradually, though for many years I was deeply immersed in the family project, Quinta do Ferro. I never really left architecture – I’m an architect not only by training, but also at heart, and I’ve continued developing architectural projects in parallel. I also never stopped studying. I’ve always loved learning – luxury brand management, international business, Feng Shui, post-MBAs – you name it. Not because I want to know everything (which is impossible!), but because I like to maintain a critical spirit, stay curious, and understand different perspectives. The world is constantly changing, and I want to be aware of it.

Even as a young girl, when people asked me what I wanted to be when I grew up, I never had just one answer. I wanted to be a ballerina, a doctor, a cook… I’ve always loved different things, so even when I chose architecture, I knew it wouldn’t be the only thing I’d do in life. My essence is creative, and that creativity expresses itself in many forms.

V.B.: Was there a specific moment when the idea for Women in Wine Portugal was born?

Yes. In 2014, I was in Poland visiting clients and presenting at a restaurant. There, I met the community “Kobiety i Wino” – which means “Women and Wine” in Polish. They learned about me and my work and invited me to an event in Krakow. When I saw what they were doing, I thought, This is exactly what I want to do in Portugal.

It was such a strong feeling, but when I returned home and tried to talk to people about it… no one was very open to the idea. 2014 seems so recent, but back then, things were different – especially in Portugal. I also didn’t have the time or energy to do it alone. Still, I never let go of the idea. I kept it in my heart and said to myself: One day, this will come out of the drawer.

V.B.: When did that moment finally come?

In 2019. That year, something difficult happened between me and my father. As the founder of the winery, he still had a decisive voice, and we had a disagreement that made me rethink my path. I started to seriously consider leaving the project and opening space for new opportunities. I value my freedom above all, and I need passion to do what I do. Without passion, I’m lost.

So, in the second half of 2019, I began thinking: Maybe this is the right time for Women in Wine Portugal. And at the beginning of 2020, I started taking real steps. The first organization I approached was Católica-Lisbon Business School. They had an executive education program called International Wine Business. I had actually done the first edition of that program as a student years before, and we had maintained a great relationship.

V.B.: Was Católica immediately on board?

Yes! I presented the idea – at that time, it was just an idea – and they said: We’re with you. From that moment, I knew it was serious. That gave me a sense of responsibility, but also confidence. I felt: This project is real. Let’s do it.

So, Women in Wine Portugal started as a partnership with Católica’s International Wine Business program. I became the ambassador for the initiative under their academic umbrella, and we’ve worked together ever since.

V.B.: And then came 2020 – what a year to launch something new…

Yes, exactly! Just as I was beginning this journey, COVID hit. And on top of that, I discovered I was pregnant in January. So, you can imagine – so many changes all at once. But the truth is, COVID ended up being a gift for me.

For the first time in years, the world stopped. And that allowed me to live my pregnancy in a calm, peaceful way. I was always running – pressured, overwhelmed. But suddenly, I had the space to breathe, to reflect, to prepare to become a mother.

V.B.: It’s powerful how all these layers – pregnancy, family, career, global crises – intersect with the vision of Women in Wine.

Exactly. When we talk about Women in Wine, we’re not only talking about careers – we’re talking about real life. Pregnancy, motherhood, health, crises… these are all part of our experience. And we don’t always get the space to talk about that in the professional world.

So yes, these are the stories we need to share. These are the challenges we need to acknowledge. And it’s through these challenges that we learn how to support each other better.

V.B.: You touched on something deeply personal and important – how women experience challenges in a professional environment, especially when running their own businesses. Could you share more about what you’ve experienced?

M.F.: Yes, definitely. I mean, the established tradition in many industries, but especially in this one, often doesn’t account for the different realities women face. It’s not exclusive to this industry, of course, but here it becomes very evident. Our lives as women are just… different. When I realized I had my own business, my own project – Eticketart  – I was proud, of course. It was my company, something I built from scratch. But I was also the only person working in it. So, if something didn’t work or I wasn’t able to do something, there was no one else. It was just me.

And when I became a mother, that became even clearer. Pregnancy, maternity – those things revealed to me how little our society and our government care about these situations. And I’m one of the privileged ones! I have family, I had help. But still, it was extremely hard to keep a business running. People expect you to be the same, to deliver the same, to have the same energy and capacity, even though everything in your life has changed. And that pressure… it’s real. You’re expected to be a good mother, a good partner, maintain your health, and still be fully committed to your professional life.

V.B.: That pressure you describe is something many women relate to. Hypothetically, what do you think an organization like Women in Wine Portugal could do to support women going through this?

M.F.: That’s exactly one of the key points I had in mind when creating Women in Wine Portugal. This project is, in many ways, my alter ego. I’m pouring into it all the things I needed and didn’t have – support, understanding, tools. For someone to be a good professional, they need to be well personally. They need to be healthy and supported.

If you’re a mother – and even if you’re not – the old saying is true: “It takes a village to raise a child.” And that village is often missing. Women in Wine Portugal aims to be part of that support system. It’s a platform, a community, that offers tools, networks, visibility. Because yes, for women, money matters. Earning your own money gives you autonomy and strength. We need opportunities to grow businesses, to earn, and to manage that in a way that brings peace, not anxiety.

V.B.: So it’s also about redefining success and support in a professional context?

M.F.: Absolutely. And it’s also about acknowledging that women are often the first to lose dignity and access to basic needs in times of crisis. We are the first in line when things go wrong. So Women in Wine Portugal is not just about professional support. It’s about wellness, reflection, and long-term strategy.

For example, we plan to organize trips not only for networking but also as moments to recharge – to rest, to reflect, to be seen. Because when I was fully immersed in my previous project, I didn’t even have time to think. I was constantly under pressure to do more, be more, give more. That is not sustainable. You need time to think about your life and business calmly. Women in Wine Portugal wants to provide that time and that environment.

V.B.: So there’s also a civic, even political dimension to the platform?

M.F.: For sure. Women in Wine Portugal is part of a larger international movement. And while our focus is wine, we welcome professionals from all connected fields – agriculture, hospitality, marketing, teaching, you name it. But yes, we also need to have a political and civic voice. We need to tell our governments that this isn’t working and demand change.

We’re not asking for charity or for someone to hand us leadership roles because we’re women. We just want the opportunity to compete equally. And if we’re good enough, we’ll stay. If not, we won’t. But the door needs to be open.

And there are still shocking realities. For instance, it breaks my heart that, in Portugal, even in 2025, we have girls who miss school or work because they don’t have access to menstrual hygiene products. That’s poverty. That’s systemic neglect. And it’s unacceptable. Women in Wine Portugal wants to raise awareness and be part of the solution to these structural issues.

V.B.: That’s powerful. Given the size of Portugal’s wine industry, does it have the potential to drive real social change, especially through employment and tourism?

M.F.: Definitely. The wine industry, especially wine tourism, is a huge opportunity for Portugal. Selling wine on its own is tough – we have so many producers and such a small market. But services – bringing people here, showcasing our wines and regions – that’s the future. Portugal has 14 wine regions, over 200 native grape varieties. We’re small but incredibly rich. If we do this right, we can create jobs, especially for young people.

V.B.: Earlier, you mentioned a partnership with a house that supports girls in Trás-os-Montes. Could you tell us more about that?

M.F.: Yes, I’m working on something very close to my heart. A friend of mine runs a home for girls who don’t have family support – children and teenagers in vulnerable situations. I told her I’d love to act as a kind of godmother to the house. We’re exploring ways to offer scholarships or mentorship opportunities, ideally connected to the wine industry. And remember, the wine world is broad. It includes marketing, viticulture, hospitality – so many paths.

V.B.: And you’re planning to create a membership model for Women in Wine Portugal?

M.F.: Yes. It’s a private initiative, not an association. But the idea is to create a membership with a fee that gives access to the community, resources, and opportunities – and also creates a sense of responsibility. It’s not just socializing over wine; it’s a real project with a purpose.

Part of that fee will go toward supporting initiatives like the girls’ house I mentioned. It’s about turning our community into a source of empowerment and social change. It’s growing slowly, but I’m okay with that. It means we’re building something strong, something meaningful. And I truly believe in it.

