Gastronomy and Wine Portal

On the cusp of 2026, a headline from London sent ripples through the global wine community: Britain’s most influential wine event, the London Wine Fair, has been acquired by a new company, Vindustrious. Yet for participants, the shift proved far less dramatic than it first appeared – the new venture is led by none other than the fair’s long‑standing Head of London Wine Fair, Hannah Tovey. Drinks+ had the privilege of speaking with Ms Tovey about the evolution and future direction of this iconic exhibition. Given the scale of the changes, our conversation turned out to be a long one – but well worth your patience.

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London Wine Fair 2026 will take place from 18th to 20th May at Olympia and will mark the 45th anniversary of the exhibition. This year brings exciting news: Vindustrious has acquired the London Wine Fair, and you have become the owner and head of this new world-class expo operator. Could you tell us more about the reasons behind this transition and its expected impact? How would you define it – “federalization,” a “new chapter,” or perhaps a “divorce”? And what future plans arise from this change?

“London Wine Fair transferred ownership from Hemming Group to Vindustrious – a new company I set up – at the end of October.  Whilst the ownership has changed, all five members of the London Wine Fair team have remained in role, so in that sense the acquisition marks a “new chapter”.  The transition will bring both stability and renewed momentum and marks a new era for London Wine Fair.  The buyout happened because the previous owner – Hemming Group – wanted to focus on their core industries: infrastructure; transport; public sector and healthcare.  The arena of drinks had become an outlier, so it made sense for them to sell the Fair. The buyout was very amicable, and it has happened with the blessing of the Hemming Group.

As the sale has happened part way through the build up to 2026, some of the plans were already in place and announced – such as the Host Nation initiative. There are further partnerships to be announced as we approach May, as well as the third iteration of our Icon Tasting series, but most gratifyingly we have seen a surge in exhibitor bookings since the announcement.”

We have insider information that bookings and prospects for the 2026 exhibition are already 14% ahead of the same period last year. This growth follows the impressive success of the 2025 edition, which saw a 40% increase in revenue compared to the previous year. What other positive developments are you seeing following the transition? Could you also share your assessment of the effectiveness of the Host Nation initiative you introduced?

“Correct!  And this is very much down to the success and growth of 2025.  Two areas of the show have seen particularly significant growth: the Host Nation initiative, which will focus on producers from the UK, spanning all drinks categories.  This initiative alone is set to bring more than 100 English wine producers to the show – we have already had to double the allocated space, such was the demand – so yes, this has been extremely successful.  We are also set to double the size of Signature Serve; this is the spirits and mixers section of the show which launched in 2025. In the last couple of weeks alone we have secured big name spirits brands – including Pernod Ricard – which really underline the renewed status of the event.”

It would probably not be an exaggeration to compare you to the captain of a high-speed ocean-going yacht who has successfully steered the vessel through many turbulent years, including the pandemic. How do you see and feel yourself? Who are the key members of your team, and do you anticipate any changes in roles or personnel?

“I would say that sounds pretty accurate! I have worked in events for 25 years, including running seven London Wine Fairs.  The last five years have seen the most challenging period of the show, against a backdrop of Brexit, the Pandemic and onerous taxation.  But the team and I thrive on challenges!  We created the industry’s first fully digital event during the pandemic, and a hybrid event thereafter.  The Fair has become a key platform which the industry can use to debate and discuss the significant geo-political challenges and opportunities of our time.  So, whilst the industry is seeing significant turbulence, we are also seeing our exhibitors seize opportunities through innovation and strategic decision making.

Alongside myself, the London Wine Fair team comprises: Kate Stretton (Director of International Sales); Mara Veith (Director of Sales: UK, France and Asia); Holly Boatright-Wilson (Marketing Manager); and Kasie-Ella Dixon (Marketing and Sales Executive).  And Dan Warner joined the team at the beginning of the year, as Sales Manager for Signature Serve, the spirits section of the show. Between us we have a terrifying number of years in the drinks industry and events in general. We have a great energy as a team and each one of the team brings a unique and colourful personality and level of experience and knowledge that is a joy to work alongside.”

As we know, the London Wine Fair 2025 was shortlisted for an impressive four Exhibition News Indy Awards: Trade Show of the Year, Content Programme of the Year, Exhibition Growth of the Year, and Best Event Director – the latter recognising your leadership personally. Ultimately, the London Wine Fair received Highly Commended distinctions for both Best Event Director and Trade Show of the Year. Could you comment on these achievements? Which recognition is the most meaningful to you, and which one was the most challenging to attain?

“This was an unprecedented number of awards in a single year for the event.  Being Highly Commended for both Best Event Director and Trade Show of the Year categories meant so much to us all – putting on London Wine Fair is very much a team effort after all – so I would say the Trade Show of the Year was the most meaningful to me personally.”

Over the past three years, we’ve witnessed a noticeable intensification of competition among the leading drink-sector exhibitions, with Paris and Düsseldorf actively vying for dominance. Yet, regardless of how the global “podium” may look today, London continues to hold a truly unique position. In your view, what specific characteristics of the British market allow London to maintain this special status? Would it be fair to say that one of the strongest assets of the UK market is its deeply rooted trading capacity – the network of importers, buyers, and companies whose expertise and international connections in the wine trade have been shaped over centuries?

“With Wine Paris and ProWein only a month apart from each other, we are seeing producers deciding to choose either one or the other of these larger events in addition to participating at London Wine Fair later in the year. So we are not really seeing an impact on us. The UK is the largest importer of wine in the world, as well as the largest exporter of spirits, so in that regard it essential for any producer looking to do business in this market and beyond.  It is of course a highly competitive market, so events like London Wine Fair are essential platforms for getting products in front of the UK’s drinks buyers and decision makers. In terms of reaching this audience, London Wine Fair is unrivalled.”

If we are not mistaken, the London Wine Fair is perhaps the only major international exhibition where importing companies are represented so actively as exhibitors. How do you encourage their participation? What mechanisms or initiatives help you strengthen exhibitors’ motivation?

And on the other side of the equation – how do you increase buyers’ motivation to attend the Fair and participate in its various events? In this context, could you tell us more about the Drinks Buyers Awards and their role in attracting and engaging the buying community?

“The importers have always been the bedrock of London Wine Fair.  As largest global importer of wine, their presence is an essential part of the show’s success.   Leading agents like Hatch Mansfield and Les Producteurs et Vignerons de France have been with us since day one, and alongside other long-term supporters like Buckingham Schenk; Beyond Wines; ABS Wine Agencies and Felix Solis, see the Fair as pivotal event in their calendar.  We were delighted to welcome Mentzendorff back to the show in 2024, and then to see them double the size of their stand in 2025.  This year we are looking forward to seeing more importers of all sizes back to the main Trading Floor of the show, including Seckford Wine, returning to the show.  They participate because London Wine Fair is an essential part of their sales strategy.  They know they will be able to have meaningful meetings with buyers as well as key decision makers and foster relationships with those in customer facing roles; retail managers and sommeliers for example, as well as media. Our ratio of exhibitors to visitors is currently unrivalled in drinks industry events, at 22:1, around four times that of its international competitors.

Our Drinks Buyers Awards – an updated iteration of our Wine Buyers Awards, to recognise our uplift in spirits and no and low alcohol buyers attending the show – do give added pull for our most influential visitor audience. We have had a record number of entries this year illustrating the exceptionally strong credibility these awards have garnered.”

Could you name some of the most reputable trade structures and explain how they typically work with your exhibitors? How have priorities in this area changed today? What characteristics of producers have become most important when selecting partners, and what trends are influencing changes in buyers’ assortment portfolios?

“We work closely with the Wine & Spirit Trade Association when building content for the show.  They always host an Industry Briefing, bringing debate on the issue of the day to the UK, via our platform.  There has been no shortage of content over the last few years as the global industry has faced so many challenges, from Covid-19 to tariff chaos.

