Today, we have the distinct pleasure of speaking with Paul Wagner, a pivotal figure who has recently joined the jury panel for the Wine Travel Awards 2024-2025. Paul stands out as a venerated leader in the wine industry, particularly celebrated for his extensive work in wine tourism – a field he passionately cultivates. As the founder of Balzac Communications & Marketing, Paul has played a crucial role in elevating global wine brands through his innovative and creative promotional strategies.
Paul’s influence extends beyond marketing; he has shaped the next generation of wine leaders through his teaching roles at prestigious programs like the Wintour MBA in Europe and the OIV wine marketing program at UC Davis. His book, ‘Wine Marketing & Sales,’ co-authored with Liz Thach and Janeen Olsen, tackles the complexities of the crowded market and is considered essential reading for industry professionals.
Moreover, Paul’s role as a judge at numerous international wine competitions and his presence at global wine conferences have made him a celebrated voice in wine circles worldwide. He also consults on wine tourism and marketing strategies, helping to expand the industry’s reach and impact.
In recent years, Paul has channeled his narrative talents into writing, creating a series of mystery novels set in the picturesque Sierra Nevada. These novels, including titles like ‘Danger: Falling Rocks’ and ‘Bones of the Earth: A Dan Courtwright Mystery,’ showcase his passion for storytelling and offer a thrilling escape for his readers. You can explore these works further at Backpack the Sierra.
In this interview, we explore Paul’s dynamic career, his insights into the evolving world of wine tourism, and the joys he finds in his diverse professional pursuits.
Drinks+: What initially sparked your interest in viticulture and winery technology (and later wine tourism), and how did your educational background in sociology and other education (classical guitar) influence your approach to this field?
Paul Wagner: My wife and I moved to Napa Valley because she is a professional chef and got a job here. I began working at a winery because that’s the main industry in Napa. However, I quickly realized that my studies in sociology would help me understand the market and the consumer. Additionally, my background in education and performing arts would greatly aid in communicating with them. This proved to be a rare combination in the wine industry – not a production expert, but someone who understood the consumers and knew how to engage with them. Sadly, that’s still true.
D+: Having judged over 100 international wine competitions, what trends or innovations in wine industry have impressed you the most over the years?
PW: There’s been an improvement in quality across the board. Today, everyone is making good wine, and many are producing very good or even great wine. The quality and consistency of wine today are at a level beyond anything we’ve seen before. This shift highlights the growing importance of good marketing. If the quality of your wine alone doesn’t make you stand out, you need to communicate something beyond just the wine’s quality – and you need to do it well.
D+: Can you describe a pivotal moment or a key mentor (that you know personally or not) that significantly influenced your career in wine education and tourism?
PW: Dr. Stephen Krebs recruited me to teach at Napa Valley College over thirty years ago. He clearly believed that my approach, although quite different from most in the industry, was something that needed to be heard. He gave me the opportunity to spread the word. Thirty years of successful students have proven he was right. I have loved every minute of teaching.
D+: Throughout your career, you’ve spoken at numerous wine conferences worldwide. Which of these engagements do you feel was the most impactful in shaping global perceptions of wine tourism?
PW: They all have their roles to play. The UNWTO brings together key players, but so do TexSom and the American Wine Society. The Vancouver Wine Festival in Canada is huge. I must also mention teaching at the Wintour MBA program and the OIV wine marketing program at UC Davis because students from all over the world attend these programs and take the message back to their home countries.
D+: Your books have won several awards and are used by wine professionals globally. What is your process for identifying topics that need addressing within the industry, and how do you ensure your work remains relevant and useful? Can you tell us what inspired you to switch to another genre with the Albicaulis Books series, and how your life in wine influenced those books?
PW: The first Wine Marketing book grew out of the lectures I gave at Napa Valley College. My students there constantly challenge me to keep on top of the latest developments, and we are now working on a fourth edition of that book to keep it up to date. But my mystery novels are a completely different story (sorry!). While the marketing work I do is always rooted in data analysis and facts, the novels give me a chance to tell the best possible story without worrying about proving its truth. That’s pure fun.
D+: From your extensive teaching experience, could you share an example of how you’ve adapted wine education to cater to the evolving interests of students in the wine tourism sector? Can you tell about your involvement with the Wintour program and why this program is relevant to the wine tourism segment?
PW: When I began teaching at Napa Valley College, DTC (direct-to-consumer sales) were a very small part of the equation. But that has changed completely over the years, and as a result, managing tourism and cellar door sales has become a major priority for many wineries. It’s actually their primary source of revenue and profit. The Wintour MBA program brings together wonderfully talented students from around the world. I love teaching them because they share their experiences with me, and together we work to develop new ideas, new markets, and new programs in the world of wine tourism. It’s a wonderful group of people.
D+: As a Senior Consultant for Wine Tourism at Expedia Cruises, how do you envision integrating wine tourism with travel experiences, and what unique opportunities does this position offer to elevate the wine tourism industry?
PW: I’ve always said that wine tourism doesn’t exist – not as a pure concept. Tourists are tourists, and they all want the same thing – to have fun and create memorable experiences with their family and friends. Wine tourists simply want to expand that vision to include wine and food. What could be more natural? Working with Expedia Cruise Ship Centers, I get to travel around the world, visiting the top wine tourism destinations and taking note of what they are doing and how they are successful. Sharing those ideas and bringing the added perspective of the travel professionals at Expedia means I get to combine the best of all worlds.
D+: Can you describe your collaboration with Expedia Cruise Ship Centers and its impact on wine tourism in a bit more detail?
PW: I’ve been working with Expedia Cruise Ship Centers for more than a decade. The primary effort aims to give wineries the option to host a wine club event on a cruise, which accomplishes two goals for the winery: it builds closer relationships with existing club members, and it also provides the winery access to other potential club members on board the ship.
While we focus on river cruises to wine regions, including the Rhône, the Saône, the Danube, Bordeaux, the Rhine, and the Douro, we also include visits to nearby wine regions, as well as sea-going cruises to destinations like the Adriatic, New Zealand, Italy, and more. A final element of the program is a series of sea-going cruises that simply add a wine component to a non-wine destination, giving wine lovers a reason to choose these cruises over others to places like Alaska and beyond.
D+: You’ve been a significant figure in developing wine communications. How important is storytelling in wine marketing, and could you share an effective strategy or campaign that illustrates this?
PW: As a dear friend likes to say, facts tell but stories sell. If you want someone to remember something you’ve told them, you need to put it into a story, because recounting fact after fact only puts them to sleep. Marshall McLuhan noted that those who think education and entertainment don’t have anything in common don’t know the first thing about either one. For as long as humans have had language, we have told stories as a way of communicating our histories, our emotions, and our dreams. Let’s not stop now!
D+: Looking ahead, what are the emerging trends or destinations in wine tourism that you believe will gain prominence in the next few years?
PW: I hope that the classic winery tour, where the visitor sits (or even worse, stands) through a long explanation of the production process, will finally die out. They are boring, they don’t share what is really interesting about the winery, and most visitors come to regard them as some kind of punishment or tax they have to pay before they’re allowed to taste wine. Smart wineries are giving their visitors the option to go directly to a tasting room where they can chat with someone who is lively, entertaining, and has open bottles of wine. That’s where the human connection is most likely to occur.
As for destinations, I am excited about all the emerging wine regions that are taking advantage of the interest in wine tourism to create a stronger and more vibrant wine industry. One example is the Caucasus, including Armenia and Georgia. This region is the birthplace of wine, the original Garden of Eden, and the combination of wine, food, culture, and history is really exciting. But every corner of Europe has a story to tell. The New World has amazing places as well. We now make wine in all fifty states of the United States, and much of it is quite good. Cape Town, New Zealand, Chile, Argentina, Mexico, Canada – there are too many wonderful places and not enough time!