V.B.: Could you elaborate on your approach to embracing risks and not rushing the process, especially considering the personal nature of your project?

M.F.: For me, it’s crucial that what I’m doing makes sense to me before anything else. There was a moment when I realized I wasn’t here just to please others, but to do something I truly believe in and am passionate about. If something doesn’t work, or if it’s not a good plan, that’s fine – I’ll try something else. I’m not afraid to fail, and I’m okay with things moving slower. It’s a personal journey, and I want to make sure that every step is something I’m deeply invested in.

V.B.: Could you tell us how you manage the financial side of things to make Women in Wine Portugal happen?

M.F.: Most of the investment so far has been my own. Of course, there have been some small returns, but overall, the funding has come from me. This takes time, and I know it’s a process. For the project to grow and become sustainable, I also have to keep working on other things to maintain the cash flow. But I’m committed to it because I believe in what I’m doing.

V.B.: You are organizing a collaboration with Napa Valley Wine Academy, bringing their students to Portugal for the first time. What does this partnership mean for Women in Wine Portugal, and how do you envision it shaping the future of wine education and tourism in the country?

M.F.: The partnership with Napa Valley Wine Academy is very exciting for Women in Wine Portugal. This is the first time the academy is coming to Portugal, and it’s a huge step in showcasing what Portugal has to offer in terms of wine tourism and education. The event will highlight Portuguese wine, the local industry, and our wine education offerings. I hope this is just the beginning, and that other wine academies around the world will follow suit. This collaboration isn’t just about wine – it’s also an opportunity to integrate women into the conversation, and showcase projects led by women in Portugal’s wine industry.

V.B.: As the conversation about gender equality grows, there’s an increasing focus on involving both men and women. How do you ensure that your advocacy for women remains inclusive in your projects?

M.F.: Absolutely, it’s essential to have everyone involved in the conversation about gender equality, regardless of gender. Yes, I’m a feminist, and I want to highlight women’s contributions in the wine industry, but real change can’t happen if it’s only one side of the story. Men play a crucial role in this change as well, and they should be part of the process. Women’s projects, especially smaller ones, need more visibility and support. The aim is to create a platform where women’s businesses – big and small – get the attention they deserve.

V.B.: Can you share a bit more about the current scope of Women in Wine Portugal?

M.F.: I’ve connected with many women from around the world. I’ve had the chance to meet women from other countries who are working in Portugal’s wine industry, as well as Portuguese women who are starting to join the movement. The community is growing, and people are becoming increasingly curious about joining in. We’ve organized events like trips to London and smaller local gatherings, where women come together to discuss, network, and support each other. There’s also a big dream of hosting an international Women in Wine event here in Portugal, which would be a huge milestone for the project.

V.B.: How do you see this project evolving in the future, and what are some of your dreams for it?

M.F.: I want Women in Wine Portugal to be an ambitious project, thinking big and aiming high. My dream is to make it an international platform, bringing together women from all over the world in the wine industry. One of my long-term goals is to host a large international meeting for women in wine right here in Portugal. But even before that, I want to keep pushing for projects that support women – whether it’s through education, visibility, or business opportunities. There’s a lot I want to do, and I’m determined to make it happen, step by step.

V.B.: Finally, regarding the importance of inspiration and collaboration, what message would you like to share with others who may be interested in getting involved or collaborating with Women in Wine Portugal?

M.F.: My message is simple: if you believe in this cause and want to help bring it to life, there’s always space for collaboration. Women in Wine Portugal is not just about creating a network; it’s about building a supportive community that empowers everyone involved. Whether you’re a wine professional, an enthusiast, or someone who believes in gender equality, there’s always something we can do together. It’s all about supporting each other and working toward a common goal. So, if anyone feels inspired, I welcome them to join us and contribute in any way they can.

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In this insightful interview, Micaela Fonseca, a Portuguese architect and wine producer, opens up about her unique journey from architecture to founding Women in Wine Portugal, a pioneering initiative that champions gender equality in the wine industry. Micaela reflects on the challenges and rewards of transitioning from her family’s winery project, Quinta do Ferro, to establishing […]

James Streeter, the Chair of the Sustainable Wine Roundtable (SWR), is a sustainability leader with over 25 years of expertise. James has been at the forefront of sustainable change throughout his career, from the oil fields of North Siberia to the food and beverage sectors and more recently in financial services. Today, as Head of ESG at Tandem Bank and a Board Member of InterClimate Network, he brings his wealth of experience to SWR, where he’s part of a team that’s leading a revolution in how the wine industry thinks about sustainability. SWR is crafting a bold vision for change. From the groundbreaking Global Reference Framework to the action orientated Bottle Weight Accord, SWR is uniting the fragmented wine world to tackle the industry’s most important issues including carbon emissions, labour rights, and packaging challenges. Their mission? To ensure that every part of the wine value chain contributes to sustainability, innovation, the planet and respect for the people who work in it.

Veronika Busel: Could you provide some insight into your professional background and what inspired your journey into the field of sustainability? Furthermore, given our Ukrainian readership, could you tell us about your connection to this country?

James Streeter: I started working in sustainability in the early 90s, before the term was widely used. I studied biology and geography, took a gap year for projects, and then earned a master’s in environmental management in Stirling, Scotland. My first job was actually in North Siberia’s oil industry – heavy industry was where the action was back then. Though I’ve spent much of my career away from London, I’ve always returned. I entered oil, gas, and mining partly to travel but also to drive change from within these high-impact industries.

At the time, sustainability was a new concept for many but critical in industries like oil, gas, and mining, where mitigating environmental damage was key. Early on, I worked on a project in Ukraine for the European Union Commission, setting up an energy services company in a country where energy had been practically free. We introduced technology, analysis, and capital to help small and medium-sized businesses improve energy efficiency.

I remember working in northern Ukraine, at a glass bottle factory. It’s relevant to what I do now in the wine industry. I toured the factory, saw the furnaces and bottle lines, and conducted an environmental audit for the European Commission.

Now, my connection to Ukraine is personal. We’ve been hosting a Ukrainian family for nearly three years. Katia, the mom, is a professional coach and trainer. She worked in Ukraine’s steel industry and has since upskilled herself here, learning English and taking courses. She’s now implemented the first training program at her new company. Despite the challenges they’ve faced, their resilience and positivity are inspiring. It’s been a pleasure having them with us.

V.B.: When you first entered the wine industry, what was the state of sustainability, and how did it compare to other industries at the time? How has the industry evolved since then?

J.S.: It’s worth looking at the evolution of sustainability. In the early days, it was all about regulation – just obeying the rules, and that was it. Companies did what they were told, and the focus was very much on their own agenda and footprint. They only worked on their direct impact, looking inside their own “fence.” The agenda was about mitigation: “We’re going to make a mess, but we’ll make less of a mess. We’ll reduce our impact.”

Over time, this shifted to a whole value chain approach. It wasn’t just about what I was doing but also about my supply chain, customers, and what consumers wanted to know. When buying something, consumers ask: Where did it come from? How was it made? Were workers treated fairly? This shift was especially evident in the food and beverage industry, where people care deeply about what they consume.

In 2017, I left heavy industries – high-carbon sectors like oil and gas – because I could no longer reconcile that work with my values. I moved into global flavor and fragrance companies, working as Director of Sustainability for food and beverage flavors. It’s a highly complex industry, but we took a value chain approach, engaging growers, manufacturers, and retailers to understand and influence consumer demands.

Now, talking about the wine industry – when it comes to carbon or high-intensity impacts, the wine industry has fallen behind. Despite climate change’s significant impact on vineyards, the industry hasn’t been a sustainability leader. Yet, it’s influential in wine-growing countries and plays a key role in their economies.

What makes wine unique is its connection to people. It’s one of the few products where someone picks up a bottle and says, “I know this place,” or even, “I’ve been there; I know this grower.” That’s why wine tourism is so appealing – people want to associate with something they know and care about.