The UK market is particularly diverse, which means that producers coming here seeking representation, are not necessarily restricted to a particular characteristic.  We are seeing growth in lower alcohol wines as well as No and Low products, reflecting the fast growth of this sector.  But equally, we are seeing demand for wines from all corners of the winemaking world, particularly those from off the beaten track.  We are seeing increased demand for sustainable products across the board, and over recent years we have seen producers proudly showcasing these initiatives, something which we actively champion.”

As we understand it, LWF 2026 will see several debuts – both among buyers and among exhibitors from adjacent or entirely new sectors. Could you introduce the most notable newcomers, or those that you consider particularly significant?

“Our most exciting debut is our Host Nation initiative, introduced to showcase a specific country or region as the centrepiece of London Wine Fair.  For the first year, the focus will be on British producers, including English and Welsh wine.  We have been absolutely thrilled with how positively this has been received.  Our original English Wine stand sold out, this dedicated space has now doubled in size, with 50% of this already allocated; expectations are that more than 100 UK producers will sign up in time for May, exceeding the original target;  an almost five-fold increase on 2025.  It is great to see so much optimism and growth in this sector.

We are set to see a really interesting mix of English wine producers, including: 1276 Wines; Balfour; Bolney; Chapel Down; Everflyht; Flint Vineyards; Gusbourne; Roebuck; Sandridge Barton; Simpsons; and Williams Family Wine, along with 30 producers from Defined Wines, which will host a Pop-Up Tasting on the middle day. WineGB is also supporting Host Nation and is taking a stand within the Host Nation area, with an education focus.  And we are also updating our annual Wine Writers Edit – the list of 30 “must taste” wines – selected by 10 of the UK’s leading wine writers and influencers ahead of the show; one of the three products to be selected by each of the wine writers must be British.

In terms of other new and returning visitors, we are absolutely delighted to welcome back Chile’s Luis Felipe Edwards, celebrating their 50^th anniversary this year, as well as Wines of Washington, Virginia Wines, Bordeaux, Sherry and – for the first time – Friuli.  We are looking at a really exciting and diverse range of exhibitors this year.”

It would probably not be an exaggeration to say that the dynamic – and highly exhibition-attractive – landscape of the British drinks market is shaped to a large extent by key figures such as Oz Clarke, Jancis Robinson, Robert Joseph, and the many Masters of Wine who live and work in the UK, as well as influential media including The Drinks Business, Decanter, The Wine Merchant, and others. Every ambitious producer worldwide seeks to be on their radar. Which of these opinion leaders and media representatives will take part in LWF 2026, and in what capacity?

“All the influential drinks media publications will be participating in the 2026 show in some capacity, be it through exhibiting, hosting events, or collaborating on what will be a rich timetable of industry briefings and masterclasses. It’s too early to say which key opinion leaders and influencers will be involved on an individual basis, but we have attracted a very high calibre audience in the last two years through the Icon Tasting, which will see its third iteration in 2026.  Last year’s judges included:  Susie Barrie MW, Writer & Broadcaster, Wine Blast podcast; Sam Caporn MW, Director – The Mistress of Wine; Oz Clarke, broadcaster, author; Tom Hewson, Champagne Correspondent, Decanter; Alice Lascelles, Journalist at Financial Times; Matthieu Longuere MS, Wine Development Manager, Cordon Bleu; Peter Richards MW, Writer & Broadcaster, Wine Blast podcast; and Siobhan Turner MW, Wine Consultant.”

Your own marketing experience is virtually impeccable: you led the digital transformation of the London Wine Fair and are credited with founding Imbibe Magazine, one of the industry’s leading publications. From your perspective, what is the role of media today – both digital and print – in shaping the modern wine industry? Which formats or channels do you find most effective, and why? What are the primary communication and promotional channels you plan to focus on going forward, both within the UK and internationally?

“The role of media today is more important than ever.  We are incredibly lucky in this market to have such a breadth of knowledgeable and reputable journalists, wine writers and publications within such a diverse array of platforms, be it print, digital, social or broadcast.  I don’t think it is an exaggeration to say the UK drinks publications are unrivalled and are seen as the voice of the industry the world over.”

As announced on your website, following its notable debut in 2025, the Signature Serve section – showcasing premium spirits – is set to make an even greater impact in 2026. What new elements or experiences will this space offer? And which audience segments is it primarily designed to attract?

“We created Signature Serve specifically for an audience of top end UK based buyers and distributors, from leading cocktail bars to independent retailers and multiples, because we could see the demand was there.  Our research showed that more than 2,000 decision makers working in spirits were already attending and this was down to the increasing crossover between wine and spirits buying roles.  London Wine Fair was already an essential part of their wine-buying remit, but there weren’t enough spirits exhibitors to meet their demand.

“The inaugural show was a huge success with several exhibitors signing up for 2026 on-site – including Brixton Spirits; Beckford’s Rum and O’Donnell Moonshine, which is increasing their stand space by 500%.  We also have a wealth of companies coming for the first time, including Vincenzi; Regal Rogue; Sacred Spirits; Brands Jalisco; Casoni; Claxton’s Spirits; Foreva Farmers; Frontline Spirits;  No & Flow Brands; Pernod Ricard; Pillars Brewery; and Veda Mushroom. We are expecting the space to double for 2026.

“As in 2025, we will run Signature Serve’s Sundowners Session on the Monday evening; Fifty VIPs, comprising the UKs top spirits buyers and media, will be invited to attend this “after hours” event where exhibitors will prepare “signature serve” cocktails.  This will be exclusive sampling occasion, for a VIP audience, with many of the cocktails reflecting the cutting edge trends in mixology.”

“The Signature Serve Theatre will also see a 25% increase in content, and this will be led by our Ambassadors, Millie Milliken, the award-winning drinks and hospitality writer; and Liam Davy, Head of Bars for Hawksmoor Restaurants.

“We can also share that we will be including a brand-new spirits focused category – as well as No&Lo – to our Drinks Buyers Awards, originally created as the Wine Buyers Awards in 2020.  There will be two Spirits Buyer Awards which will recognise outstanding buyers up for grabs, the off-trade: Spirits Buyer Supermarket/Multiples) and Spirits Bury (On-Trade).”

As we know, you plan to devote special attention to the low & no-alcohol category. In which space and format do you intend to present this segment? What other key industry trends will be highlighted at the fair, and how will they be showcased?

Our Mindful Drinking Experience, delivered in partnership with Club Soda, enters its third year of growth –underscoring the rising significance of the No & Low category. Now in a more central location, the experience proudly welcomes back returning exhibitors including Zeno, Jörg Geiger, Smiling Wolf and Wednesday’s Domaine, alongside new international additions such as Oh My Baie from France.

We’re also excited to celebrate a major milestone with Eisberg, one of the UK’s leading alcohol-free wine brands, as they sponsor our newly launched No & Low Drinks Buyer Awards. Eisberg will unveil a dedicated influencer and selfie space within the Mindful Drinking Experience, located alongside their stand.

A key emerging trend within No & Low is the Mid-Strength category, increasingly popular for moderation through sophisticated, flavour-forward products. We’ll be showcasing pioneering brands in this space, like 6 Percent and Future Château. In addition, the programme will feature a minimum of three masterclasses exploring trends, new product development, and practical strategies to monetise No, Low and Mid-Strength drinks across the on and off trade.

We will also be shining a spotlight on sustainability with a brand new partnership, details of which will be announced very soon!

In 2024, our media group Drinks+ had the honor of serving as the information partner of the remarkable Judgement of London event. The star highlight of 2025 was the creative and dynamic Battle of the Bubbles. Are you planning a similarly outstanding competition for the upcoming edition?

“The Icon Tastings have been very well received and are now a firmly established element of the show.  They were created to boost the fine wine element of London Wine Fair as well as become a significant talking point, and in that sense, they have been extremely successful with coverage on the results reaching all key markets around the world.  Yes, there will be an Icon Tasting in 2026 and it will be managed by Sarah Abbott MW and Ronan Sayburn MS again; we are planning to announce the theme on the 24^th February and what will be a high calibre judging panel in early April.”