D+: Paul, as you step into the role of wine judge for the Wine Travel Awards 2024-2025, your involvement marks a significant moment in the 4th campaign year of this global project. With your deep-rooted experience and authoritative presence in the wine and tourism sectors, how do you perceive the impact of these awards on global wine tourism?
PW: If we can encourage best practices in the world of wine tourism by recognizing those who excel, we can raise the level of service and experiences worldwide. That’s an exciting prospect. Who wouldn’t want that? I’m looking forward to seeing the entries!
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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 […]
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The Consorzio dell’Asti DOCG, one of Italy’s oldest and most esteemed wine consortiums, has a rich history dating back to 1932. Situated in the heart of Piedmont, the birthplace of Italy’s first sparkling wine in 1865, the consortium preserves a tradition of excellence in winemaking that spans generations. With over 1,000 producers united under its wing, the Consorzio plays a vital role in the cultivation and vinification of the Moscato Bianco grape, ensuring that the region’s unique heritage is celebrated and upheld.
In this exclusive interview, Mr. Stefano Ricagno, a President of Consorzio dell’Asti e del Moscato d’Asti DOCG, provides insights into the consortium’s strategies, the evolution of its production practices, and how it continues to adapt to modern trends and challenges. From sustainable viticulture initiatives to the global expansion of Asti Spumante and Moscato d’Asti, Mr. Ricagno discusses the key factors that define the success of this iconic wine region.
Join us as we explore the history, innovation, and passion behind one of Italy’s most cherished wine appellations, Asti DOCG.
Drinks+: Mr Stefano Ricagno the Consorzio dell’Asti DOCG was established in 1932, making it one of Italy’s oldest consortiums. How does this rich history influence the Consortium’s current practices and values? Does this rich history give influence and advantages to the Consortium, compared to younger market operators?
Stefano Ricagno: The Asti DOCG area is a place where you can breathe the rich history, the culture and the traditions of Piedmontese wine production. The first Italian sparkling wine named “Spumante” and called “Italian champagne” was born in 1865 created by Gancia’s family in Canelli, it’s an important milestone of priceless value, a deep knowledge of bubbles and winemaking. Each bottle is a testament to a labor of love, of care of the land, a legacy passed down through generations where tradition and craftsmanship unite in perfect harmony—an extraordinary heritage, protected and celebrated by the Consorzio. Today it represents over 1000 producers, divided between 50 spumante houses, 778 vine-growers, 153 estate wineries, 17 must producers and 15 cooperatives, all engaged in the cultivation and vinification of Moscato Bianco grape, which finds its highest expression here. A solid denomination with a lot to tell.
D+: Asti Spumante production increased by nearly 6% compared to the average over the last decade. What strategies or market conditions contributed to this growth? However, the Asti DOCG produced over 90 million bottles in 2023, a slight decrease from the previous year. Could you provide some insights into the factors that influenced this year’s production levels? How does the Asti Consortium respond to fluctuations in production levels, and what measures are in place to balance supply and demand?
SR: Despite the slight drop in 2023 compared to the previous year, we are still in balance with the values and in line with the average production of the last ten years. Asti Spumante is growing, while Moscato d’Asti, on the other hand, has suffered a partial drop, paying probably for an overstocking after the exploit of the three-year period 2020-2022, a record for the type. Plus, we had a reduction in the harvest, due to a complex year, meteorologically different from the ‘regular’ season, while in terms of quality the grapes were in excellent condition, on the quantity front there was a 10% drop compared to 2022 and that is impossible to control. At this economic juncture, the market does not require any balancing intervention, as supply and demand are in equilibrium.
D+: How have the changes in production volumes affected Asti DOCG’s export markets, particularly in key regions like Eastern Europe, Western Europe, and North America?
SR: Pre-pandemic (2019) to date, Asti Spumante exports by value around the world have increased by more than 33%, moving increasingly to the East and the Old Continent with Eastern Europe growing by 63% in the first ten months of 2023, almost double the overall growth over the same period in 2019. Among the main increases which include Latvia +43%, and Poland, +100%. Green light also for Western Europe, which recorded a 32% increase thanks mainly to the remarkable performances of the United Kingdom (+76%), Belgium (+142%) and Austria (+97%). South America recorded growth of around 44%, with Mexico (+54.5%) and Peru (+93%) outperforming; North America also remained in positive territory (+1.5%) despite the drop recorded by the United States (-8%), one of the consolidated markets for the denomination. On the other hand, the Asian and Australian area contracted by more than 14%, with the significant drop in one of the reference markets, Japan (-16%).
D+: Today, low alcohol wines are trending, which matches the profile of many Asti wines. Does the Asti Consortium use this trend in its promotion strategy? Have there been any noticeable shifts in consumer preferences between Asti Spumante and Moscato d’Asti? How does the consortium adapt to these changes?
SR: A lower alcohol content is certainly a characteristic of our aromatic bubbles, and sometimes we underlined that just because is not always known, but we are not planning to increase the promotion only on this aspect of our wines, tapping into market trends. We want to highlight the complex bouquet and pleasantness on the palate, encompassing more than just alcoholic content.
D+: The Consortium’s laboratory in Isola d’Asti plays a crucial role in wine research, particularly for aromatic wines. What are some recent breakthroughs or ongoing projects at the lab that you’re excited about?
SR: At the moment, the most ambitious and significant project is obtaining certification as a sustainable appellation. The laboratory plays a crucial role in this effort, as it is working diligently to implement a pilot project with 10 producers in the supply chain, providing support to these works throughout the process.
D+: The recent recognition of Canelli as a DOCG is a significant milestone. If possible, tell us more about Canelli – this winery phenomenon is the winner of the Wine Travel Awards voting, but I would like to know more insider information. Which body is currently in charge of the development and promotion of Canelli DOCG, and which specialists are involved? Could you share more about the implications of this recognition for the region and the expectations for the Canelli DOCG, particularly the “Riserva” type?
SR: The Canelli DOCG—formerly a sub-zone of the larger Asti DOCG—is the 19th DOCG to be approved in Piedmont, cementing the area’s claim to the most DOCGs of any region of Italy. The Association of Moscato di Canelli producers made a great effort with the Italian bureaucracy and wine establishment to get the Canelli DOCG recognised.
The area covered by the Canelli DOCG involves 18 communes within the provinces of Asti and Cuneo. There are currently just over 40 estates eligible to produce Canelli DOCG, and it is estimated that annual production will—for the next few years—be just over 500,000 bottles. The regulations of the Canelli DOCG are more restrictive, hand harvesting is mandatory, yields are strict, and the vineyards must be planted on the area’s rolling hills at elevations between 540 feet/165 m and 1,640 feet/500 m. There is also a Riserva version, which can be marketed no earlier than 30 months of ageing. Canelli DOCG will remain under the wing of the Consorzio dell’ASTI.
D+: With Asti DOCG wines being featured as the official sparkling wines at major events like the Nitto ATP Finals and the Internazionali BNL d’Italia, how does the Consortium leverage these partnerships to enhance the brand’s visibility and appeal?
SR: It is an honour for us to be once again the bubbles of the world tennis elite, moreover at a historic moment in which even Italian athletes are distinguishing themselves for their winning performances. We are continuing a collaboration that is proving to be increasingly significant – both in terms of the global calibre of the events and the target audience of fans that we are able to reach – which will culminate with the Nitto Atp Finals where, for the next two years too, we will be in Turin among the silver partners of the final act of the tennis season in which the best eight players in the world compete.
D+: What unique features of the Asti region make it an attractive destination for wine tourists?
SR: Music, cross-country competitions, exhibitions, daytime stages and candlelight wine and food walks at night, picnic in the vineyards, in addition to the Palio di Asti, one of the oldest in Italy in full medieval style, and the traditional Douja d’Or, the Asti wine and food festival. These are just some of the events supported by the Asti Docg Consortium for national and international tourists and winelovers who will choose to spend their holidays in the municipalities of the Langhe, Roero and Monferrato Unesco wine-growing landscapes.