A key part of sustainability is understanding the impact all the way back to the grower – the person who made the product.

This is where the Sustainable Wine Roundtable (SWR) comes in. To make a real impact, you need to work at scale. For example, Gallo, the largest player in the wine industry, holds only about 2.5% of the market. The industry is highly fragmented, with many small players.

There are two primary methods to achieve sustainable impact: Firstly, through regulation, which involves altering rules to elevate industry standards; and secondly, by influential actors, where major players within the value chain advocate for and implement change.

For example, in the food industry, when very large companies like Nestlé and Unilever make sustainable changes, their suppliers have to follow suit.

The wine industry lacks both. There’s no strong regulatory push for sustainability, and no dominant players to lead the way. That’s why the SWR was created – to help the industry collectively move forward on sustainability. That’s the idea behind it.

V.B.: Could you introduce the team behind SWR? Besides yourself, what roles do other key members like Tobias Webb, Peter Stanbury, and Richard Bampfield play in driving the organization’s success?

J.S.: Just to be clear, I came on board about seven months after SWR started, so I wasn’t there right at the beginning. The leadership team behind the Sustainable Wine Roundtable (SWR) includes Toby Webb, who is the founder and executive director. He’s the visionary who runs the show, always generating ideas and creating opportunities.

Peter Stanbury, our Director of Research, is at the heart of what we do. He’s the one pulling together the facts, developing action areas, creating the Global Reference Framework, and leading the benchmarking efforts. His work ensures that everything we do is evidence-based, which is key to our success.

And of course, Richard Bampfield, who’s part of our leadership committee, has been a driving force behind SWR from the start. He provides fantastic advice and industry connections.

V.B.: What is the mission of the Sustainable Wine Roundtable, and how does it work to drive change within the wine industry?

J.S.: The mission is simple. It’s built around three Cs: Catalyse, Convene and Collective.  We Catalyse change by driving action and transformation; Convene the Industry to share knowledge, experience and intelligence; and deliver Collective, evidence-based impact.

V.B.: I recall a conference on sustainability a couple of years ago, where Antonio Graça, the Director of Research and Development at Sogrape and a Portuguese expert from the OIV, mentioned that even if the entire wine industry improved, it would only influence about 1% of the global footprint. Do you have more precise data on the wine industry’s relevance to global sustainability or its overall impact?

J.S.: I believe the wine industry’s contribution to global greenhouse gas emissions is less than 1%. Still, your explanation touches on something important – visibility and benchmarking. However, it’s also crucial not to mislead people when talking about sustainability in wine. We’re not going to directly change the course of climate change through our impact, but we can influence it indirectly.

For example, think about a supermarket. If there are 20 aisles, one of them is entirely filled with wine – bottles that all look the same. That’s a huge opportunity to influence change. By making sustainability visible and actionable in the wine industry, we can create a ripple effect that goes far beyond the direct emissions.

Another point is that when we look at the figures, we shouldn’t just focus on greenhouse gas emissions. We should also consider the other sustainability issues tied to the industry and how we can influence those.

V.B.: The Bottle Weight Accord is one of SWR’s flagship initiatives. What were the objectives, challenges, and key achievements of this project? How does it reflect SWR’s broader goals? This topic is timely because you recently published a new report summarizing a year of progress (available at https://swroundtable.org/action-areas/the-bottle-weight-accord/.)

J.S.: When we formed SWR, the goal was to involve the entire value chain. We learned from previous agricultural commodity roundtables, which were very focused on growers and producers, that you need to include retailers, transport, distribution, and storage. Every part of the value chain plays a role, especially when it comes to packaging like bottles.

One key point is that SWR doesn’t deal directly with consumers – that’s left to retailers and communicators who specialize in that area. For example, in Nordic monopolies like Norway, Sweden, and Finland, the retailer handles the end customer. That’s why it’s so important for us to take a whole value chain approach.

The Bottle Weight Accord is part of SWR’s broader packaging workstream. We realized that up to 50% of the wine industry’s carbon emissions come from glass – including manufacturing, transport, distribution, and recycling. That’s a huge number.

We also took a research-based approach, which is critical. Everyone focuses on different things – like bottle weight, physical protection, etc. Through research, we found that consumers consider around 20 factors when buying wine, not just bottle size or weight.

The conclusion? You can reduce bottle weight, but everyone in the value chain needs to play their part. That’s the key. With scale, glass manufacturers can produce lighter bottles, which saves resources, reduces energy use, and lowers emissions. It’s a win-win for everyone.

What was missing was an organization to bring enough players together to make it happen. That’s where SWR came in.

V.B.: Initially, the Bottle Weight Accord focused on still wines. Are there plans to include sparkling wines, and what challenges might that involve?

J.S.: Sparkling wines have a different structural makeup, but we’re now looking at the next phase. Initially, we focused on still wines because they represent the bulk of production. This aligns with our principle of targeting areas where we can have the most impact.

We realized that while some producers and retailers have high-end, premium bottles with deep traditions (which take longer to change), there’s also a large segment of mass-market bottles where changes can be made more easily. So, yes, sparkling wines are next on the agenda.

V.B.: Can you name a few partners in the Bottle Weight Accord that you’re particularly proud of? Who has gone above and beyond in their efforts?

J.S.: The SWR Bottle Weight Accord is supported by a great group of members.  I don’t want to single out a particular one because they all contribute in different ways.  You can find their names on our website.

V.B.: Collecting data in the wine industry seems complex, especially given its fragmented nature. What are the main challenges, and how does SWR address them?

J.S.: One of SWR’s advantages is that our members span the entire value chain, and we now represent a significant percentage of the industry. But when it comes to data collection, the challenge is the sheer volume of data. The key is gathering meaningful, high-quality data, which is a common issue in sustainability.

Many companies collect different types of data, but to make it useful, we need to ensure we’re measuring the same things, using the same rules, time periods, and units. It’s highly complex.

Right now, we’re very selective about the data points we focus on – those that directly support our action areas. We’re careful not to try to become a “data warehouse,” as that could be overwhelming given the variety of data types, shapes, and sizes.

V.B.: What specific challenges does the wine industry face in terms of sustainability, was there something particularly difficult to develop, especially since you’re one of the pioneers in this space?

J.S.: One of the biggest challenges is working with small farmers. Like most farmers, they’re time-poor and don’t have the capacity to collect data. On top of that, sustainability data is highly complex and still emerging. For example, something as important as carbon emissions in vineyards – measuring emissions from different agricultural practices or inputs – is very hard to obtain right now.

Another challenge is ensuring accountability for data collection at each stage of the transportation process. Then, there’s the issue of making that data available in a consistent format – using the same units, boundaries, and types of data – so suppliers and retailers can understand each part of the journey.

V.B.: The Global Reference Framework is a cornerstone of SWR’s work. Can you explain its purpose and how it helps define best practices in sustainability for the wine industry?

J.S.: Absolutely. One of our core initiatives is the Global Reference Framework, which defines what best practices in sustainability look like for the wine industry. Without this framework, there’s no clear direction or understanding of what “good” sustainability means.

We’re not a standards organization, and we don’t judge or award companies for their performance. That’s the role of local, regional, or national standards. Instead, our role is to provide an overarching view so that different regions and players can learn from each other. This also helps international retailers understand the variations in sustainability performance across different parts of the world.

Challenges in sustainability vary greatly across different parts of the world. Take labor rights, for example. In California, labor rights – an extension of human rights – are not explicitly included in wine standards because they fall under general laws regulated by local and national authorities. In other regions, however, labor rights are directly integrated into sustainability standards.

Consider Argentina, where water stress is a significant issue. Yet, they face minimal challenges with mildew, making organic farming relatively straightforward. In regions like Argentina, sustainability efforts are heavily focused on water management due to water scarcity. On the other hand, in England, the wet climate makes mildew a major concern. Each region has its own unique challenges, and our framework is designed to address these differences effectively.

V.B.: Are there other notable initiatives by the Sustainable Wine Roundtable (SWR) that you’d like to highlight?