Please share your advice for producers planning to participate in the London Wine Fair: how can they attract the attention of influential opinion leaders and buyers? The first tip is probably obvious – register as an exhibitor ))). But what should they focus on next?

“Registering early to maximise all the opportunities available is advisable. Beyond this, producers should identify how to ensure their products can capture the attention of their target audience, be it buyers, retail managers, bartenders or media.  Use the show to launch new products with engaging storytelling which will resonate.  Highlight any innovations or trends which capture the zeitgeist: low and no, sustainability, clever packaging, for example.  Participate in the sessions taking place in the shows theatre spaces, as a panellist or within the audience. Investigate sponsorship options to boost visibility beyond your stand. Upload your products onto the show’s database, run by Bottlebooks, to enhance your visibility.  Engage with the visitor audience early on within our networking platform and book-in on stand meetings and 121 tastings with your key targets.”

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On the cusp of 2026, a headline from London sent ripples through the global wine community: Britain’s most influential wine event, the London Wine Fair, has been acquired by a new company, Vindustrious. Yet for participants, the shift proved far less dramatic than it first appeared – the new venture is led by none other […]

In May 2025, Madame May‑Éliane de Lencquesaing, known worldwide as Lady May, turned 100. It felt like a sign from the universe – for that same year marked the 100th anniversary of Pinotage, the flagship grape of South Africa, where the estate still overseen by Madame May‑Éliane is located. And the stars aligned happily for Drinks+, as the legendary Lady May found the time to give an exclusive interview to our media. We are immensely proud that such an extraordinary figure in the world of wine shared with our readers both her precious time and her bright, inspiring thoughts.

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May‑Éliane de Lencquesaing is a figure of exceptional stature in global winemaking. Her name is inseparable from entire eras, iconic châteaux, and decisions that have shaped the wine map of the world. Known for her inexhaustible vitality, she was named Decanter’s “Woman of the Year” in 1994, becoming the first Frenchwoman to receive this honour. For decades, May‑Éliane de Lencquesaing helped define the identity of great wine estates – from Château Pichon Longueville Comtesse de Lalande in Bordeaux, which she led for more than thirty years, to Glenelly Estate in South Africa, created later in life as a bold and visionary project. Today, the wine named in her honour, “Lady May”, is considered one of the finest in Stellenbosch. Its distinctive character symbolises the strength of spirit of Madame May‑Éliane.

Château Pichon Longueville Comtesse de Lalande

When she took the helm of Château Pichon Longueville – family legend says it was decided by drawing lots – she became the only woman winemaker in the Médoc, surrounded entirely by authoritarian men. Corinne Mentzelopoulos had not yet arrived at Château Margaux. Only ten years later did Baroness Philippine de Rothschild appear on the scene. But Lady May stood her ground. Her authority extends far beyond the vineyards: in 1993 Madame de Lencquesaing became President, and later Lifetime Vice‑President, of the International Wine & Spirit Competition (IWSC); she was awarded the title of Officier de la Légion d’Honneur, France’s highest state distinction, established by Napoleon Bonaparte in 1802. Lady May is a member of the Bordeaux Académie nationale des sciences, and an honorary member of the Pinotage Association for her outstanding contribution to the global wine industry. And this is only a fraction of the honours bestowed upon this remarkable woman.

Her life and professional experience formed the basis of her memoir My Journey with Wine, a heartfelt account of a woman whose passion and determination not only transformed legendary estates but also inspired generations of winemakers around the world. And her story with wine is still being written – for this woman, whose name breathes spring, still travels from Switzerland to South Africa every year, spending several weeks there to oversee her vineyards.

Glenelly Estate

D+: First of all, Madame May-Éliane de Lencquesaing, allow me to thank you for taking the time and giving us the opportunity to speak with you. When I read Jane Anson’s article about you, it felt like reading a historical novel, leaving a sense of having encountered the lives of people who shaped history. You raised four children while maintaining your passion for science, managed the jewel of France – Château Pichon Longueville Comtesse de Lalande – for over 30 years, and then Glenelly Estate in South Africa for more than 20 years, and you hold numerous honorary titles. Out of everything you have done and achieved in your life, what reflects your true self? Do you ever feel any regret today for not dedicating yourself to another passion –  and if so, what might that have been?

May‑Éliane de Lencquesaing: To create and to share – these are what define me, and this can be done in many different fields. But what I would have loved to study is geology – the soils and the subsoils and archeology, which I did.

D+: In one of your interviews, you spoke with deep respect and warmth about your grandfather, who was a kind and extraordinarily knowledgeable man. He taught you the sciences, foreign languages, and piano, and instilled in you a love for the land and for the terroir. Could you please tell us how your passion for winemaking began?

ML: I was very lucky for having learned from both my 2 grand-fathers. They took me with them to the vineyards, thought me viticulture and I used to pick the harvest. They took me to the cellars and slowly made me discover the different qualities of wine tasting.

D+: For many years, you were the owner and head of Château Pichon Longueville Comtesse de Lalande, one of France’s most luxurious and magnificent châteaux. Could you recall the moment you first stepped into this estate – what were your thoughts and plans at that time?

ML: I married an Army man and was taken away from vineyards. I was over 50 years old when my family asked me to take back running our family vineyards. Château Pichon Longueville Comtesse de Lalande in Pauillac in July 1978. Oenology had developed tremendously since my childhood, and I needed this scientific knowledge. I decided to go back to University to study in the class of Professeur Emile Peynaud.

D+: What prompted you to make such a difficult (as it seems to us) decision – to part with this true gem of France?

ML: I ran Château Pichon Longueville Comtesse de Lalande during 30 years with the greatest pleasure, working day and night. By the time my children were grown-up. They were army children and not interested by viticulture and by country life. This is the reason why I had to sell my family home.

Château Pichon Longueville Comtesse de Lalande

D+: When you sold the château to which you had devoted decades, you were at the age when many people dream of a hammock, fishing, and knitting. Yet you chose an incredible – and undoubtedly challenging – new adventure: to lead a winery in South Africa. Why South Africa, and why not the hammock? 🙂

ML: I just kept Glenelly in South Africa that I had purchased a few years before for 2 reasons: help developing the economy of South Africa in memory of Nelson Mandela and develop also the vineyards knowing the quality of the “terroir” and the kindness of the people.

D+: Speaking of South Africa, we of course have to ask about Pinotage – a variety that has experienced both highs and lows. In your view, why has Pinotage’s path to recognition been so challenging?

ML: The Pinotage variety is very special – the wine making is different and though my best friend does lovely Pinotage wines,  but I cannot tell you more.

D+: Why, having the opportunity to work with Africa’s native varieties, did you remain loyal to Bordeaux grapes?

ML: In 1688 when the Huguenots moved from France to the Cape for religious reasons, they brought with them the French varieties – these varieties developed with the terroir and the climate. No change happened – no other variety was added.

D+: Founded by you in 2003 in South Africa, Glenelly Estate is more than just a winery – it is a world-class wine estate with a luxurious restaurant and a glass museum. Could it be said that glass is another one of your passions? Your unique collection includes over 1,000 rare pieces, ranging from antiquity to modern times, and is housed in two private museums (in Bordeaux and at Glenelly). Could you tell us about this extraordinary hobby.

ML: Glass is like wine. Both are linked to poor soils – glass comes from sand and wine grows on poor soils. They exist by the skills and work of men. Glass and wine are precious and have belonged for ever to our civilization. I collected each piece one by one, some in antique stores, some from studios. I have been close friend with many artists in the US, in Italy, in France, always interested in different techniques, different creations and different skills in such a diversity of creation.

D+: Let’s return to the topic of wine 🙂 Madame Lencquesaing, do you enjoy wine yourself, and if so, how much per day and which types do you prefer? French or South African? Or perhaps something entirely different – have any exotic wine regions impressed you during your travels around the world? And which wine masterpieces do you keep in your personal cellar?