D+: As the President of the Consortium, what do you find most rewarding about your role, and what goal do you want to achieve?
SR: Asti and Moscato d’Asti are unique products in the world, they embody all the sweetness of our region, and I am incredibly proud and grateful to have the opportunity to contribute, in any way I can, to the growth of this great appellation!
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The Consorzio dell’Asti DOCG, one of Italy’s oldest and most esteemed wine consortiums, has a rich history dating back to 1932. Situated in the heart of Piedmont, the birthplace of Italy’s first sparkling wine in 1865, the consortium preserves a tradition of excellence in winemaking that spans generations. With over 1,000 producers united under its […]
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In this enlightening conversation, Richard Bampfield MW takes us on a journey through his expansive career in the wine industry, from his formative experiences in retail to becoming a Master of Wine and a leading authority in the sector. Richard reflects on his global perspective, honed through years of international travel and work, which significantly shaped his understanding of wine’s evolution and its sustainable future. With a focus on lifelong learning and a deep commitment to promoting sustainability in the wine industry, Richard Bampfield discusses the nuances of wine tasting, market dynamics, and the crucial role of tourism in shaping wine regions globally. His insights offer a rich exploration of the challenges and opportunities facing the wine industry today, making this discussion a must-read for anyone interested in the future of wine.
Origins in Wine: Richard’s Personal and Professional Pathways
VB: Richard, could you describe your initial journey into the wine industry? Was it a career you pursued intentionally, or did the opportunities find you? Additionally, did family influence play any role in your decision to enter this field, or was it solely a personal decision?
RB: I essentially entered the wine world on my own. Growing up in Britain during the 60s and 70s, my family, like most, rarely drank wine unless we were on holiday in France, Italy, or Spain. It was during these family trips that I first developed an interest in wine – it seemed special, something we only enjoyed on vacations. My appreciation for wine grew during my university years in France, where I studied language and literature, influenced by student culture and the affordability of wine. My proficiency in French was quite strong upon graduation, though not perfect, and I wanted to improve it. This background in French, combined with a year spent in France, deepened my understanding of wine as I was surrounded by friends involved in the industry. After university, unsure of my next steps but wanting to use my French and continue my engagement with wine, I turned to family friends in the business for guidance. This led to my first job in wine shops and felt like a natural progression, combining my interests and studies, though no one in my family had a background in the industry.
VB: So, you started your career in retail, focusing on selling wine and interacting directly with customers. Is this what you mean when you talk about how you first got involved in the industry?
RB: Absolutely. I worked in wine shops for about eight or nine years and absolutely loved it. That experience is one of the reasons I really enjoy conducting tastings with the public now. I’ve always relished the opportunity to talk to people about wine, listen to their opinions, answer their questions, and understand their process of selecting a bottle of wine.
VB: Are we discussing how you entered the wine industry in the 1980s? And did you start your pursuit of the Master of Wine recognition during the 90s?
RB: I worked in the wine industry throughout the 1980s and completed my initial examinations, including WSET levels two to four, during the 1990s. Initially, the idea of becoming a Master of Wine seemed beyond my reach. However, in 1988, I took a year out to travel, as I was single and had the time to explore. During this period, I engaged primarily in wine-related work. I spent time in California, worked for a vineyard in Australia, and visited New Zealand and Argentina. At that time, traveling to these countries was quite exotic, as they were not major wine exporters until the 1990s. Working in vineyards and cellars abroad was invaluable, as it filled the knowledge gaps I couldn’t bridge back in England, where we lacked high-quality producers that time. Upon returning from my travels, I stumbled upon a Master of Wine exam guidebook. After reviewing it, I realized I had acquired the necessary knowledge and confidence to attempt the exam. I took the Master of Wine exam a few months later. And it was successful.
Wine Education Journey: Lifelong Learning, WSET, Master of Wine, and Beyond
VB: Could you tell us about your experience with the WSET during your time there? How do the programs from back then compare to the current structure of WSET today?
RB: First of all, the basic structure of the WSET program remains similar to what it was originally, though it’s now better aligned with the UK’s National Vocational Qualifications (NVQs), integrating it with other subject-matter qualifications. This alignment has marked a significant improvement. The main difference today is the distinct separation between the levels, which aids this alignment. WSET Level 2 is a substantial step up from Level 1, Level 3 advances further from Level 2, and Level 4 is a major leap from Level 3. This progression makes Level 4 an excellent foundation for those looking to embark on the Master of Wine program. It’s a much bigger commitment and provides a closer stepping stone to the Master of Wine than when I was a student. Overall, the WSET has grown significantly since the mid-1980s when I first took their classes. It’s become much more professional, better resourced, and more internationally focused. For anyone entering the wine industry or looking to advance, I still believe the WSET offers excellent training. The growth in the number of people taking WSET courses certainly reflects the quality of the class.
VB: Was there a particular country or region that significantly inspired you and influenced your career in the wine industry over the years?
RB: That’s a good question. Chile was quite influential for me. At the time, Chile’s main market was South America. It’s interesting because the wines they considered top-tier in 1988 seemed old-fashioned to me. They weren’t well-suited for export markets initially, and they were just starting to realize that they needed a more fruit-driven style to succeed internationally – something they began to understand with their early exports to the United States. Argentina had a similar scenario; their perception of top wines differed significantly from what the export markets expected. Meanwhile, California was a different world altogether. By then, it was already producing world-class wines, and getting to know Napa Valley better was truly a privilege – I absolutely loved working there. I met other Europeans during that period; I’m still in touch with them today and have maintained friendships with people from France, Algeria, and the UK. Making these connections was one of the highlights of my time in California. I spent the longest period in California, which perhaps is why it made the biggest impression on me. My time in Australia was also formative; I spent two months working in vineyards, two months in a cellar, and two months traveling around the wine regions, totaling six months. Australia’s wine industry was quite sophisticated already, especially in terms of viticulture and winemaking, which I greatly admired. Upon returning, I took a job with the Australian company Brown Brothers about nine months later, largely due to the impressions from that trip. What stood out to me was their business acumen – their realistic yet ambitious approach to managing their business and exports. It was the first time I felt like I was working with real businessmen. Although I do not consider myself a natural businessman, I found it incredibly fulfilling to work with people who understand how to effectively manage operations, and I thrive in that environment. This was another significant lesson I took away from my time in Australia.
The Path to Leadership: Wine Management Lessons
VB: Could you share how stepping into the role of Operations Director at Brown Bros influenced your career trajectory?
RB: Yes, I held a position with Brown Brothers. When I joined their UK office, which managed all European wine exports, I quickly became the general manager within a couple of years, a role I enjoyed for about seven years. I was in charge of managing Brown Brothers’ exports to Europe during a period when Australian wine exports were booming. Part of my job involved managing allocations, which was relatively straightforward given the high demand for our wines, not just in the UK but across Europe as well. This demand made it easier to sell the wines and also allowed me to travel extensively across Europe, gaining a deep understanding of the various market structures. I learned the nuances of selling to retail versus trade and developed strategies to effectively navigate the Scandinavian market. So, it was a really good time – actually, it was a fantastic time – a great opportunity to learn about all these things and to help the Australian wine business move forward.
VB: You’ve mentioned that commercial acumen isn’t your strongest suit as a general manager. Could you elaborate on that perspective?
RB: I am really interested in the wine business and follow it quite closely. I enjoy understanding different business models, approaches to the market, and types of marketing strategies. So, while I have a keen interest in business, I’ve discovered that I’m not a natural general manager. I actually enjoy the wine aspect more than the spreadsheets. I believe that to be a good general manager, you need to enjoy the spreadsheets and the budgeting side of the business.