J.S.: For readers who may not be familiar with SWR, here are some of the other groups and initiatives we’re involved in:

1. Standards Benchmarking: the first of what will be an annual benchmarking of all sustainability standards in wine to clearly demonstrate how they align, and where they differ.
2. Labour Standards: Focused on improving labour conditions across the wine industry.
3. Sustainable Viticulture Protocol: Help growers in decision-making for vineyards throughout the growing cycle. 
4. Packaging Action Area: Beyond the Bottle Weight Accord, we’re exploring alternative packaging solutions, including non-glass options.

These initiatives are all part of our mission to drive sustainability across the wine industry.

V.B.: Organizations like the Porto Protocol, the Regenerative Viticulture Foundation and International Wineries for Climate Action (IWCA) are also working on sustainability in wine. How does SWR differentiate itself, and how do you collaborate with these groups?

J.S.: First, it’s important to acknowledge that sustainability is an enormous challenge, and we need all the help we can get. Our strength lies in the Global Reference Framework, which sets the benchmark for best practices in sustainability across the wine industry.

Organizations like IWCA focus heavily on climate change in wineries, while the Regenerative Viticulture Foundation specializes in regenerative agriculture in vineyards. These are fantastic initiatives, and we don’t aim to replicate their work. Instead, we collaborate with them, learn from their expertise, and integrate their findings into our framework.

Our goal is to amplify their efforts by bringing their research and action areas to a wider audience. This way, we can help scale their impact while providing a comprehensive, unified approach to sustainability in the wine industry.

V.B.: Let’s finish with a few words on educating consumers about sustainability – and also on greenwashing, which is another major challenge in the sustainability space. How can we help consumers navigate this complex landscape? After all, they’re the ones paying for the final product, and we need to engage them more effectively.

J.S.: At SWR, we don’t engage directly with consumers, but we empower our members to do so. We provide them with the knowledge, tools, and resources to sell more sustainable wine and communicate its value.

As for greenwashing, that’s exactly why we exist. Our Global Reference Framework, updated annually and based on evidence and science, is designed to eliminate greenwashing. It ensures that sustainability claims are backed by facts, not marketing fluff. This is how we build trust and drive real change in the industry.

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Photo: worldfinancialreview.com, wretmanestate.com, wineinternationalassociation.org, veranda.com

James Streeter, the Chair of the Sustainable Wine Roundtable (SWR), is a sustainability leader with over 25 years of expertise. James has been at the forefront of sustainable change throughout his career, from the oil fields of North Siberia to the food and beverage sectors and more recently in financial services. Today, as Head of ESG […]

Today, we have the distinct pleasure of speaking with Paul Wagner, a pivotal figure who has recently joined the jury panel for the Wine Travel Awards 2024-2025. Paul stands out as a venerated leader in the wine industry, particularly celebrated for his extensive work in wine tourism – a field he passionately cultivates. As the founder of Balzac Communications & Marketing, Paul has played a crucial role in elevating global wine brands through his innovative and creative promotional strategies.

Paul’s influence extends beyond marketing; he has shaped the next generation of wine leaders through his teaching roles at prestigious programs like the Wintour MBA in Europe and the OIV wine marketing program at UC Davis. His book, ‘Wine Marketing & Sales,’ co-authored with Liz Thach and Janeen Olsen, tackles the complexities of the crowded market and is considered essential reading for industry professionals.

Moreover, Paul’s role as a judge at numerous international wine competitions and his presence at global wine conferences have made him a celebrated voice in wine circles worldwide. He also consults on wine tourism and marketing strategies, helping to expand the industry’s reach and impact.

In recent years, Paul has channeled his narrative talents into writing, creating a series of mystery novels set in the picturesque Sierra Nevada. These novels, including titles like ‘Danger: Falling Rocks’ and ‘Bones of the Earth: A Dan Courtwright Mystery,’ showcase his passion for storytelling and offer a thrilling escape for his readers. You can explore these works further at Backpack the Sierra.

In this interview, we explore Paul’s dynamic career, his insights into the evolving world of wine tourism, and the joys he finds in his diverse professional pursuits.

Drinks+: What initially sparked your interest in viticulture and winery technology (and later wine tourism), and how did your educational background in sociology and other education (classical guitar) influence your approach to this field?

Paul Wagner: My wife and I moved to Napa Valley because she is a professional chef and got a job here. I began working at a winery because that’s the main industry in Napa. However, I quickly realized that my studies in sociology would help me understand the market and the consumer. Additionally, my background in education and performing arts would greatly aid in communicating with them. This proved to be a rare combination in the wine industry – not a production expert, but someone who understood the consumers and knew how to engage with them. Sadly, that’s still true.

D+: Having judged over 100 international wine competitions, what trends or innovations in wine industry have impressed you the most over the years?

PW: There’s been an improvement in quality across the board. Today, everyone is making good wine, and many are producing very good or even great wine. The quality and consistency of wine today are at a level beyond anything we’ve seen before. This shift highlights the growing importance of good marketing. If the quality of your wine alone doesn’t make you stand out, you need to communicate something beyond just the wine’s quality – and you need to do it well.

D+: Can you describe a pivotal moment or a key mentor (that you know personally or not) that significantly influenced your career in wine education and tourism?

PW: Dr. Stephen Krebs recruited me to teach at Napa Valley College over thirty years ago. He clearly believed that my approach, although quite different from most in the industry, was something that needed to be heard. He gave me the opportunity to spread the word. Thirty years of successful students have proven he was right. I have loved every minute of teaching.

D+: Throughout your career, you’ve spoken at numerous wine conferences worldwide. Which of these engagements do you feel was the most impactful in shaping global perceptions of wine tourism?

PW: They all have their roles to play. The UNWTO brings together key players, but so do TexSom and the American Wine Society. The Vancouver Wine Festival in Canada is huge. I must also mention teaching at the Wintour MBA program and the OIV wine marketing program at UC Davis because students from all over the world attend these programs and take the message back to their home countries.

D+: Your books have won several awards and are used by wine professionals globally. What is your process for identifying topics that need addressing within the industry, and how do you ensure your work remains relevant and useful? Can you tell us what inspired you to switch to another genre with the Albicaulis Books series, and how your life in wine influenced those books?

PW: The first Wine Marketing book grew out of the lectures I gave at Napa Valley College. My students there constantly challenge me to keep on top of the latest developments, and we are now working on a fourth edition of that book to keep it up to date. But my mystery novels are a completely different story (sorry!). While the marketing work I do is always rooted in data analysis and facts, the novels give me a chance to tell the best possible story without worrying about proving its truth. That’s pure fun.

D+: From your extensive teaching experience, could you share an example of how you’ve adapted wine education to cater to the evolving interests of students in the wine tourism sector? Can you tell about your involvement with the Wintour program and why this program is relevant to the wine tourism segment?

PW: When I began teaching at Napa Valley College, DTC (direct-to-consumer sales) were a very small part of the equation. But that has changed completely over the years, and as a result, managing tourism and cellar door sales has become a major priority for many wineries. It’s actually their primary source of revenue and profit. The Wintour MBA program brings together wonderfully talented students from around the world. I love teaching them because they share their experiences with me, and together we work to develop new ideas, new markets, and new programs in the world of wine tourism. It’s a wonderful group of people.

D+: As a Senior Consultant for Wine Tourism at Expedia Cruises, how do you envision integrating wine tourism with travel experiences, and what unique opportunities does this position offer to elevate the wine tourism industry?

PW: I’ve always said that wine tourism doesn’t exist – not as a pure concept. Tourists are tourists, and they all want the same thing – to have fun and create memorable experiences with their family and friends. Wine tourists simply want to expand that vision to include wine and food. What could be more natural? Working with Expedia Cruise Ship Centers, I get to travel around the world, visiting the top wine tourism destinations and taking note of what they are doing and how they are successful. Sharing those ideas and bringing the added perspective of the travel professionals at Expedia means I get to combine the best of all worlds.

D+: Can you describe your collaboration with Expedia Cruise Ship Centers and its impact on wine tourism in a bit more detail?