ML: I grew up in the Medoc area, north of Bordeaux, along the Garonne River, known for its classified appellation such as Margaux, Saint Julien, Pauillac and Saint Estèphe an area for only red wines. Wine was always served with our meals. At age 7, we were given a glass of wine mixed with water. But we were educated to look at the color of wines, to the nose related to the age of the wine and to the story of the harvest. Later we were allowed to taste.

I drink wine every day with my food by small quantity – red or white depending what kind of food. I enjoy all kind of wines. They can be so different, more fruity, more tannic, more complex with short or long after taste. I prefer elegant wines to powerful wines.

D+: Have you ever visited vineyards in Eastern Europe? If it is so, which regions and wines have left an impression on you, and why? Have you perhaps had the opportunity to taste any Ukrainian wines?

ML: I am interested in Italian and German wines. Such as their Ice Wines. My grandfather used to collect wines from Tokay. The most Eastern wines I have tasted were from Lebanon and Georgia, they are great. I never have had the privilege of tasting Ukrainian wines and I would love to know more about their soils and their varietals.

D+: You have immense experience and knowledge about wine – you taste and identify styles, and seem to know everything about it. Could you perhaps offer a few tips for people who are just  learning to taste wine: how to develop their palate and keep it sensitive?

ML: No, you never know everything about wine, wine is such a mystery. The color, the brilliance, the intensity in the glass is the first discovery. Then comes the nose, touch of flowerness berries or of notes of spices. This complexity brings you to guess what you will discover in your palate. More your taste, more you learn to discover all these elements. It is a discovering experience to be shared with friends. In the palate you must always look for the fruit more than the alcohol and for balance and also for the quality of the tannins.

Wine is very good for the health. When I was a 10 years old child I had growing problems. Every day I was given by my grandmother, before my lunch, a cookie with a glass of melted sugar in water with two spoons full of red wine mixed. It made me strong.

D+: What are your thoughts on young people today who tend to abstain from alcohol entirely, or from wine specifically, finding it confusing or too complex? How do you view the current development of the non-alcoholic wine industry? Overall, what do you see as the future of wine?

ML: Young people should learn more about wine, the history through the centuries. The precious work of growing a vineyard, the respect for the fruit – this gift of God. Young people should enjoy wines, they just need education and moderation. In France we say “food without wine is a day without sun”.

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In May 2025, Madame May‑Éliane de Lencquesaing, known worldwide as Lady May, turned 100. It felt like a sign from the universe – for that same year marked the 100th anniversary of Pinotage, the flagship grape of South Africa, where the estate still overseen by Madame May‑Éliane is located. And the stars aligned happily for […]

Interview with Frank Schindler, Director ProWein Düsseldorf.

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ProWein Düsseldorf is opening a new chapter. With its relaunch this September, the trade fair is responding to current industry challenges and setting important impulses for its continued transformation. There is also fresh momentum on the personnel side: In October 2025, industry expert Frank Schindler took over as Project Director of the world’s leading trade fair for wines and spirits. In this interview, Mr. Schindler shares his vision, new concepts, and the future of ProWein Düsseldorf. 

ProWein Düsseldorf 2026 is being reimagined, both visually and conceptually. What can visitors and exhibitors look forward to?

Our aim is to make ProWein Düsseldorf even more convenient and accessible for trade visitors. This includes an expanded hotel booking platform offering exclusive discounts, as well as a shuttle service that connects central locations in Germany, Belgium, and the Netherlands directly with Düsseldorf – and back again in the evening.We’ve also launched the Buyers & Concierge Team, ensuring that top international buyers from key markets are on-site. To connect exhibitors and buyers even more effectively, we have significantly enhanced our matchmaking tool, Fair Match.Another major addition is the ProWein Agora, a new platform for trends, innovations, and future-focused topics. It will host inspiring keynotes, visionary talks, and thought-provoking sessions that extend far beyond the industry itself.

And this is only the beginning. Many more innovations and highlights are planned in the coming years, making ProWein Düsseldorf even more attractive, forward-looking, and relevant. Our goal is to give the industry the momentum and the right framework to take action, shape the future together, drive innovation, and generate business – fully in line with our new motto: “Shape. Create. Elevate.”

You also announced a new hall concept. What does that mean in practical terms for exhibitors and visitors?

Halls 1 to 7 are being restructured to offer the same exhibition space with much clearer and shorter walking routes, significantly increasing visibility for exhibitors. Our rapidly growing ProSpirits segment will also gain new prominence: For the first time, it will occupy two full halls – a clear signal of the dynamism and importance of the global spirits market.

We are rethinking the overall concept of the fair as well, aiming to inspire visitors with a festival-like atmosphere and memorable experiences that bring current trends to life. In Hall 5, for example, ProWein Zero will spotlight non-alcoholic wines and spirits, accompanied by interactive tastings.

Another highlight awaits in Hall 4: Under the theme ProWein Sparkling, visitors can embark on an effervescent journey of discovery with its own bar, impulse tastings, and inspiring sessions.

You have an impressive career spanning several decades in the wine industry. How will you apply your experience to the redesign of ProWein Düsseldorf?

I’ve been at home in the wine world for 25 years and have visited trade fairs across the globe as a visitor, buyer, distributor, and producer. This gives me the ability to view a fair from multiple angles and understand the needs of each stakeholder.

In my new role, I’m experiencing yet another perspective that makes many things even more tangible. Producers want visibility and the right audience; buyers look for relevance and efficiency – two sides of the same coin. ProWein Düsseldorf’s task is to bring those two sides together. Today, this is primarily achieved through digital solutions: it’s about structuring and simplifying data to enable effective matchmaking.

What are you personally looking forward to most when ProWein Düsseldorf 2026 opens its doors in March?

In recent years, I’ve increasingly gravitated toward solving structural and organizational challenges. Being able to pursue this passion at ProWein Düsseldorf is a great privilege, because this truly is the “most wonderful industry in the world” to me.And I – together with the entire ProWein team and Messe Düsseldorf – don’t simply think about the next event. Our goal is to build a sustainable pathway that delivers real value for the industry.That’s why I’m especially looking forward to the moment in March 2026 when the doors open and we can see and feel our visitors’ reactions – the result of our planning, our passion, and countless hours of dedicated work. When the halls fill and our vision comes to life.For me, the personal exchange with exhibitors, partners, and visitors in this special atmosphere is essential. Honest, open conversations create clarity – and a shared glass of wine creates the closeness needed to spark great ideas. That’swhatmakes ProWein Düsseldorf so specialto me.

ProWein Düsseldorf will take place from 15 to 17 March 2026.
More information and tickets are available at www.prowein.com

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Interview with Frank Schindler, Director ProWein Düsseldorf. ProWein Düsseldorf is opening a new chapter. With its relaunch this September, the trade fair is responding to current industry challenges and setting important impulses for its continued transformation. There is also fresh momentum on the personnel side: In October 2025, industry expert Frank Schindler took over as […]

Can a wine critic become a world-famous influencer? Absolutely — at least that’s what Dr. Matthew Horkey, the renowned US wine expert, author, and founder of a popular YouTube wine channel, has done successfully. Very soon, Matthew will visit Ukraine at the invitation of the organizers of the Ukraine Wine&Spirits Awards 2025 international competition and the Wine&Spirits Ukraine expo. In addition to serving on the competition jury, during the expo he will lead a masterclass titled “The Art of Wine Videoblogging: Building Your Personal Brand Online” on October 30 at 12:30.

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Dr. Horkey is the author of three books on wines, hundreds of articles, and thousands of videos, which regularly attract dozens and sometimes hundreds of thousands views from wine lovers around the world. He sits in the juries of many international wine competitions and tastes thousands of wines from across the globe each year. 

Matthew began his wine career in 2015, traveling the world to understand what truly makes great wines great. Today, he shares these insights with his audience, continually discovering new regions, wineries, grape varieties, and wine styles for himself and his followers. He is especially looking forward to exploring Ukrainian wines and exchanging knowledge with local colleagues — and we can’t wait to welcome him to Kyiv at Wine&Spirits Ukraine 2025.