VB: Could you share details about any mentors or influential figures who significantly impacted your career? Are there specific individuals, whether through personal acquaintance or inspiration, who played a crucial role in your development?
RB: When I was working in retail, I was fortunate to work with two excellent retail managers. Both were much older than me and nearing retirement. What fascinated me was their common trait: they didn’t know much about wine, but it didn’t matter, because they were exceptional with people. They had a natural curiosity about each customer, making efforts to get to know them and quickly becoming friends. Most customers realized these managers weren’t wine experts, but they trusted their judgment because the managers took the time to understand their preferences and needs. This experience taught me the value of a salesperson understanding whom they are selling to. A good salesman can make customers enjoy a bottle of wine even if it’s not exactly to their taste, simply because they’ve enjoyed the purchasing experience. However, these managers often frustrated other staff by spending too much time with one customer while neglecting others. It’s a fine balance, but the essential lesson was clear and invaluable – they taught me a lot about people and how to sell, or about an approach to selling anywhere and to anyone.
Additionally, I worked at Brown Brothers in sales, where I admired the business rigor, though I realized the business side was not for me. I respected how their professionalism contributed to financial success. In the UK, we sometimes undervalue commercial success, almost as if making money is slightly shameful. I admire the American approach, which is more openly money-oriented. I think there’s a middle ground between the two, and Australia strikes a good balance. What I appreciate about Australia is that it has managed to find that middle ground effectively: they aim to take good care of people – I do believe they look after employees well in Australia and they’re respectful. However, they also understand that their business must be financially viable because they have a reputation to uphold.
Lidl’s Impact: Richard Bampfield on Pricing and Market Dynamics
VB: Lidl is known for its low prices, which has sparked some controversy. As one of your main clients, could you explain how Lidl’s pricing model impacts the producers who supply their products, particularly in the wine industry? How do these relationships affect the broader market and the perception of quality within the industry?
RB: Lidl often faces criticism for its low prices. There’s a common misconception that low shelf prices mean producers, like farmers, are paid unfairly low wages, suggesting that Lidl pressures them on price. This is simply not true. Producers who supply Lidl, or any supermarket for that matter, benefit from the volume of sales these retailers provide. The volume is critical as it forms the foundation of their business: knowing they have a steady revenue stream from Lidl allows them to plan and stabilize their production. It’s not just about price; these contracts provide security in volume, which is crucial for producers. This foundation allows them to explore other revenue streams by diversifying their product mix. Often, it’s the cooperatives supplying these supermarkets, and I believe cooperatives are the unsung heroes of the wine industry. While the spotlight often falls on small artisanal growers who capture critics’ acclaim, many small growers are happy to simply cultivate their grapes and sell to cooperatives, supporting their livelihood and that of their families. It’s these cooperatives, supported by supermarket purchases, that sustain these small growers. Supermarkets demand high standards for the wines they purchase, and cooperatives excel in meeting these requirements. So, my shout out is to the cooperatives across Europe, doing an excellent job amidst misconceptions about quality and conditions. They are the real backbone of the industry, keeping small growers afloat and ensuring quality production.
Future Prospects: Challenges in a Changing World
VB: Could you elaborate on how you perceive the general wine trends across Europe and the rest of the world? This particularly concerns the consumption issues among the new generation, which tends not to drink wine, and some local challenges where many experts currently see little hope for significant growth. Considering the era we are living in, what do you think might happen in the future?
RB: What concerns me is witnessing the wine world in a fragile position. I don’t see a strong future for wine as it currently stands. The struggle many in the industry face is disheartening, and although I wish for greater success and profitability, it seems a distant reality for many producers. Regarding global trends, wine consumption is declining worldwide, a trend that’s been noticeable for the past few years. This is particularly concerning in the United States, which has been a major market for many wine producers. The fluctuating market in China and ongoing trade wars add to the uncertainty, impacting the potential for export success. Concerns about younger generations not drinking wine don’t worry me as much. Historically, wine has been perceived as more of an adult beverage, something people might grow into. I’m not suggesting we should ignore it, though it worries me less than it does others. I think there are other, more worrying things – climate change, for example, concerns me a lot. Climate change poses a real threat, not just because of rising temperatures, which vineyards can potentially adapt to by modifying practices and grape varieties, but because of the extreme weather conditions it brings – severe droughts, heavy rainfall, and frost. These extremes, which are difficult to predict and prepare for, directly affect crop yields and business stability.
Another significant challenge is the stance of the World Health Organization, which claims that no level of alcohol consumption is safe. Such statements, backed by what many consider incomplete data, could influence governments to impose higher taxes on alcohol, including wine. This is problematic, especially considering the substantial social and economic impact wine has in countries like France, Italy, Spain, and Portugal. The wine industry is indeed fragmented, which economically, is a disadvantage. Consolidation might be necessary for survival, allowing producers to achieve economies of scale and build stronger brands. Unlike beer and spirits, which are heavily brand-driven, the wine industry lacks strong brands, making it harder for consumers to make purchasing decisions. We need more recognizable wine brands, which I believe will come through greater consolidation and a better balance of supply and demand. In many parts of the world, producing wine isn’t profitable, especially at the lower end of the market. Some vineyards are growing grapes that no one wants, and it might be more sensible to repurpose this land. As long as we produce an excess of wine, the price pressure will continue to drive the industry into a less profitable state. I don’t foresee a near future where the demand for wine increases significantly enough to change this trajectory.
Legacy in Sustainability: Impact of the Sustainable Wine Roundtable
VB: How do you view your involvement with the Sustainable Wine Roundtable (SWR): as a natural progression of your career, or is there a deeper commitment to the cause that motivates you?
RB: It all started with a conversation about five years ago with Toby (editor’s note: Tobias Webb is the co-founder of Sustainable Wine Ltd, alongside Agatha Pereira) during an interview on sustainability. We discussed the plethora of sustainability certifications worldwide and how they essentially dilute each other due to lack of public recognition. I think one of us mentioned needing to do something about it. We hoped we could, and though I didn’t think much of it initially, Toby began to take action a month or two later. He’s a very dynamic individual, and once he commits to something, he gives it his all.
Since then, the initiative has grown. We believe we can make a difference, which has turned our idea into something tangible. The ultimate goal remains similar to what we initially envisioned – an organization that, over time, would simplify for consumers the identification of sustainable wine products. But now, there are additional objectives. Do I see this as a natural progression of my career? Not necessarily, although I’ve always wanted to leave a legacy beyond just earning a living. I’ve had discussions with friends and family about wanting my life to contribute to something meaningful. So, when this opportunity with Toby came up, it felt like the right moment to dedicate my time. What will we ultimately achieve? I’m not sure; we don’t yet see the finish line, but we’ve already made some significant impacts.
VB: Could you explain in a few words what SWR is about for our readers?
RB: The Sustainable Wine Roundtable has significantly evolved from its early days into a substantial organization. We are a member-based group where membership fees are scaled based on the company’s wine turnover.
Unlike typical sustainability certifications that focus solely on producers, we encompass the entire wine value chain, including producers, glass manufacturers, cork producers, logistics companies, other standards organizations, retailers, distributors, and importers. This comprehensive approach allows us to address sustainability holistically across the entire spectrum of the wine industry. Our goal is to unite all these stakeholders to build a sustainable future for wine by fostering communication and collaboration to avoid duplication and cover all bases.
We currently have over 120 members worldwide, ranging from very large to small entities. It’s crucial that we represent and listen to both the smaller players and the larger ones.
One of our projects is creating a protocol for managing vineyards sustainably, addressing the proliferation of certification standards by developing a framework to assess and benchmark them. This helps distinguish what each standard does well and where there is room for improvement. We recognize that the demands and costs of sustainability vary across regions, but we aim to establish universal standards that encourage continuous improvement in sustainability.
This task is delicate; some see new standards as a threat, but we must be pragmatic and focus on the collective goals of profitability and environmental improvement. We maintain close contact with other organizations engaged in similar work, such as those involved with the Porto Protocol, which is a fundamental framework for us.