PW: I’ve been working with Expedia Cruise Ship Centers for more than a decade. The primary effort aims to give wineries the option to host a wine club event on a cruise, which accomplishes two goals for the winery: it builds closer relationships with existing club members, and it also provides the winery access to other potential club members on board the ship.

While we focus on river cruises to wine regions, including the Rhône, the Saône, the Danube, Bordeaux, the Rhine, and the Douro, we also include visits to nearby wine regions, as well as sea-going cruises to destinations like the Adriatic, New Zealand, Italy, and more. A final element of the program is a series of sea-going cruises that simply add a wine component to a non-wine destination, giving wine lovers a reason to choose these cruises over others to places like Alaska and beyond.

D+: You’ve been a significant figure in developing wine communications. How important is storytelling in wine marketing, and could you share an effective strategy or campaign that illustrates this?

PW: As a dear friend likes to say, facts tell but stories sell. If you want someone to remember something you’ve told them, you need to put it into a story, because recounting fact after fact only puts them to sleep. Marshall McLuhan noted that those who think education and entertainment don’t have anything in common don’t know the first thing about either one. For as long as humans have had language, we have told stories as a way of communicating our histories, our emotions, and our dreams. Let’s not stop now!

D+: Looking ahead, what are the emerging trends or destinations in wine tourism that you believe will gain prominence in the next few years?

PW: I hope that the classic winery tour, where the visitor sits (or even worse, stands) through a long explanation of the production process, will finally die out. They are boring, they don’t share what is really interesting about the winery, and most visitors come to regard them as some kind of punishment or tax they have to pay before they’re allowed to taste wine. Smart wineries are giving their visitors the option to go directly to a tasting room where they can chat with someone who is lively, entertaining, and has open bottles of wine. That’s where the human connection is most likely to occur.

As for destinations, I am excited about all the emerging wine regions that are taking advantage of the interest in wine tourism to create a stronger and more vibrant wine industry. One example is the Caucasus, including Armenia and Georgia. This region is the birthplace of wine, the original Garden of Eden, and the combination of wine, food, culture, and history is really exciting. But every corner of Europe has a story to tell. The New World has amazing places as well. We now make wine in all fifty states of the United States, and much of it is quite good. Cape Town, New Zealand, Chile, Argentina, Mexico, Canada – there are too many wonderful places and not enough time!

D+: Paul, as you step into the role of wine judge for the Wine Travel Awards 2024-2025, your involvement marks a significant moment in the 4th campaign year of this global project. With your deep-rooted experience and authoritative presence in the wine and tourism sectors, how do you perceive the impact of these awards on global wine tourism?

PW: If we can encourage best practices in the world of wine tourism by recognizing those who excel, we can raise the level of service and experiences worldwide. That’s an exciting prospect. Who wouldn’t want that? I’m looking forward to seeing the entries!

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

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Today, we have the distinct pleasure of speaking with Paul Wagner, a pivotal figure who has recently joined the jury panel for the Wine Travel Awards 2024-2025. Paul stands out as a venerated leader in the wine industry, particularly celebrated for his extensive work in wine tourism – a field he passionately cultivates. As the founder […]

The Consorzio dell’Asti DOCG, one of Italy’s oldest and most esteemed wine consortiums, has a rich history dating back to 1932. Situated in the heart of Piedmont, the birthplace of Italy’s first sparkling wine in 1865, the consortium preserves a tradition of excellence in winemaking that spans generations. With over 1,000 producers united under its wing, the Consorzio plays a vital role in the cultivation and vinification of the Moscato Bianco grape, ensuring that the region’s unique heritage is celebrated and upheld.

In this exclusive interview, Mr. Stefano Ricagno, a President of Consorzio dell’Asti e del Moscato d’Asti DOCG, provides insights into the consortium’s strategies, the evolution of its production practices, and how it continues to adapt to modern trends and challenges. From sustainable viticulture initiatives to the global expansion of Asti Spumante and Moscato d’Asti, Mr. Ricagno discusses the key factors that define the success of this iconic wine region.

Join us as we explore the history, innovation, and passion behind one of Italy’s most cherished wine appellations, Asti DOCG.

Drinks+: Mr Stefano Ricagno the Consorzio dell’Asti DOCG was established in 1932, making it one of Italy’s oldest consortiums. How does this rich history influence the Consortium’s current practices and values? Does this rich history give influence and advantages to the Consortium, compared to younger market operators?

Stefano Ricagno: The Asti DOCG area is a place where you can breathe the rich history, the culture and the traditions of Piedmontese wine production. The first Italian sparkling wine named “Spumante” and called “Italian champagne” was born in 1865 created by Gancia’s family in Canelli, it’s an important milestone of priceless value, a deep knowledge of bubbles and winemaking. Each bottle is a testament to a labor of love, of care of the land, a legacy passed down through generations where tradition and craftsmanship unite in perfect harmony—an extraordinary heritage, protected and celebrated by the Consorzio. Today it represents over 1000 producers, divided between 50 spumante houses, 778 vine-growers, 153 estate wineries, 17 must producers and 15 cooperatives, all engaged in the cultivation and vinification of Moscato Bianco grape, which finds its highest expression here. A solid denomination with a lot to tell.

D+: Asti Spumante production increased by nearly 6% compared to the average over the last decade. What strategies or market conditions contributed to this growth? However, the Asti DOCG produced over 90 million bottles in 2023, a slight decrease from the previous year. Could you provide some insights into the factors that influenced this year’s production levels? How does the Asti Consortium respond to fluctuations in production levels, and what measures are in place to balance supply and demand?

SR: Despite the slight drop in 2023 compared to the previous year, we are still in balance with the values and in line with the average production of the last ten years. Asti Spumante is growing, while Moscato d’Asti, on the other hand, has suffered a partial drop, paying probably for an overstocking after the exploit of the three-year period 2020-2022, a record for the type. Plus, we had a reduction in the harvest, due to a complex year, meteorologically different from the ‘regular’ season, while in terms of quality the grapes were in excellent condition, on the quantity front there was a 10% drop compared to 2022 and that is impossible to control. At this economic juncture, the market does not require any balancing intervention, as supply and demand are in equilibrium.

D+: How have the changes in production volumes affected Asti DOCG’s export markets, particularly in key regions like Eastern Europe, Western Europe, and North America?

SR: Pre-pandemic (2019) to date, Asti Spumante exports by value around the world have increased by more than 33%, moving increasingly to the East and the Old Continent with Eastern Europe growing by 63% in the first ten months of 2023, almost double the overall growth over the same period in 2019. Among the main increases which include Latvia +43%, and Poland, +100%. Green light also for Western Europe, which recorded a 32% increase thanks mainly to the remarkable performances of the United Kingdom (+76%), Belgium (+142%) and Austria (+97%). South America recorded growth of around 44%, with Mexico (+54.5%) and Peru (+93%) outperforming; North America also remained in positive territory (+1.5%) despite the drop recorded by the United States (-8%), one of the consolidated markets for the denomination. On the other hand, the Asian and Australian area contracted by more than 14%, with the significant drop in one of the reference markets, Japan (-16%).

D+: Today, low alcohol wines are trending, which matches the profile of many Asti wines. Does the Asti Consortium use this trend in its promotion strategy? Have there been any noticeable shifts in consumer preferences between Asti Spumante and Moscato d’Asti? How does the consortium adapt to these changes?

SR: A lower alcohol content is certainly a characteristic of our aromatic bubbles, and sometimes we underlined that just because is not always known, but we are not planning to increase the promotion only on this aspect of our wines, tapping into market trends. We want to highlight the complex bouquet and pleasantness on the palate, encompassing more than just alcoholic content.

D+: The Consortium’s laboratory in Isola d’Asti plays a crucial role in wine research, particularly for aromatic wines. What are some recent breakthroughs or ongoing projects at the lab that you’re excited about?

SR: At the moment, the most ambitious and significant project is obtaining certification as a sustainable appellation. The laboratory plays a crucial role in this effort, as it is working diligently to implement a pilot project with 10 producers in the supply chain, providing support to these works throughout the process.