Dr. Horkey has been a longtime friend of Drinks magazine and is also an honorary judge of the Wine Travel Awards, another important project of Drinks+ Media Group. Ahead of his visit, he spoke with our journalist Victoria Makarova.

At some point, there was an idea that theater will be killed by the film industry, and books will be killed by the internet. Never happened though. Do you think mass media as we see it now will be killed by blogging? 

I think blogging itself has largely been overtaken by social media, particularly audio podcasts and video content on platforms like YouTube, TikTok, Instagram Reels, or various other channels. Traditional text blogs aren’t really as prevalent anymore, as people increasingly consume video content. It’s estimated that nearly 90% of internet traffic is now dedicated to streaming or downloading video. Today, reaching an audience is more effective through video and audio, or sometimes a combination of both. This shift explains why video podcasts have seen such rapid growth in recent years.

Your videos look like there’s a team of professionals working on them — director, camera, stylist, even a make-up artist perhaps. However, you do everything by yourself. How do you manage, and what did it take you to learn this?

 I shoot everything myself. Usually when I record in my studio, I use two to three cameras and about a dozen lights – from the two main lights that illuminate my face to several accent lights in the background. I learned the skill little by little because I was genuinely interested. I love cinematography and films.

If you look back at my earlier videos, they were absolutely terrible – I was filming with an iPhone 6 and just a basic microphone. Over time, I gradually accumulated these skills. I really enjoy it, and even though with AI and video reproduction some of these skills might become less essential, I still love it. It’s a core part of my creative process and it keeps the fire burning in me in terms of creating content.

 

You’ve been traveling to dozens or maybe even hundreds of wine destinations around the world. What was the most exciting and unusual one? 

I’ve been fortunate over the past ten years to travel to nearly every major wine-producing region in the world, and to almost all of the lesser-known ones – except Ukraine, which is why I’m particularly glad to visit this year. Eastern Europe excites me the most. Some of my favorite regions include the Dalmatian coast in Croatia, where the vineyards are truly spectacular – I think they rival those in the Mosel and Douro, even if the region is smaller. Serbia, especially the southern Župa Valley where Prokupac is the native grape, is another remarkable area. It’s tiny, but the variety is incredible, there’s a lot of traditional winemaking, and the valley feels almost frozen in time. Hungary as a whole also excites me. It has a long history of wine production, yet it doesn’t really have the cachet of some of the other regions and countries around the world, especially neighboring Austria. When I go through some of these unknown wine regions, I feel like a wine explorer. I literally feel like Kermit Lynch, the famous US discovere and importer of fine wines, decades ago, when he was traveling through France and Italy.

Do you think wine education is essential for a wine blogger? And why? 

I believe nothing can replace practical experience. I’ve spent many years on the ground, in cellars and vineyards, and that hands-on knowledge has been invaluable. I learned so much along the way.

I did take the WSET Level 3 certification, which was a piece of cake for me because I had already spent years traveling through wine regions, spending time with producers, and tasting and collecting wines. I plan to apply for the Master of Wine program next year.

I’m not sure it’s essential for a wine blogger, but our industry is very insular – everyone knows each other. Having some formal education, or at least a recognized qualification, helps establish credibility. It’s not absolutely necessary, but for anyone starting out today and hoping to build a career in wine, incorporating some form of formal education is definitely advisable.

How did your wine preferences evolve over time, and what are your favourite wines at the moment? (I am not saying “wine” — I understand there’s plenty).

Same as with many people on my wine journey, my palate has evolved quite a bit. I used to drink only reds, believing they were the only, quote, “serious” wines. Over time, I’ve found white wines far more exciting, and today they’re what I usually prefer.

However, when it comes to red wine, there’s one grape I’ve never wavered from: Sangiovese, particularly from Tuscany, and especially Chianti Classico. It was my first love in wine, particularly European wine, and my appreciation for it hasn’t changed over the years. I adore the balance of sweet and sour fruit in Sangiovese. If I had to choose just three styles of wine to drink every day, they would be Champagne, German Riesling, and Tuscan Sangiovese.

Guests of the Wine&Spirits Ukraine 2025 exhibition will have the opportunity to attend the masterclass and meet Matthew Horkey in person.

When: October 29–30
Where: PARKOVY, Kyiv

Tickets: https://wineandspirits.com.ua/

To take part in this and other masterclasses, we recommend registering in advance here: https://wineandspirits.com.ua/program2025/

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Can a wine critic become a world-famous influencer? Absolutely — at least that’s what Dr. Matthew Horkey, the renowned US wine expert, author, and founder of a popular YouTube wine channel, has done successfully. Very soon, Matthew will visit Ukraine at the invitation of the organizers of the Ukraine Wine&Spirits Awards 2025 international competition and […]

Tenuta Santa Maria’s story unfolds in the rolling hills of Valpolicella, where the Bertani family’s winemaking heritage stretches back nearly five centuries, from early records in the 1500s to the official founding in 1735. At its heart stands the 18th-century Villa Mosconi Bertani, a timeless symbol of tradition and artistry. Across generations, the family has preserved and refined their craft, producing wines that capture both the character of the land and the spirit of innovation. Today, Tenuta Santa Maria presents a portfolio that includes classic Valpolicella expressions as well as rare appassimento bottlings, each reflecting the dedication and vision carried forward by Giovanni and Guglielmo Bertani. To delve deeper into this heritage and the family’s path toward the future, Veronika Busel, Head of Operations at Wine Travel Awards, sat down with Giovanni Bertani for an insightful conversation.

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Veronika Busel: Giovanni, the story of your family is deeply intertwined with the evolution of Valpolicella and Amarone. How do you see this long-standing legacy – spanning centuries – reflected in the work you and your brother continue today?

Giovanni Bertani: Our connection to wine goes back much further than many people realize. The earliest document we’ve found dates to the late 1500s – a contract discovered just a few kilometers from Villa di Negrar mentioning grapes, vineyards, and wine. It’s like the first quiet whisper of our family’s involvement in winemaking, so in a way, wine has always been in our blood.

But 1735 is truly a special year for us – it’s when the winery (Editor’s Note: Estate in Arbizzano di Negrar) that stands today was built. That date is like a cornerstone where history crystallizes into the Bertani identity we know now. While our roots are much older, that’s the year the estate as it exists was born.

Our family’s role in the history of Valpolicella goes beyond winemaking. In the 1800s, part of the family was even exiled to Burgundy for a few years, which must have been an eye-opening experience. When they returned, Giovanni Bertani – who shared our family name – was not only a winemaker but also a political figure. He played a major role in shaping the Italian wine industry, helping to organize the second Oenological Congress in Verona, following the first one held in Turin. Our family helped found one of the earliest wine producers’ associations – the precursor to today’s Valpolicella consortium that defines the region’s identity.

That same Giovanni Bertani worked closely with the Ministry of Agriculture to draft the very first Italian wine production regulations. We exported to over 30 countries, which was remarkable for that era.

Regarding our estate, Tenuta Santa Maria, which we have owned since just after World War II – the main building itself has a long history, dating back to the 1300s when it was a monastery. This layered history speaks to the deep roots we have in this land.

Over generations, our family has remained devoted to protecting its independence and to expressing the authenticity of Valpolicella through wines crafted only from our own estate-grown grapes. This approach reflects a deliberate choice: to focus on quality over scale, on tradition strengthened by innovation, and on honoring the land that has sustained us for centuries. Today, Tenuta Santa Maria embodies nearly five hundred years of heritage, passion, and resilience – a story of dedication that continues to unfold with every vintage.  

V.В.: You currently offer ten labels. Is there one that stands out as especially significant in reflecting your family’s legacy or a unique approach to winemaking?

G.B.: Among the nine, one truly embodies our heritage: a special release we call the 1928 Acinaticum. It’s our oldest vintage, introduced to the public just this year. This wine predates modern Amarone – it’s crafted in an appassimento style and retains a sweet profile, unlike the dry Amarone we know today. It’s what we consider the “father” of Amarone.

This wine is produced in very limited quantities and reserved for VIP clients and collectors (Editor’s Note: It is also available online.) You’ll find it listed in some of Verona’s most exclusive restaurants for about €10,000 per bottle. It’s not just a wine –  it’s a piece of history.