International wine organizations, including the OIV, perform excellent work in related fields, and it is vital to ensure that we are supportive of each other’s efforts without being overly inventive with their terms.
Collaboration is essential – not just within SWR but also with these external bodies – to ensure we support each other’s efforts and avoid reinventing the wheel. It’s about learning from one another and building a stronger business through cooperation. There is still much work to be done, but we are committed to making significant strides in sustainable wine production. We believe in working together to achieve a more sustainable and profitable future for the wine industry.
Communicating the Culture and Pleasure of Wine: Insights from Richard
VB: How have your roles as a presenter, writer, and judge influenced the narrativesin wine education? What goals are you pursuing, and what narrative are you promoting in the wine world?
RB: I write very little; there are many who can do that better than I. My strength lies in speaking about wine, which I love. I participate in a lot of consumer events and engage actively on social media. I believe I articulate my thoughts on wine well, in a way that resonates with people. I’m not overly technical; I emphasize the drinkability and joy of wine. For me, the pleasure of drinking wine should always be paramount.
I enjoy discussing wine with both consumer and trade audiences, keeping up with global wine trends and business aspects. I think that as Masters of Wine, we almost have a duty to stay well-informed, so that we remain accredited to the title. If invited to speak at webinars or conferences on topics I’m knowledgeable about, I’m always eager to participate as I really enjoy it. I also like a lot moderating discussions, as it allows me to delve into various subjects and continuously expand my knowledge.
Regarding wine judging, I do it for two reasons: one – because when you take the Master of Wine exam, you are trained in the blind system, and the best wine testers in the world are the Master of Wine senior students. It’s now the absolute peak of their hours; they are doing blind tastings probably every day and practicing. They may not be perfect, but it makes you the best you can be. So the best I ever was as a tester was when I was a Master of Wine student. And effectively, I’d say I was going down from there as a blind tester – I’m just being realistic. Being in competitions, being a wine judge enables you to continue to calibrate your palate to ensure that you’re still tasting consistently with other people, and that’s really important for a job like mine, where I’m assessing wines when I’m giving you my wine scores. But sometimes, when I’m writing a tasting review, I need to ensure that my palate is still consistent with my peers.
Secondly, judging offers a mentoring opportunity. Often, younger professionals and those new to the trade are on the panels, and they value insights from experienced individuals like myself. I believe this mentorship aspect is vital for those entering the industry, and I enjoy it.
Role of Wine Travel Awards: Shaping Tourism and Industry Insight
RB: I truly applaud what you’re doing! Tourism is crucial, especially given the fragile economic future of wine. Wine regions are often naturally beautiful – typically located in mountainous areas less suited for other crops – making them attractive destinations. We’re already witnessing the impact of tourism in places like South Africa, California, and Australia, where it’s becoming a significant part of the wine landscape. Economically, this is hugely beneficial for the industry.
Through the Wine Travel Awards, I see immense value for producers. They can learn from global best practices and gain insights on how to enhance visitor experiences. I’ve often encouraged French producers to visit regions like Stellenbosch or Californian valleys to observe and adopt innovative tourism practices. While not perfect, the exchange of experiences is invaluable, and many European producers could learn from such exposure.
For consumers, it’s equally beneficial as wine tourism fosters community among those who share a passion for wine. It’s about sharing joy and experiences with others, both familiar faces and new acquaintances. The Wine Travel Awards could serve a similar role to the Michelin Guide for food enthusiasts who use it to plan visits to places like New York or San Francisco. It could guide wine lovers visiting new regions, enhancing their travel plans and overall experience. This connection benefits both the public and producers, making wine travel not just enjoyable but also more accessible and informative.
Standing with Ukraine: Supporting Local Wine Producers
VB: I’d like to highlight your ongoing support for Ukrainian wine producers through various events and initiatives. You’ve been actively involved in supporting Ukraine’s wine industry. What motivates you to be part of this initiative? Can you share any standout examples of Ukrainian wines or projects that have left a lasting impression on you?
RB: When the war broke out in Ukraine, it was clear that many Ukrainians needed to find safe places to live abroad. Unexpectedly, we ended up hosting a Ukrainian mother and daughter for several months. It was a delightful experience for us, even though the mother spoke little when they first arrived. They have since returned to Ukraine, and while it was our pleasure to help during their time of need, we cherished the time spent together.
Around the same period, I was involved with a stand at the London Wine Fair featuring Ukrainian producers. There, I met Vitaly, the CEO of Alcoline, which produces wines under the Bolgrad trade name, and I was impressed enough by the wines to see potential for them in the UK market. Vitaly, who has visited the UK several times, articulated passionately about the necessity of keeping Ukraine’s economy running to support their country during these times. He emphasized the importance of exporting Ukrainian wines, especially now that Ukraine has gained global recognition – albeit under tragic circumstances. I’ve been actively helping him and staying in touch, working to support the export of Ukrainian wines, which is on the rise.
Additionally, I’ve recently connected with representatives from Shabo on a few occasions. We participated in a wine tasting in Warsaw, where numerous Ukrainian wines were sampled to identify those suitable for export markets, including wines from Shabo. During the event, I had an engaging conversation with a representative from Shabo. I particularly enjoyed the wines from Shabo; they, among others, represent some very good Ukrainian producers.
In all these interactions, I leverage my network within the wine industry to assist wherever I can, using my expertise in distribution and market knowledge. This is simply applying what I know to help in a logical way, but I’m genuinely impressed by everyone I’ve met and the quality of the wines.
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In this enlightening conversation, Richard Bampfield MW takes us on a journey through his expansive career in the wine industry, from his formative experiences in retail to becoming a Master of Wine and a leading authority in the sector. Richard reflects on his global perspective, honed through years of international travel and work, which significantly […]
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|Коментарі Вимкнено до A conversation with Richard Bampfield MW: Lifelong Learning and a Global Perspective on Wine’s Evolution and Sustainable Future
D+ recently had the privilege of speaking with Tim Hanni, a renowned expert in the wine world and one of its longest-serving Masters of Wine. His advice and programs are used by sommeliers at leading American establishments, including the Ritz Carlton, Marriott, Hyatt, and many others. Known for both constructing logical frameworks and challenging prevailing norms, Hanni has rightly earned the moniker “Wine Antisnob”. Throughout our conversation, he remained true to his reputation. Continue reading to shift your perspective.
Drinks+: First and foremost, let me thank you for participating as a judge in our Wine Travel Awards 2023-2024 – we understand how challenging this must have been given your busy schedule.
Tim Hanni: Yes, I admit, I lead a very active life, so at times there were overlaps that required extra effort. But it was an interesting new experience for me!
D+: Really? With your experience, it seems like nothing could surprise you anymore! Tim, it’s impressive that you achieved your Master of Wine status back in 1990, becoming one of the first two Americans to pass this notoriously challenging exam. Given the difficulty of the MW exams, what advice would you offer to those preparing for this path, especially considering the unique experiences and challenges you faced?
T.H.: In 1990, Joel Butler and I passed the examination to earn the credential of Master of Wine. Generally considered a very challenging examination, it was especially hard for me due to learning disabilities that were not diagnosed until many years later. After epically failing the examination in 1989 I signed up for a writing seminar and ended up going to the wrong one for three days! It was “Critical Thinking and Disruptive Innovation for Electrical Engineers,” and it changed my life!
Most importantly, I learned an outlining method called mind-mapping, and for the first time in my life, I could organize my thoughts and write coherent papers! Secondly, the critical thinking exercises were perfect for identifying valid points of view of topics and then structuring papers to show a command of the information from multiple points of view. I vigorously recommend that every aspiring Master of Wine learn about critical thinking.