D+: The recent recognition of Canelli as a DOCG is a significant milestone. If possible, tell us more about Canelli – this winery phenomenon is the winner of the Wine Travel Awards voting, but I would like to know more insider information. Which body is currently in charge of the development and promotion of Canelli DOCG, and which specialists are involved? Could you share more about the implications of this recognition for the region and the expectations for the Canelli DOCG, particularly the “Riserva” type?

SR: The Canelli DOCG—formerly a sub-zone of the larger Asti DOCG—is the 19^th DOCG to be approved in Piedmont, cementing the area’s claim to the most DOCGs of any region of Italy. The Association of Moscato di Canelli producers made a great effort with the Italian bureaucracy and wine establishment to get the Canelli DOCG recognised.

The area covered by the Canelli DOCG involves 18 communes within the provinces of Asti and Cuneo.  There are currently just over 40 estates eligible to produce Canelli DOCG, and it is estimated that annual production will—for the next few years—be just over 500,000 bottles. The regulations of the Canelli DOCG are more restrictive, hand harvesting is mandatory, yields are strict, and the vineyards must be planted on the area’s rolling hills at elevations between 540 feet/165 m and 1,640 feet/500 m. There is also a Riserva version, which can be marketed no earlier than 30 months of ageing. Canelli DOCG will remain under the wing of the Consorzio dell’ASTI.

D+: With Asti DOCG wines being featured as the official sparkling wines at major events like the Nitto ATP Finals and the Internazionali BNL d’Italia, how does the Consortium leverage these partnerships to enhance the brand’s visibility and appeal?

SR: It is an honour for us to be once again the bubbles of the world tennis elite, moreover at a historic moment in which even Italian athletes are distinguishing themselves for their winning performances. We are continuing a collaboration that is proving to be increasingly significant – both in terms of the global calibre of the events and the target audience of fans that we are able to reach – which will culminate with the Nitto Atp Finals where, for the next two years too, we will be in Turin among the silver partners of the final act of the tennis season in which the best eight players in the world compete.

D+: What unique features of the Asti region make it an attractive destination for wine tourists?

SR: Music, cross-country competitions, exhibitions, daytime stages and candlelight wine and food walks at night, picnic in the vineyards, in addition to the Palio di Asti, one of the oldest in Italy in full medieval style, and the traditional Douja d’Or, the Asti wine and food festival. These are just some of the events supported by the Asti Docg Consortium for national and international tourists and winelovers who will choose to spend their holidays in the municipalities of the Langhe, Roero and Monferrato Unesco wine-growing landscapes.

D+: As the President of the Consortium, what do you find most rewarding about your role, and what goal do you want to achieve?

SR: Asti and Moscato d’Asti are unique products in the world, they embody all the sweetness of our region, and I am incredibly proud and grateful to have the opportunity to contribute, in any way I can, to the growth of this great appellation!

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The Consorzio dell’Asti DOCG, one of Italy’s oldest and most esteemed wine consortiums, has a rich history dating back to 1932. Situated in the heart of Piedmont, the birthplace of Italy’s first sparkling wine in 1865, the consortium preserves a tradition of excellence in winemaking that spans generations. With over 1,000 producers united under its […]

In this enlightening conversation, Richard Bampfield MW takes us on a journey through his expansive career in the wine industry, from his formative experiences in retail to becoming a Master of Wine and a leading authority in the sector. Richard reflects on his global perspective, honed through years of international travel and work, which significantly shaped his understanding of wine’s evolution and its sustainable future. With a focus on lifelong learning and a deep commitment to promoting sustainability in the wine industry, Richard Bampfield discusses the nuances of wine tasting, market dynamics, and the crucial role of tourism in shaping wine regions globally. His insights offer a rich exploration of the challenges and opportunities facing the wine industry today, making this discussion a must-read for anyone interested in the future of wine.

Origins in Wine: Richard’s Personal and Professional Pathways

VB: Richard, could you describe your initial journey into the wine industry? Was it a career you pursued intentionally, or did the opportunities find you? Additionally, did family influence play any role in your decision to enter this field, or was it solely a personal decision?

RB: I essentially entered the wine world on my own. Growing up in Britain during the 60s and 70s, my family, like most, rarely drank wine unless we were on holiday in France, Italy, or Spain. It was during these family trips that I first developed an interest in wine – it seemed special, something we only enjoyed on vacations. My appreciation for wine grew during my university years in France, where I studied language and literature, influenced by student culture and the affordability of wine. My proficiency in French was quite strong upon graduation, though not perfect, and I wanted to improve it. This background in French, combined with a year spent in France, deepened my understanding of wine as I was surrounded by friends involved in the industry. After university, unsure of my next steps but wanting to use my French and continue my engagement with wine, I turned to family friends in the business for guidance. This led to my first job in wine shops and felt like a natural progression, combining my interests and studies, though no one in my family had a background in the industry.

VB: So, you started your career in retail, focusing on selling wine and interacting directly with customers. Is this what you mean when you talk about how you first got involved in the industry?

RB: Absolutely. I worked in wine shops for about eight or nine years and absolutely loved it. That experience is one of the reasons I really enjoy conducting tastings with the public now. I’ve always relished the opportunity to talk to people about wine, listen to their opinions, answer their questions, and understand their process of selecting a bottle of wine.

VB: Are we discussing how you entered the wine industry in the 1980s? And did you start your pursuit of the Master of Wine recognition during the 90s?

RB: I worked in the wine industry throughout the 1980s and completed my initial examinations, including WSET levels two to four, during the 1990s. Initially, the idea of becoming a Master of Wine seemed beyond my reach. However, in 1988, I took a year out to travel, as I was single and had the time to explore. During this period, I engaged primarily in wine-related work. I spent time in California, worked for a vineyard in Australia, and visited New Zealand and Argentina. At that time, traveling to these countries was quite exotic, as they were not major wine exporters until the 1990s. Working in vineyards and cellars abroad was invaluable, as it filled the knowledge gaps I couldn’t bridge back in England, where we lacked high-quality producers that time. Upon returning from my travels, I stumbled upon a Master of Wine exam guidebook. After reviewing it, I realized I had acquired the necessary knowledge and confidence to attempt the exam. I took the Master of Wine exam a few months later. And it was successful.

Wine Education Journey: Lifelong Learning, WSET, Master of Wine, and Beyond

VB: Could you tell us about your experience with the WSET during your time there? How do the programs from back then compare to the current structure of WSET today?

RB: First of all, the basic structure of the WSET program remains similar to what it was originally, though it’s now better aligned with the UK’s National Vocational Qualifications (NVQs), integrating it with other subject-matter qualifications. This alignment has marked a significant improvement. The main difference today is the distinct separation between the levels, which aids this alignment. WSET Level 2 is a substantial step up from Level 1, Level 3 advances further from Level 2, and Level 4 is a major leap from Level 3. This progression makes Level 4 an excellent foundation for those looking to embark on the Master of Wine program. It’s a much bigger commitment and provides a closer stepping stone to the Master of Wine than when I was a student. Overall, the WSET has grown significantly since the mid-1980s when I first took their classes. It’s become much more professional, better resourced, and more internationally focused. For anyone entering the wine industry or looking to advance, I still believe the WSET offers excellent training. The growth in the number of people taking WSET courses certainly reflects the quality of the class.

VB: Was there a particular country or region that significantly inspired you and influenced your career in the wine industry over the years?