V.B.: What is the scale of your current production across the nine labels? And in terms of market strategy, could you elaborate on your export focus and what defines your approach as a niche, premium winery?

G.B.: At the moment, we produce approximately 300,000 bottles annually, and our goal is to increase that to over 400,000 in the coming years. All our wines come from estate-grown grapes, which gives us full control over quality and consistency. We’re deeply committed to remaining a niche winery – focused on premium quality rather than high volume. That’s reflected not just in how we produce wine, but also in how we bring it to market. We don’t sell to supermarkets at all. Our entire distribution is dedicated to the HoReCa channel – hotels, restaurants, catering – and high-end wine shops that understand and value what we do.

In terms of markets, about 75 to 80 percent of our production is exported, depending on the year and the vintage. Our main export destinations are divided roughly into thirds: Europe, North America, and Asia. The United States and China are our two largest individual export markets. That said, there’s currently some uncertainty – tariffs and shifting global dynamics are affecting the outlook, so we’re monitoring how the market will evolve in the next 6 to 12 months.

Domestically, Italy accounts for about 15 to 20 percent of our sales. That’s actually quite typical for wineries like ours in Italy, especially newer or family-driven ones focused on quality and international visibility.

After World War II, my father played a vital role in bringing Amarone to the world stage – particularly in the United States. He traveled extensively, personally introducing the wine abroad, while the rest of the family worked on strengthening the winery’s heritage at home.

Our philosophy has always been to push Valpolicella towards greater elegance and authenticity – wines that truly express their origin and craftsmanship. Every bottle is estate-grown – something that’s increasingly rare today. Many big producers bottle wines made from grapes they don’t own, losing that close connection between vineyard and bottle. That’s not how we work.

In terms of scale, we’re quite small. We are boutique, selective, and dedicated above all to quality.

V.B.: I’ve noticed Bertani doesn’t really highlight a specific oenologist. Is that a deliberate choice –  to emphasize the family over an individual winemaker?

G.B.: Yes, absolutely –  that’s very much our approach. Bertani has always been family-run, and it’s the family that shapes the style of the wines, not any one winemaker. Of course, we work closely with talented winemakers—they’re an essential part of the team – but it’s a collective effort. Currently, we collaborate with Luca Rettondini, based in Tuscany. But building the brand identity around a single individual is something we avoid. That’s more typical of modern, investor-owned wineries where a winemaker is brought in to define the style. For us, it’s different.

The family is hands-on at every step, from vineyard to bottle. My father was instrumental in shaping our identity, and now my brother and I carry on that legacy. We’re all trained in wine ourselves, in many ways acting as oenologists. But beyond the family, there’s a continuous process: agronomists contribute, we hold regular blind tastings, and research guides us as we evolve the wines carefully.

A good example is our unique Corvina clone, developed by my father decades ago. This clone grows only on our estate and now makes up 60% of our Amarone. It gives the wine a distinct character – more raspberry and strawberry notes rather than the usual cherry typical of other Corvinas. This wasn’t a winemaker’s whim –  it was a long-term family project.

In recent years, we’ve also reintroduced nearly forgotten indigenous varietals, working with a nonprofit. Today, we use around 19 permitted varietals in our wines –  a story you can explore further on our website.

So yes, the winemaker’s role is important, but they don’t solely define the wine. We believe wine culture should be shared across the entire organization, not focused on one person. In investor-owned wineries, winemakers and CEOs often come and go, and the style shifts with them. That’s not what we want. Our goal is to preserve and refine, not reinvent. Our Amarone still follows the same guiding vision from the 1950s: drier, more elegant, with less residual sugar. The details evolve, but the philosophy remains.

V.B.: In our conversation, you mentioned that your family took an unusual path when it came to replanting vineyards, avoiding the standard practice of relying on commercial clones. Could you explain what that meant in practice, and how it shaped the identity of your wines?

G.B.: Absolutely. At a time when most wineries were replanting and, in the process, losing biodiversity – and with it, their identity – my father realized that this approach carried risks. Back in the 1980s, the market offered only a handful of commercially available clones, designed primarily for yield or drying efficiency. Choosing from those meant reducing a region’s complex landscape into just a few generic profiles. The result was that wines across different producers started tasting increasingly similar, and the richness of native diversity was being lost. My father wanted a different path. When he faced the need to replant, he chose not to rely on those commercial clones. Instead, he believed that if we wanted our wines to carry our own voice – not just a generic “Amarone accent” – we had to start with the material already thriving in our vineyards. That’s when he began collaborating with specialists in France who shared his vision of precision and genetic heritage. The method we used is called massal selection. Rather than buying new plants, we walked our oldest vineyards row by row, vine by vine, looking for individual vines that stood out for their balance, the way they ripened, their cluster structure, or their aromatic expression. We tagged those vines and collected wood samples. These were grafted onto rootstock and cultivated under monitored conditions, with their development tracked over several years: performance in different soils, disease resistance, flavor, and phenolic profile. It was a slow and meticulous process. Eventually, we identified two or three biotypes that truly represented the DNA of our land. These aren’t commercial clones – they’re unique to us, carrying the fingerprint of our family and vineyards. The impact was remarkable. Our wines became more consistent, yes, but more importantly, more alive. They gained clarity in expressing the site, the altitude, and the season. That gave us the foundation to build a real, distinctive identity.

We tagged them and took wood samples from those individual vines. Then we worked with the nursery, which grafted them onto rootstock and grew them under monitored conditions. Over several years, they analyzed their development – how they performed in different soils, their disease resistance, but especially their flavor and phenolic profile. It’s a slow process.

Eventually, we settled on two or three key biotypes that expressed what we considered to be the DNA of our land. These are not commercial clones. They’re our clones. You won’t find them elsewhere. That’s why I say that even the plant material in our vineyards carries our family’s fingerprint.

The impact? Profound. The wines are more consistent, yes – but more than that, they’re more alive. There’s a clarity in how they speak of the site, the altitude, the season. It gave us a foundation we could build a real identity on.

V.B.: You’ve highlighted the importance of precision and heritage. How do you balance tradition with innovation? Is there room for evolution within such a rooted framework?

G.B.: For us, it’s not about choosing between tradition and innovation – it’s about using innovation to protect and evolve tradition in a meaningful way.

Take drying, for example. One of the decisions we’ve made is to continue using traditional bamboo racks – the arele – for the appassimento process. This year, we’re even investing further by building more of them. Almost no one uses bamboo anymore – maybe 2% of Amarone producers still do. Most have switched to plastic crates and controlled humidity systems. But we don’t use any machine drying or humidity control. For us, this manual, natural method is essential – it defines a specific drying profile, a specific identity that connects our wines to a heritage that’s disappearing.

Another key decision is how we approach aging. Legally, you can produce Amarone without any oak aging at all – aging it in stainless steel or concrete is allowed. But we’ve chosen to age all our Amarone as Riserva. That means a minimum of four years by regulation, but we typically go to five, sometimes six. And we age only in large-format casks. That’s traditional – but at the same time, we apply innovation: we monitor oxygen ingress, conduct micro-vinifications to experiment with different oak sources, and work with coopers to fine-tune toasting levels. So we’re not trying to change the style – we’re refining it through knowledge and detail.

We also harvest much earlier than many others –  typically at the end of August or early September. Most wineries are still harvesting in October. But climate change has shifted everything. Sugar is no longer the issue – it’s phenolic ripeness and acidity. Harvesting early allows us to preserve freshness and vibrancy in the grapes, which ultimately gives us a more elegant, more subtle Amarone.

In the vineyard, we’ve started implementing regenerative practices — more cover crops, less tilling, the creation of biodiversity corridors. And we’re trialing dry farming in some plots to encourage deeper root growth, which we believe will enhance the expression of minerality in the wine.