D+: Overall, as a consultant, you bring a broad spectrum of knowledge and expertise. Could you share some of the most interesting client projects you’ve worked on recently? Additionally, with your extensive experience in creating wine lists and pairings, what have been some of your most rewarding or demanding experiences in that area?
T.H.: My work with wine restaurant and hotel programs focused on solving business operational problems and increasing profits while improving guest satisfaction metrics. Called the Progressive Wine List System, the focus was on improving operational efficiencies by having a sensible matrix of products, reducing the time spent on staff training, building server confidence, lowering and managing wine inventories, and more. Each program was custom-tailored to the needs of the restaurants or hotels. At one point I was working with everyone from Ritz Carlton, Marriott, Hyatt, Ruth’s Chris, Olive Garden, P.F. Chang’s, and many more companies, In 2010 the Wall Street Journal reported that well over 30% of white tablecloth restaurants in the US were employing the Progressive Wine List system. On the wine “pairing” front, my position is simple – “match the wine to the diner, not the dinner.”
D+: On the 10th anniversary of your book Why You Like the Wines You Like, which was devoted to changing perspectives on wine, promoting diversity, and challenging conventional standards (and for which you earned the title of ‘Wine Antisnob’ from the Wall Street Journal), could you share your thoughts on how wine appreciation has evolved? What changes do you see in how people value and enjoy wine today?
T.H.: I am very curious about word origins and meanings, and the word appreciation can be defined in many ways. It generally means enjoying something, but it can also be used to prize or cherish certain wines, or even be applied when a wine “appreciates” in value. In terms of wine enjoyments made great strides to become more diverse and inclusive, but it is constrained by certain entrenched ideas, promoted by wine experts and educators, of what makes wine “good” or “bad.”
I’ve long advocated for a more individualized approach to wine enjoyment, one that acknowledges the vast range of individual sensory capabilities, sensitivities, and personal preferences that people have. I have coined the term Perceptual Individualism to convey that we all live in our own unique perceptual world. Too often, wine appreciation is tied to notions of prestige, tradition, or supposedly “objective” quality standards. Perception, including taste and smell, is entirely subjective. Period. While there’s been a positive shift toward experimentation and open-mindedness, there remains a tendency to place wines into rigid categories of quality that don’t necessarily reflect the personal experiences of consumers. Then throw in wine and food pairing, and it is almost as if the consumer doesn’t exist! Genuine wine appreciation should be about finding what you enjoy, not necessarily what someone tells you should like, unless that is what the individual requests.
The wine industry as a whole and wine education programs would benefit greatly by learning to understand the variables of personal perception and preferences and revise a great deal of our thinking about not only how to understand wine quality in a new light but also critically rethink what we are doing in the areas of wine education and pairing wine with food. This is where I feel we are constrained by certain entrenched ideas promoted by wine experts and educators, as I mentioned earlier. I am working on something called The Perception Project to forward a better understanding of Perceptual Individualism and how it can be installed in all wine education programs and utilized in wine marketing and communications.
D+: How independent do you believe most modern wine experts and enthusiasts are in their preferences?
T.H.: We’re seeing a growing movement toward more independent preferences, especially among younger generations like Millennials and Gen Z. Unfortunately, this independence is largely aimed at adult beverage options other than wine. These consumers tend to reject the old hierarchical approach to wine in favor of personal exploration and enjoyment on their terms. However, there will always be a significant portion of wine experts and enthusiasts whose preferences are shaped by traditional views and the influence of established wine authorities. While some experts are relatively independent, we cannot help but be influenced by conventional wisdom about what regions, styles, or producers are “the best” without fully embracing the variability in individual perception.
D+: Following up on that, to what extent do you think authoritative opinions still shape the preferences of wine enthusiasts and experts?
T.H.: It is inevitable that authoritative opinions will, and should, always heavily influence many wine enthusiasts and experts. Critics, influencers, wine writers, and certain institutions will always have a significant influence on shaping perceptions of wine quality. For me, the question becomes, how do we connect consumers to the influencers and authorities who best match an individual’s preferences and expectations? Every system of communication, descriptive language, valuation, and rating has value but there is no single universal system. Whether the expert influencer employs 100-point ratings to stars, prosaic or poetic storytelling, or the detailed metaphorical world of fruits, herbs, spices, and vegetables, we have to accept that inevitably, they are all highly subjective opinions that represent different things to different people.
Influencers and educators on social media and independent platforms have begun to democratize wine knowledge more and more, and the media, social or otherwise, still has key figures whose opinions can greatly sway public perception. Still, with our current wine education programs and “groupthink” of what constitutes good or bad wine, this can lead to a narrow focus on certain wines that conform to these accepted standards, often sidelining wines that are equally valid but cater to different perceptual standards. The other part of the authoritative opinion equation is that while the vast majority of consumers do not follow the ratings or understand the descriptions, the wineries, distributors, salespeople, and especially wine buyers will be influenced, resulting in determining which wines will be found on the shelves, wine lists, and online.
Research that has been conducted by my means and many other individuals and organizations has shown that a large percentage, even a majority, of people distrust authoritative opinions. I am convinced that this is due to a lack of means to place the consumer first, create more trust, and guide people to the authorities and products that are the best match for them as individuals.
D+: Furthermore, who do you consider the key figures or institutions shaping wine preferences today, and how do you see their role evolving in response to changing consumer expectations?
T.H.: In terms of shaping preferences globally, there are many figures and institutions that hold significant sway in the market. The list is too long for me to call out, but most people reading this article know about the publications, podcasters, influencers, and critics. And their impact continues to hold sway, especially among older generations. However, in various regions and via various platforms, many new voices are emerging. However, I see a promising future where individual consumers, empowered by their own experiences and preferences, increasingly shape the wine market, moving beyond the influence of any one authority or institution. I am very pleased that the WSET has been adopting my principles of focusing on wine and food interactions and adding more emphasis on Perceptual Individualism. I hope that the concept becomes understood and utilized to end pointless arguments over whose opinion is more or less valid and which valuation system is better or best. Instead of “shaping” wine preferences, we need to focus on a better understanding of the amazing diversity of consumer expectations and preferences and then getting the right product into the hands of the right people. This will give the key figures and institutions larger audiences if they can successfully connect and build trust that is lacking today.
D+: Last year, at the Institute of MW symposium, the concept of ‘A Taste for the Future’ explored potential future flavors and trends in wine. This ties into a topic you’ve written about extensively – changing how the world approaches and thinks about wine. In your view, how influential are these discussions, and how critical is it for the industry to consider consumer preferences and perceptions in shaping the future of wine?
T.H.: My research on consumer preferences, behaviors, and attitudes has shown stability when wines are grouped by primary style categories based on characteristics of sweetness (or lack thereof), intensity, bitterness, astringency, acidity, and alcohol. Consumer values and fashion dictate many of the changes in sustainability, packaging, regions, varieties, and wine-related buzzwords. Unfortunately, wine education and promotion is far too focused on the product, not the consumer. We are a very myopic and stubborn industry, and I hope to change this.
D+: The wine and food pairing principles you developed are included in the Wine & Spirits Education Trust’s Advanced Diploma program. Could you share more about your approach to wine and food interactions and how these principles are being implemented at WSET?
T.H.: This is an area where the Critical thinking and disruptive Innovation seminar I attended while studying for the MW exam hit me the hardest! For the past 35 years, after retiring as a ‘Wine and Food Guru’ (according to Jancis Robinson), I focused on understanding the interactions between wine and food rather than the pairing, matching, or whatever of the current paradigm. Wine and food interactions create flavor modulations (increasing or decreasing the intensity of sensations); whether you like the change is up to the individual, and Perceptual individualism dictates the intensity of the interactions. On top of that, there is so much misrepresentation of history, traditions, and downright pseudoscience that the educational materials need serious revisions. I have been working on this with the WSET in bits and pieces. They have been using my principles for almost 15 years, but they are not implementing the materials in a cohesive or comprehensive manner. Yet.