RB: That’s a good question. Chile was quite influential for me. At the time, Chile’s main market was South America. It’s interesting because the wines they considered top-tier in 1988 seemed old-fashioned to me. They weren’t well-suited for export markets initially, and they were just starting to realize that they needed a more fruit-driven style to succeed internationally – something they began to understand with their early exports to the United States. Argentina had a similar scenario; their perception of top wines differed significantly from what the export markets expected. Meanwhile, California was a different world altogether. By then, it was already producing world-class wines, and getting to know Napa Valley better was truly a privilege – I absolutely loved working there. I met other Europeans during that period; I’m still in touch with them today and have maintained friendships with people from France, Algeria, and the UK. Making these connections was one of the highlights of my time in California. I spent the longest period in California, which perhaps is why it made the biggest impression on me. My time in Australia was also formative; I spent two months working in vineyards, two months in a cellar, and two months traveling around the wine regions, totaling six months. Australia’s wine industry was quite sophisticated already, especially in terms of viticulture and winemaking, which I greatly admired. Upon returning, I took a job with the Australian company Brown Brothers about nine months later, largely due to the impressions from that trip. What stood out to me was their business acumen – their realistic yet ambitious approach to managing their business and exports. It was the first time I felt like I was working with real businessmen. Although I do not consider myself a natural businessman, I found it incredibly fulfilling to work with people who understand how to effectively manage operations, and I thrive in that environment. This was another significant lesson I took away from my time in Australia.

The Path to Leadership: Wine Management Lessons

VB: Could you share how stepping into the role of Operations Director at Brown Bros influenced your career trajectory?

RB: Yes, I held a position with Brown Brothers. When I joined their UK office, which managed all European wine exports, I quickly became the general manager within a couple of years, a role I enjoyed for about seven years. I was in charge of managing Brown Brothers’ exports to Europe during a period when Australian wine exports were booming. Part of my job involved managing allocations, which was relatively straightforward given the high demand for our wines, not just in the UK but across Europe as well. This demand made it easier to sell the wines and also allowed me to travel extensively across Europe, gaining a deep understanding of the various market structures. I learned the nuances of selling to retail versus trade and developed strategies to effectively navigate the Scandinavian market. So, it was a really good time – actually, it was a fantastic time – a great opportunity to learn about all these things and to help the Australian wine business move forward.

VB: You’ve mentioned that commercial acumen isn’t your strongest suit as a general manager. Could you elaborate on that perspective?

RB: I am really interested in the wine business and follow it quite closely. I enjoy understanding different business models, approaches to the market, and types of marketing strategies. So, while I have a keen interest in business, I’ve discovered that I’m not a natural general manager. I actually enjoy the wine aspect more than the spreadsheets. I believe that to be a good general manager, you need to enjoy the spreadsheets and the budgeting side of the business.

VB: Could you share details about any mentors or influential figures who significantly impacted your career? Are there specific individuals, whether through personal acquaintance or inspiration, who played a crucial role in your development?

RB: When I was working in retail, I was fortunate to work with two excellent retail managers. Both were much older than me and nearing retirement. What fascinated me was their common trait: they didn’t know much about wine, but it didn’t matter, because they were exceptional with people. They had a natural curiosity about each customer, making efforts to get to know them and quickly becoming friends. Most customers realized these managers weren’t wine experts, but they trusted their judgment because the managers took the time to understand their preferences and needs. This experience taught me the value of a salesperson understanding whom they are selling to. A good salesman can make customers enjoy a bottle of wine even if it’s not exactly to their taste, simply because they’ve enjoyed the purchasing experience. However, these managers often frustrated other staff by spending too much time with one customer while neglecting others. It’s a fine balance, but the essential lesson was clear and invaluable – they taught me a lot about people and how to sell, or about an approach to selling anywhere and to anyone.

Additionally, I worked at Brown Brothers in sales, where I admired the business rigor, though I realized the business side was not for me. I respected how their professionalism contributed to financial success. In the UK, we sometimes undervalue commercial success, almost as if making money is slightly shameful. I admire the American approach, which is more openly money-oriented. I think there’s a middle ground between the two, and Australia strikes a good balance. What I appreciate about Australia is that it has managed to find that middle ground effectively: they aim to take good care of people – I do believe they look after employees well in Australia and they’re respectful. However, they also understand that their business must be financially viable because they have a reputation to uphold.

Lidl’s Impact: Richard Bampfield on Pricing and Market Dynamics

VB: Lidl is known for its low prices, which has sparked some controversy. As one of your main clients, could you explain how Lidl’s pricing model impacts the producers who supply their products, particularly in the wine industry? How do these relationships affect the broader market and the perception of quality within the industry?

RB: Lidl often faces criticism for its low prices. There’s a common misconception that low shelf prices mean producers, like farmers, are paid unfairly low wages, suggesting that Lidl pressures them on price. This is simply not true. Producers who supply Lidl, or any supermarket for that matter, benefit from the volume of sales these retailers provide. The volume is critical as it forms the foundation of their business: knowing they have a steady revenue stream from Lidl allows them to plan and stabilize their production. It’s not just about price; these contracts provide security in volume, which is crucial for producers. This foundation allows them to explore other revenue streams by diversifying their product mix. Often, it’s the cooperatives supplying these supermarkets, and I believe cooperatives are the unsung heroes of the wine industry. While the spotlight often falls on small artisanal growers who capture critics’ acclaim, many small growers are happy to simply cultivate their grapes and sell to cooperatives, supporting their livelihood and that of their families. It’s these cooperatives, supported by supermarket purchases, that sustain these small growers. Supermarkets demand high standards for the wines they purchase, and cooperatives excel in meeting these requirements. So, my shout out is to the cooperatives across Europe, doing an excellent job amidst misconceptions about quality and conditions. They are the real backbone of the industry, keeping small growers afloat and ensuring quality production.

Future Prospects: Challenges in a Changing World

VB: Could you elaborate on how you perceive the general wine trends across Europe and the rest of the world? This particularly concerns the consumption issues among the new generation, which tends not to drink wine, and some local challenges where many experts currently see little hope for significant growth. Considering the era we are living in, what do you think might happen in the future?

RB: What concerns me is witnessing the wine world in a fragile position. I don’t see a strong future for wine as it currently stands. The struggle many in the industry face is disheartening, and although I wish for greater success and profitability, it seems a distant reality for many producers. Regarding global trends, wine consumption is declining worldwide, a trend that’s been noticeable for the past few years. This is particularly concerning in the United States, which has been a major market for many wine producers. The fluctuating market in China and ongoing trade wars add to the uncertainty, impacting the potential for export success. Concerns about younger generations not drinking wine don’t worry me as much. Historically, wine has been perceived as more of an adult beverage, something people might grow into. I’m not suggesting we should ignore it, though it worries me less than it does others. I think there are other, more worrying things – climate change, for example, concerns me a lot. Climate change poses a real threat, not just because of rising temperatures, which vineyards can potentially adapt to by modifying practices and grape varieties, but because of the extreme weather conditions it brings – severe droughts, heavy rainfall, and frost. These extremes, which are difficult to predict and prepare for, directly affect crop yields and business stability.

Another significant challenge is the stance of the World Health Organization, which claims that no level of alcohol consumption is safe. Such statements, backed by what many consider incomplete data, could influence governments to impose higher taxes on alcohol, including wine. This is problematic, especially considering the substantial social and economic impact wine has in countries like France, Italy, Spain, and Portugal. The wine industry is indeed fragmented, which economically, is a disadvantage. Consolidation might be necessary for survival, allowing producers to achieve economies of scale and build stronger brands. Unlike beer and spirits, which are heavily brand-driven, the wine industry lacks strong brands, making it harder for consumers to make purchasing decisions. We need more recognizable wine brands, which I believe will come through greater consolidation and a better balance of supply and demand. In many parts of the world, producing wine isn’t profitable, especially at the lower end of the market. Some vineyards are growing grapes that no one wants, and it might be more sensible to repurpose this land. As long as we produce an excess of wine, the price pressure will continue to drive the industry into a less profitable state. I don’t foresee a near future where the demand for wine increases significantly enough to change this trajectory.

Legacy in Sustainability: Impact of the Sustainable Wine Roundtable

VB: How do you view your involvement with the Sustainable Wine Roundtable (SWR): as a natural progression of your career, or is there a deeper commitment to the cause that motivates you?

RB: It all started with a conversation about five years ago with Toby (editor’s note: Tobias Webb is the co-founder of Sustainable Wine Ltd, alongside Agatha Pereira) during an interview on sustainability. We discussed the plethora of sustainability certifications worldwide and how they essentially dilute each other due to lack of public recognition. I think one of us mentioned needing to do something about it. We hoped we could, and though I didn’t think much of it initially, Toby began to take action a month or two later. He’s a very dynamic individual, and once he commits to something, he gives it his all.