So yes, we innovate. But every choice – from vineyard selection to natural drying to extended aging – is made in service of preserving and amplifying a specific identity. We’re not interested in shortcuts. Amarone, the way we see it, should reflect a continuity with the wine’s origins in the 1950s. The wines should be consistent, yes, but also alive – capable of evolving while staying rooted in something real.

V.B.: Let’s talk about family dynamics. With different personalities and philosophies in a family, how do you make important decisions – especially those that shape the style and direction of your wines? Is there a structured process, or is it more intuitive and collaborative?

G.B.: Personally, I find blind tastings invaluable for alignment. But before diving into that, it’s important to understand what’s been happening regionally.

Verona has produced wine at scale since the 1890s –  it’s a very productive, successful region. Amarone evolved from a niche, exclusive wine into a mass-produced style. With that growth, the region began to be seen less as terroir-driven and more as a stylistic category.

Transparency has suffered. Ask a new-generation sommelier today about Amarone and often they won’t know the precise vineyard origin or production details. Amarone is reduced to a “style,” often perceived as heavy, sweet, even clumsy.

So after losing our father three years ago, our family felt a strong urge to reconnect with our roots and terroir. It’s an ongoing journey of experimentation and discovery –  even for us.

Decisions like replanting vineyards or investing in equipment are made collaboratively. We bring together perspectives from the winemaker, agronomist, and family, and blind tastings are key to that process. These tastings aren’t private – they’re part of our regular team discussions. Sometimes we vote, sometimes we debate, but we always aim for consensus and stay focused on our shared goal: making wines that reflect our terroir and carry forward the Bertani legacy.

This is something you can do because you’re a boutique winery. If you were producing for large-scale distribution – like for supermarkets or monopolies, where everything is price-driven – you wouldn’t have the luxury to work at this level of detail. You’d have to focus on consistency, low cost, and standardization, making wines as inexpensive as possible.

So yes, we are fortunate to be estate-grown, focused on single-vineyard expressions, and positioned in the premium segment – which gives us the freedom to work this way, with deep attention to terroir and detail.

V.B.: You mentioned evolution and experimentation. What do you see as the next step in Amarone’s evolution? Where is it heading?

G.B.: I believe the future is about transparency, terroir, and connecting people to a specific vineyard and method. It’s not about selling a generic brand.

We’re thinking about Amarone not as a fixed stylistic category, but as something that can evolve while remaining authentic. For example, we’re now exploring the use of amphorae for Amarone aging or fermentation — but not the typical terracotta amphorae associated with orange wines. These are very thin, porous vessels made by a company called Tava in Alto Adige. They allow for very controlled oxidation, which is completely different from traditional terracotta used in ancient winemaking.

This could be an opportunity because you can age or ferment wines in a container with oxygen exchange similar to wood barrels – but without imparting any wood aromas. This idea actually came from our winemaker, who had seen it used in Tuscany.

By the way, Tava sells about 80% of its production to Bordeaux – many châteaux are now using these amphorae instead of oak barrels.

So this is a perfect example of how we can adopt new technologies not to mimic trends, but to better express our own terroir, varietals, and organic characteristics in a purer way. It’s not change for the sake of change – it’s about refining identity.

V.B.: Beyond Amarone, how do you position the rest of your wine portfolio and other aspects of the business? What role do these play in your identity as a winery, and how do you want them to be perceived by the world?

G.B.: We’re not strictly an Amarone producer, though Amarone is of course central to our story. We also produce wines that allow us to showcase the diversity of our region beyond the traditional Valpolicella image. For example, we have a Cabernet-Merlot blend planted by my father in the early ’90s, with production starting in 2000.

These wines are more niche and not always easy to introduce, especially in markets where Verona is seen exclusively through the lens of Amarone, Ripasso, and Valpolicella. But once people connect with our brand and gain trust in what we do, they start to explore the rest of the portfolio, and that’s when these unique expressions really gain recognition.

Beyond the wines themselves, we also see hospitality as a key pillar of our identity. Our next step is likely opening a restaurant on the estate. It’s about creating deeper connections with people, bringing them closer to the land, the food, and the wines – offering a complete experience that reflects who we are and where we come from.

V.B.: Looking ahead to the next decade, how do you and your brother define the winery’s strategic direction and priorities? Do you have a clear mission or positioning that guides your decisions?

G.B.: For us, the mission is to become the true reference point for Valpolicella – a benchmark defined by authenticity and respect for terroir, not volume or broad market trends. While many larger producers rely on IGT wines sourced outside the Valpolicella zone, diluting the region’s identity, we move firmly in the opposite direction. We invest heavily in indigenous varietals, micro-vinification, and single-vineyard expressions to highlight the unique character of our land and clone of Corvina.

Verona’s native grapes hold enormous untapped potential, and we want our wines to be recognized for elegance and refinement rather than heaviness or industrial style. For example, our Amarone has around two grams of residual sugar – well below the regulatory limit – favoring a fruit-forward, food-friendly style that challenges Amarone’s typical perception as overpowering.

Our strategy revolves around preserving traditional practices – like natural drying, long aging, and selecting indigenous yeasts – and rejecting industrial shortcuts. Transparency and clear communication are also key; we want consumers to understand and appreciate the depth and authenticity behind every bottle. In essence, the next ten years are about deepening roots, honoring tradition, and elevating Valpolicella’s true identity on the global stage.

V.B.: Do you think there’s a chance for Valpolicella to establish more sub-regions in the future?

G.B.: There is actually an ongoing discussion about creating eight sub-regions within Valpolicella. They’re discussing an update to the current DOC regulations in the region, which would introduce sub-regions encompassing around 80 different villages. They’re talking about updating the current DOC regulations to reflect this.

The idea is to define eight formal sub-zones – five in the Classico area and three in the expanded area. If this happens, it would allow us, for the first time, to officially register and recognize single vineyards within those sub-regions. That would be a big step forward in terms of transparency, traceability, and elevating the identity of each unique terroir.

You will be able to call your Amarone with the name of the village. And if you do that, you will need to register a single vineyard. And there would be more requirements – like a lower yield, a more precise process. The current process for Amarone doesn’t actually require any longer aging. But in the future, if you want to have this level of precision, there will be mandatory regulations. There will be a much lower yield from the vineyard.

The way we work today, all our production would basically fit within this new regulation. Today – funny enough, or actually, I think it’s pretty sad – if I want to put the name “Negrar di Valpolicella – Arbizzano,” where we are based, on the label, it’s not allowed by regulation. It’s not accepted.

So I have to stick with the generic name “Amarone Classico,” for the whole region. There is no specificity. There is no regulation that helps me connect the wine to a specific area or sub-region. So finally, there is a discussion within the consortium, among producers, and we are working on developing this new regulation. We are discussing how to introduce this kind of separation.

As I was mentioning before, Verona is not actually a style of wine. It is a region with specific terroirs. So the region will have to clarify the understanding of Verona wines very soon –  this will be a crucial step that redefines the future and elevates the wines’ standing on the global stage.

V.B.: How significant is the impact of climate change on Verona’s wine production? To what extent are changes in temperature or other environmental factors influencing your viticultural practices and long-term planning? Is this already noticeable in the region?

G.B.: It’s totally here. So what happened is that – even as I was mentioning before – we used to harvest at the end of September or beginning of October. Today, we mostly begin at the end of August. The harvest has already shifted by about a month since the 1970s, I would say.

And what’s helping us is two things. First, we have a blend of 18 or 19 indigenous varietals. Some varietals that were considered too acidic years ago – like Oseleta (Editor’s note: Oseleta is a rare, autochthonous red wine grape variety from the Valpolicella area in the Veneto region of Italy – more details on the Tenuta Santa Maria website) – were too acidic in the ’70s, not very interesting, didn’t mature enough. But today, they’re actually helping us a lot in rebalancing the blend – bringing freshness, acidity, and really interesting tannins. These are useful especially when we see over-maturation or concentration due to climate change and warming.

So, the first strategy is changing the blend and relying on indigenous varietals to rebalance the style of the wines.

A second option is playing with different elevations in the region. We basically start from about 50 meters – the lowest part of Valpolicella – up to 600 meters. So there’s a huge difference in elevation that you can work with.