D+: What is your perspective on current trends in wine consumption, both in the U.S. and globally? How do you see these trends impacting the industry, and what changes do you believe are necessary to address the challenges ahead?
T.H.: Everyone in the wine industry needs to examine the global picture more closely. Consumption has been trending down in the US, but elsewhere in the world, things are very bleak. Producers in the US tell me, “That’s not our problem,” without considering how this will affect US winery prices and sales! Consumption in China is down 65% over the past five years and this was a major market for France, Australia, South America, and many more countries. Wine consumption in France, Italy, and Spain is a disaster, down over 80% and still dropping in the past 70 years. The number of wineries and wine products is proliferating like never before, and we are facing another assault from the anti-alcohol forces. Where will these wine go? The US is the number one market, and heavily discounted and even government-subsidized international products are soon coming in massive quantities. Yet the wine industry “cheerleaders” are seemingly in denial and urging everyone to stay calm and stay the course. It is time for systemic change in the industry and time to do some house cleaning with how we operate, especially in consumer understanding such as trust, engagement, communications, and education.
We can do it, but it will mean giving up a lot of old baggage to get there.
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D+ recently had the privilege of speaking with Tim Hanni, a renowned expert in the wine world and one of its longest-serving Masters of Wine. His advice and programs are used by sommeliers at leading American establishments, including the Ritz Carlton, Marriott, Hyatt, and many others. Known for both constructing logical frameworks and challenging prevailing […]
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|Коментарі Вимкнено до Tim Hanni MW: «We are a very myopic and stubborn industry, and I hope to change this»
It’s no secret that Drinks+ reviewers are fascinated by the history of winemakers in Northern Europe. So, for now, we offer another conversation with a very interesting person – Danilo Costamagna, the founder of the Norsk Vin winery, an Italian from Piedmont who became a winemaker in Norway. It sounds, you must agree, intriguing. That is why we decided to find out how a guy from the south ended up in the north and why he decided to get into the wine business? And also about the prospects of Norwegian wine export, which, of course, is still at its initial stage, but, as they say – he who does not take risks, does not drink… musserende vin.
Drinks+: First of all, we would like to thank you for taking the time to answer our questions. Drinks+ is the largest wine media project in Eastern Europe. And, of course, it is valuable for us to discover new names, to inform about new wine routes. So, let me start with Piedmont. I can’t help but ask: how did a guy from the Italian region – the leader of Italian winemaking (unless Veneto or Tuscany can compete with it) – decide to engage in winemaking in a country that is not the most wine-producing country in the world? Why did you go to the north?
Danilo Costamagna: It’s a long story… But to cut it short… I came to Norway to study IT engineering in Trondheim. Later on I discovered here an active environment of Norwegian grape growers and got caught in this fun and madness. This happened 9 years ago.
D.+: When and under what circumstances was Norsk Vin founded? Where did such a risky business idea come from?
D.C.: At the first wine competition held in Norway in 2017 I won the top prize for my wine. There I got the inspiration that it was possible to make something acceptable and even of good quality! Then I decided to start my own micro-business.
D+: I have read that your winery owns vineyards in several parts of the country. Where exactly are your vineyards located? And how is the production process organized?
D.С.: The vineyards are located in the Buskerud district, some of them – along the Oslofjord, others – more inland. Nowadays I am working on a bigger project located in the Randsfjord, near Jevnaker.
D+: Where did you study winemaking? Do you have wine gurus whose experience and knowledge you rely on, someone who advises you?
D.С.: I started studying the profession of sommelier in Norway at the “Beverage Academy”, but did not have time to graduate due to numerous projects. Later on I received WSET® Level 3 Award in Wines. I enrolled online at the European Wine Academy. There were also various courses and seminars from wine experts and winemakers where I took part, but mainly it was self-education.
D+: What wines does your company make? How many liters per year? Red Adagio from Norsk Vin received a bronze medal at the Norwegian Wine Exhibition (Norsk Vinskue) in 2018. What kind of wine is it, from which variety? What other competitions/exhibitions have you participated in?
D.С.: So far, my maximum has been 1000 bottles (both red and white). Right now, the goal for this larger project, which I have mentioned earlier, is to get 6,000-7,000 bottles from 2ha, and later on, if everything is successful, to expand.
The goal is to produce mainly sparkling wine, white wine, some orange and red. The latter one – as part of this special project, since it is not easy to get a ripe red grape variety here.
I won gold medal for some of my wines at the PIWI International Wine Award competition, as well as a nice award “wine of the week” from Jancis Robinson for my white Andante.
D+: Could you tell us about Norwegian sparkling wines? How many winemakers in Norway produce them? And do they have their own special name? Like Spanish Cava, Italian Prosecco, etc. I am not talking about musserende vin (Norwegian sparkling wine), but about some special name.
D.С.: No, today there is still no special protected name, like, for example, Italian Asti or Champagne. But we produce white sparkling wine, mostly by the traditional method, although there are many other experiments. To date, there are, probably, a maximum of 10 commercial producers of sparkling wine, but their number is gradually increasing.
D+: Do you accept tourists, what tastings or attractions do you offer? Is it also Norwegians, and not just foreign tourists, who are interested in this?
D.С.: As part of the bigger project, our biggest vineyard now hosts tourists at Thobjørnsrud Hotell (located an hour’s drive from Oslo – ed.). We offer a guided tour of the vineyard, wine tasting, visit to the wine cellar and production facility. Various tourists come to us.
D+: Are you still a board member of Norske Druedyrkere (Norwegian Grape Growers Association)? Tell us about this organization, please.
D.С: I’m actually no longer on the board of the Association, but I have been for many years. Norske Druedyrkere started its activities in the late 90s of the last century as hobby producers and now there are more than 150 members. The main goal is to unite under one roof and educate winemakers in Norway through educational events, wine tastings, etc.
D+: In 2017, you won the Winemaker of the Year and Wine of the Year nominations. What are these prizes? How is everything happening, are these international or local events? Who decides the fate of the participants?
D.С: It was and still is a local event of the Norwegian Association of Grape Growers, with more than 40 wines participating. The jury included professional journalists, tasters and wine producers.
D+: How many wineries are there in Norway that produce wine from grapes? How many producers of fruit wines are there? Is their competition with each other noticeable – since it is a fruit, not grape, wine, that is a more familiar Norwegian product.
D.C.: I cannot give exact figures for fruit wines, the number of producers is increasing, especially for apple cider. Perhaps such data can be provided by Hanen (Norwegian trade organization for rural tourism, agriculture and freshwater fisheries – ed.). The most famous product for Norwegians at all times have been fruit wines and apple cider, produced by local farmers. Grapes are something exotic and strange.
D+: Norway’s long winter climate means that only special cold-adapted grape varieties can be grown here. Could you name the main varieties grown by winemakers in Norway? What varieties do you grow directly? Do you cover the vines for the winter?
D.C.: The main variety for white wine is Solaris, for red – Rondo, but we also grow Pinot Noir Precoce, Marquette, Regent and many other PIWI varieties (the abbreviation in German PIWI stands for fungus-resistant vines – ed.). Normally, we don’t need to cover the plants, but last winter it was -26℃ in some places and we got some vines damaged.
D+: The topic of climate change has recently become increasingly acute. In this regard, winemakers in different parts of the world are experimenting with grape varieties (more resistant to temperature changes and various diseases). Can we say that climate change means that Norway has a good chance of becoming a wine producing country in the future, and it may be closer than it seems? Or is it the other way around – does climate change bring diseases and other problems? If so, could you please provide statistics, how many times a year and with what do you cultivate the vineyard, how do you protect the grapes from pests, how much sugar do the grapes gain on average before harvesting, what is the average yield per hectare?