Since then, the initiative has grown. We believe we can make a difference, which has turned our idea into something tangible. The ultimate goal remains similar to what we initially envisioned – an organization that, over time, would simplify for consumers the identification of sustainable wine products. But now, there are additional objectives. Do I see this as a natural progression of my career? Not necessarily, although I’ve always wanted to leave a legacy beyond just earning a living. I’ve had discussions with friends and family about wanting my life to contribute to something meaningful. So, when this opportunity with Toby came up, it felt like the right moment to dedicate my time. What will we ultimately achieve? I’m not sure; we don’t yet see the finish line, but we’ve already made some significant impacts.

VB: Could you explain in a few words what SWR is about for our readers?

RB: The Sustainable Wine Roundtable has significantly evolved from its early days into a substantial organization. We are a member-based group where membership fees are scaled based on the company’s wine turnover.

Unlike typical sustainability certifications that focus solely on producers, we encompass the entire wine value chain, including producers, glass manufacturers, cork producers, logistics companies, other standards organizations, retailers, distributors, and importers. This comprehensive approach allows us to address sustainability holistically across the entire spectrum of the wine industry. Our goal is to unite all these stakeholders to build a sustainable future for wine by fostering communication and collaboration to avoid duplication and cover all bases.

We currently have over 120 members worldwide, ranging from very large to small entities. It’s crucial that we represent and listen to both the smaller players and the larger ones.

One of our projects is creating a protocol for managing vineyards sustainably, addressing the proliferation of certification standards by developing a framework to assess and benchmark them. This helps distinguish what each standard does well and where there is room for improvement. We recognize that the demands and costs of sustainability vary across regions, but we aim to establish universal standards that encourage continuous improvement in sustainability.

This task is delicate; some see new standards as a threat, but we must be pragmatic and focus on the collective goals of profitability and environmental improvement. We maintain close contact with other organizations engaged in similar work, such as those involved with the Porto Protocol, which is a fundamental framework for us.

International wine organizations, including the OIV, perform excellent work in related fields, and it is vital to ensure that we are supportive of each other’s efforts without being overly inventive with their terms.

Collaboration is essential – not just within SWR but also with these external bodies – to ensure we support each other’s efforts and avoid reinventing the wheel. It’s about learning from one another and building a stronger business through cooperation. There is still much work to be done, but we are committed to making significant strides in sustainable wine production. We believe in working together to achieve a more sustainable and profitable future for the wine industry.

Communicating the Culture and Pleasure of Wine: Insights from Richard

VB: How have your roles as a presenter, writer, and judge influenced the narratives in wine education? What goals are you pursuing, and what narrative are you promoting in the wine world?

RB: I write very little; there are many who can do that better than I. My strength lies in speaking about wine, which I love. I participate in a lot of consumer events and engage actively on social media. I believe I articulate my thoughts on wine well, in a way that resonates with people. I’m not overly technical; I emphasize the drinkability and joy of wine. For me, the pleasure of drinking wine should always be paramount.

I enjoy discussing wine with both consumer and trade audiences, keeping up with global wine trends and business aspects. I think that as Masters of Wine, we almost have a duty to stay well-informed, so that we remain accredited to the title. If invited to speak at webinars or conferences on topics I’m knowledgeable about, I’m always eager to participate as I really enjoy it. I also like a lot moderating discussions, as it allows me to delve into various subjects and continuously expand my knowledge.

Regarding wine judging, I do it for two reasons: one – because when you take the Master of Wine exam, you are trained in the blind system, and the best wine testers in the world are the Master of Wine senior students. It’s now the absolute peak of their hours; they are doing blind tastings probably every day and practicing. They may not be perfect, but it makes you the best you can be. So the best I ever was as a tester was when I was a Master of Wine student. And effectively, I’d say I was going down from there as a blind tester – I’m just being realistic. Being in competitions, being a wine judge enables you to continue to calibrate your palate to ensure that you’re still tasting consistently with other people, and that’s really important for a job like mine, where I’m assessing wines when I’m giving you my wine scores. But sometimes, when I’m writing a tasting review, I need to ensure that my palate is still consistent with my peers.

Secondly, judging offers a mentoring opportunity. Often, younger professionals and those new to the trade are on the panels, and they value insights from experienced individuals like myself. I believe this mentorship aspect is vital for those entering the industry, and I enjoy it.

Role of Wine Travel Awards: Shaping Tourism and Industry Insight

VB: Richard, you’ve recently joined as a judge for this edition of the Wine Travel Awards. Could you share any thoughts or insights about your new role?

RB: I truly applaud what you’re doing! Tourism is crucial, especially given the fragile economic future of wine. Wine regions are often naturally beautiful – typically located in mountainous areas less suited for other crops – making them attractive destinations. We’re already witnessing the impact of tourism in places like South Africa, California, and Australia, where it’s becoming a significant part of the wine landscape. Economically, this is hugely beneficial for the industry.

Through the Wine Travel Awards, I see immense value for producers. They can learn from global best practices and gain insights on how to enhance visitor experiences. I’ve often encouraged French producers to visit regions like Stellenbosch or Californian valleys to observe and adopt innovative tourism practices. While not perfect, the exchange of experiences is invaluable, and many European producers could learn from such exposure.

For consumers, it’s equally beneficial as wine tourism fosters community among those who share a passion for wine. It’s about sharing joy and experiences with others, both familiar faces and new acquaintances. The Wine Travel Awards could serve a similar role to the Michelin Guide for food enthusiasts who use it to plan visits to places like New York or San Francisco. It could guide wine lovers visiting new regions, enhancing their travel plans and overall experience. This connection benefits both the public and producers, making wine travel not just enjoyable but also more accessible and informative.

Standing with Ukraine: Supporting Local Wine Producers

VB: I’d like to highlight your ongoing support for Ukrainian wine producers through various events and initiatives. You’ve been actively involved in supporting Ukraine’s wine industry. What motivates you to be part of this initiative? Can you share any standout examples of Ukrainian wines or projects that have left a lasting impression on you?

RB: When the war broke out in Ukraine, it was clear that many Ukrainians needed to find safe places to live abroad. Unexpectedly, we ended up hosting a Ukrainian mother and daughter for several months. It was a delightful experience for us, even though the mother spoke little when they first arrived. They have since returned to Ukraine, and while it was our pleasure to help during their time of need, we cherished the time spent together.

Around the same period, I was involved with a stand at the London Wine Fair featuring Ukrainian producers. There, I met Vitaly, the CEO of Alcoline, which produces wines under the Bolgrad trade name, and I was impressed enough by the wines to see potential for them in the UK market. Vitaly, who has visited the UK several times, articulated passionately about the necessity of keeping Ukraine’s economy running to support their country during these times. He emphasized the importance of exporting Ukrainian wines, especially now that Ukraine has gained global recognition – albeit under tragic circumstances. I’ve been actively helping him and staying in touch, working to support the export of Ukrainian wines, which is on the rise.

Additionally, I’ve recently connected with representatives from Shabo on a few occasions. We participated in a wine tasting in Warsaw, where numerous Ukrainian wines were sampled to identify those suitable for export markets, including wines from Shabo. During the event, I had an engaging conversation with a representative from Shabo. I particularly enjoyed the wines from Shabo; they, among others, represent some very good Ukrainian producers.

In all these interactions, I leverage my network within the wine industry to assist wherever I can, using my expertise in distribution and market knowledge. This is simply applying what I know to help in a logical way, but I’m genuinely impressed by everyone I’ve met and the quality of the wines.

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Photo: lidl.dk, lidl.co.uk, oxfordwineclub.org.uk, sustainablewine.co.uk, bleedingheart.co.uk

In this enlightening conversation, Richard Bampfield MW takes us on a journey through his expansive career in the wine industry, from his formative experiences in retail to becoming a Master of Wine and a leading authority in the sector. Richard reflects on his global perspective, honed through years of international travel and work, which significantly […]

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.

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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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Фото: egge.as

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 […]