Our next project is in the third valley, where we will grow grapes at about 300 to 400 meters. Currently, we are at around 180 meters here. So bringing the vineyards to higher elevations –  positions where, back in the 1970s or 60s, you couldn’t achieve proper ripeness –  is now an opportunity.

Today, those elevations are helping us produce wines that are more subtle, with more acidity and elegance. So yes, climate change is totally affecting us. But we are lucky as a region, because this blend of varietals helps a lot. And the elevation options help, too.

If you go to a region like Bordeaux, where it’s flatland and you don’t have much variation in elevation, you can’t play with that.

V.B.: The estate Tenuta Santa Maria clearly carries a special atmosphere – with its poetic, aristocratic heritage. How does that identity shape the kind of experiences you offer today? Who are the people coming to the estate, and how do you position what they find here? Are you focused on the premium segment, or is it something different?

G.B.: For us, wine tourism isn’t just about luxury or income – it’s about culture. We’re looking for curious, independent travelers who see wine as a deeper experience, not just a drink. They want to understand the history, the process, and the soul of a place.

Of course, we offer premium tastings –  like our Amarone vertical going back to 1928 – but our core audience is made up of passionate individuals, not tour groups. About 95% of our visitors come independently. They’re here for something authentic.

The estate Tenuta Santa Maria offers that: an estate rich in poetry, heritage, and history. This is one of the original homes of Amarone. And we try to share that with people –  not through grand gestures, but through storytelling, education, and emotional connection.

During tastings, we use visuals and narratives to explain everything: the grapes, the land, the drying process, fermentation. It’s not about saying “this is the best wine,” but about helping people understand why it matters.

Our team is highly educated and well-prepared, but we keep the tone light and welcoming. That balance helps guests feel at ease while also giving them a deeper understanding of what they’re tasting and experiencing.

That’s what creates a meaningful experience. We aim to offer a different kind of luxury – one rooted in time, care, and cultural depth. Guests leave knowing how Amarone is made, what makes this region special, and often with a new appreciation for it all.

That’s been a key point in the way we’ve developed our experiences here and why they’ve been so successful.

V.B.: Could you share a memorable story or experience from Tenuta Santa Maria that captures the spirit of your hospitality and the unique atmosphere you aim to create for your visitors?

G.B.: So many things… I have to think about it.. What usually happens is that I try – when I can, if I have the time – to meet the groups and interact with them personally. And what I often hear as feedback is that when people come here, they really feel the passion of everyone working with us. They feel the hospitality.

There’s this strong sense of personal involvement. Everything I’ve described to you – these details, this care – it’s because we are truly passionate and connected to what we do. And you can’t go into this level of detail without that kind of connection.

The compliments we receive often mention this feeling – that there’s something personal, almost a different world. And that translates into everything we create and develop.

When our visitors take the final turn on the road and see the vineyards, the estate – with its buildings preserved since the 1700s – the attention to heritage and detail… the passion behind all of it. What they usually tell me is that it’s like stepping 300 years into the past.

They arrive and, for a moment, feel almost disoriented – as if they’ve stepped into another era.

We don’t notice it ourselves, because we live in it every day. But when we meet people, we realize it – how unique this environment is.

And that’s why these interactions are so important to us. They reinforce our mission going forward.

There’s something here… the “genius loci,” as they call it – the spirit of the place. There is a soul living on the property, and we have a responsibility to preserve that.

To go even deeper – understand more about what this place was, and what we can bring forward to make it even more unique. Because, in many businesses, those things get lost over time. And we’re doing everything we can to avoid that.

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Tenuta Santa Maria’s story unfolds in the rolling hills of Valpolicella, where the Bertani family’s winemaking heritage stretches back nearly five centuries, from early records in the 1500s to the official founding in 1735. At its heart stands the 18th-century Villa Mosconi Bertani, a timeless symbol of tradition and artistry. Across generations, the family has preserved […]

At the end of this year’s Concours Mondial de Bruxelles in China, after the last calibration flight registered for the day, the competition director, Mr. Baudouin Havaux, gave an exclusive interview to a D+ representative invited to the jury and explained where the competition is headed and why he still compares it to the Olympic Games, despite the fact that the latter never stops in one place.

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Kateryna Yushchenko: Many shows hand out medals, yet the Concours Mondial de Bruxelles calls itself a public-service platform. What’s the core mission?

Baudouin Havaux: “The target is to give the consumer a guarantee of quality and to open the mind of the consumer to new wines, to other countries… quality first, curiosity second.”

 

K.Y.: Your judges now feed data into an AI. Why lean so hard on technology in something as sensory as wine?

B.H.: “We invest a lot in artificial intelligence because it can help the consumer, producer, the importer, and the buyer. A small winery can’t hire a big agency – our report is their marketing department.”

 

K.Y.: And that same small winery? Why should it budget for an entry fee?

B.H.: “A competition like CMB is a perfect marketing tool for a small producer. You pay the inscription – two-hundred-twenty euros – and if you earn a medal, you gain worldwide visibility.”

 

K.Y.: The show keeps opening CMB Wine & Spirits Experience bars – in airports, city centres, and soon online. Is that the future?

B.H.: “We need windows that speak to final consumers. The bars pour medal wines by the glass; producers get presence in markets they could never reach alone.”

 

K.Y.: The Concours now spans four sessions and thousands of samples. From an organiser’s view, what remains the single hardest step?

B.H.: “Panel building. If you misbalance a table – too many producers, too few educators – you change the personality of the score sheet. Getting that mix right is harder than shipping 7,000 bottles to a desert airport.”

 

K.Y.: Judges open the day with a calibration flight. How strict is the tolerance band before you step in?

B.H.: “A standard deviation above 3.0 triggers a red flag. We’ll pause the panel, discuss the reference wine together, and – if needed – replace a judge who can’t realign.”

 

K.Y.: Your scoring app feeds an AI that sends aroma wheels back to producers. Have you received any pushback from people who prefer the old paper system?

B.H.: “At first, yes. Now, most judges enjoy seeing their descriptors turned into data. The feedback is priceless for wineries: you get twenty global palates translated into clear graphs within a week.”

 

K.Y.: The 30 % medal cap is stricter than many shows. Ever tempted to relax it?

B.H.: “Never. Scarcity protects trust. If half the wines on a shelf carry our sticker, the value of each medal drops to zero.”

 

K.Y.: How do you decide which city hosts a future session?

B.H.: “Three filters: logistical capacity, demonstrated quality potential, and a government or trade body ready to treat the event as a knowledge transfer, not just a medal hunt.”

 

K.Y.: Are new categories – low-alcohol, no-alcohol, alt-ferments – on the horizon?

B.H.: “Low-alcohol will appear sooner than people think. We’re running pilot tastings to fine-tune a fair rubric; quality metrics differ once you reduce ethanol.”

 

K.Y.: Sustainability claims are everywhere. Will the Concours verify them?

B.H.: “From 2026, we’ll ask for basic carbon and water data at submission. It won’t affect the sensory score, but we will publish an optional sustainability badge next to the medal.”

 

 

K.Y.: Finally, what personal moment still gives you goosebumps after thirty-plus editions?

B.H.: “When a first-time entrant – often from a tiny region – sees their code flash ‘Grand Gold.’ You watch disbelief turn into a grin and know their entire village will read about it tomorrow.”

 

K.Y.: Fast-forward five years – what will the Concours Mondial de Bruxelles look like?

B.H.: “The philosophy – quality guarantee – won’t change. But you’ll see us closer to the consumer: more bars, maybe an app that scans the medal and shows the tasting panel in real time.”

 

 

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At the end of this year’s Concours Mondial de Bruxelles in China, after the last calibration flight registered for the day, the competition director, Mr. Baudouin Havaux, gave an exclusive interview to a D+ representative invited to the jury and explained where the competition is headed and why he still compares it to the Olympic […]

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!

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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.

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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.

Photo: Belove.pt 

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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.

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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.

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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!

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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 […]