D.C.: Normally we don’t spray the vines because we grow varieties that are resistant to powdery mildew, but recently the climate has become warmer and more humid, so we have to be more careful. Climate change has certainly affected the extension of the growing season, so we need PIWI varieties that can withstand cold winters and adapt to a short growing season. The sugar level can vary from 75° Oe to 90° Oe for white wine, depending on the location of the vines and the cultivation system used.
D+: What wines do Norwegians drink? How do they treat the wines of their kingdom?
D.C.: Norwegians are starting to like English wine and are also discovering Scandinavian wines, so that’s the future. There is mostly consumption of inexpensive wine, although there are also a large number of collectors of premium wines, all of which are purchased through Vinmonopolet.
D+: Could you tell us what the situation with exports is? To which countries does Norway send its wine? In general, how does the implementation take place under the conditions of the state monopoly? How strict and regulated is everything, at least, compared to other EU countries (in some of which wine is not equated with alcohol, but with food). After all, I for one have not met Norwegian wines in Ukraine. I saw aquavit, gin, sake, beer, including non-alcoholic, but not wine. To be honest, I am personally interested in Norway, so I would be buying Norwegian wines. What are your plans for the future, do you plan to expand exports?
D.C.: Export is certainly possible, but first of all the challenge will be to produce good quality wine at a fair price. The cost of living and wages in Norway are quite high. And the wine monopoly does not yet allow us to sell wine directly to private consumers yet. However, this applies not only to Norway. In Sweden, where Systembolaget (a state-owned chain of stores with a monopoly in Sweden for the sale of alcoholic beverages with an alcohol content above 3.5% – ed.) operates, they are also discussing how to achieve a change in the rules. So, meanwhile we are working on quality and style.
⇒ Join our social networks ⇒ Optimistic D+ editors will take this as a compliment.
It’s no secret that Drinks+ reviewers are fascinated by the history of winemakers in Northern Europe. So, for now, we offer another conversation with a very interesting person – Danilo Costamagna, the founder of the Norsk Vin winery, an Italian from Piedmont who became a winemaker in Norway. It sounds, you must agree, intriguing. That […]
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|Коментарі Вимкнено до Danilo Costamagna: “I came to Norway to study IT engineering…”
Most of us know little about the Kingdom of Norway. The warmest sweaters in the world, unique brunust cheese, fjords, Edvard Grieg, Knut Hamsun, trolls in mountain caves, the northern lights… Being located from Ukraine in kilometers no further than, for example, France, Norway seems very distant and exotic, and in the very word “Norway” there is something fabulous, and the Norwegian language sounds like a song. As for winemaking in this northern country, even less is known about it than about Norway itself. Therefore, we decided to learn about the wine and winemakers of the Kingdom from Helge Steingrim – the general manager of Egge Gård, the only Norwegian winery whose wines, under the conditions of a state monopoly, are officially presented on the country’s market.
Drinks+: First of all, Mr. Helge Steingrim, we would like to thank you for taking the time to answer our questions. Drinks+ is the largest wine media project in Eastern Europe. And, of course, we value every opportunity to discover new names and learn about new wine routes. So let me ask you a few questions in order to shed some light on the world of Norwegian winemaking.
For many, Norway is associated with northen lights, fjords and reindeer, and if we are talking about alcohol, it is aquavit. The production of wine, grape wine, is not quite a common thing for Norway. How did you come up with the idea of making this product? After all, Egge Gård was originally known for its alcoholic and non-alcoholic drinks made from apples.
Helge Steingrim: It is true that winemaking and grape growing are relatively new industries in Norway. There were a couple of crazy farmers in the 90’s, but then it was quiet. However, with the current situation of climate changes, there are now several farmers planting grapes in the south of Norway. Nevertheless, these are still too small productions and it is too early for consumers to see any product on the market. Egge Gård is the only current Norwegian wine on the market.
We started planting grapes in 2010. The farm had been known for the production of apples and alcoholic apple ciders made traditionally using champagne method. However we had some space and location to try planting several grape varieties. In the first year it was about 2 500 vines and today we have over 21 000 vines.
D+: So, how old is grape winemaking in Norway? Who are the key players in this segment? How many wineries are there in Norway that make wine from grapes and those that make it from fruit? Is their competition noticeable?
H.S.: The production of grapes is indeed very young in Norway and currently all this is not very well organized yet. However, things are about to change now. I would guess there are about 15-20 grape producers in Norway. Most of them started planting vines in the last five to six years.
However, Norway has a long history of fruit wines, mostly from apples. Norwegian apples are high in sugar and especially in acidity, and our cool climate brings ciders of top quality. Egge Gård and other Norwegian cider houses have won several gold medals internationally. All our ciders are made from fresh apples. There are a lot of producers here, we can say this segment of the market is flourishing! As for grape wine, Egge is out of competition today.
D+: Is there any association of wine growers and wine makers in Norway?
H.S.: There is Hanen.no – an organization for rural tourism, agriculture and freshwater fishing. Egge Gård is its member and will be a member of the wine growers` association when it is established. I have been approached now with a proposal to establish an association of grape growers. However, it is still in the planning process. The aim of such an association is to draw attention to our producers, but also to learn from each other and help (equipment, advice, etc.)
D+: Norway’s climate with long winters means that only special cold-adapted grape varieties can be grown here. Could you name the main varieties grown by winemakers in Norway and you directly? Do you cover the vines for the winter?
H.S.: It is Solaris that is mostly planted in Norway, but we also have Rondo, Blaufrankish, Riesling and Sauvignon Gris. It is not necessary to cover the plants for the winter. In the south of Norway, we have a lot of snow, usually the temperature in winter is from +0℃ to -6-8℃ and only a few days are colder.
D+: What are the soils like in your region and how does that affect the flavors/aroma of the grapes?
H.S.: Most of our soils are sandy or clayey. But the soils in the Lier Valley, where Egge Farm is located, are unique for Norway. The soil is mostly moraine (of the ice-age origin.) Several types of stone in combination with clay and sand are ideal for the farming of fruits, berries, and vegetables. The whole valley of Lier is the most productive in the south of Norway. As for the taste and aromas of our wines – they are very rich and expressly fruity.
D+: When I was reading about Norwegian winemaking, I came across a very attractive maxim that in Norway there is a special quality of light – the grapes get the sun from the reflections from the fjords and thanks to this berries acquire numerous aromas… What do you think about it?
H.S.: That is a very nice explanation indeed. It is true that light is important for growing apples and grapes. During the growing season, the sun here rises at four in the morning and still shines until midnight. The usual temperature from May to September is about + 20℃. On a warm summer day it can reach + 26-30℃. Egge Gard is located only 3 km from the sea and is surrounded by hillsides, so the weather is mostly stable all year long. It is good for the harvest. Local fruit have fresh acidity and incredibly pure aroma.
D+: Mr. Helge, Egge Gard produces sparkling wine, including rosé, using the traditional method. How did you dare to come to this? Where did you study? Where did you get your knowledge from? Experts claim that despite the fact that many people associate rosé with “lightness”, making it is the most difficult. Many factors play a role: grape varieties, vineyard care, pressing and fermentation, lees management and aging, many other subtleties. So – where do you get your knowledge from?
H.S.: Our sparkling Egge ONE was launched in 2014. To obtain sugar in grapes, we mostly use hybrids of varieties dominated by Solaris. Yes, we used to make rosé, but now we are only producing white sparkling wine. At the moment Egge Gård has better red grapes than before and perhaps later we will be making sparkling rosé again, with a little addition of red grapes to achieve a good color and a distinctive style.
Egge Gård has an independent winemaker who was educated in New Zealand and worked there for several years, as well as in Italy (Tuscany). For the last ten years he has been helping Egge Gård and other grape growers in Norway. In the early years of its production, Egge Gård had consultations with German winemakers, and also communicated with a winemaker who specialized in cool climates of Nordic countries.
As for me, first of all, I have the education of a sommelier, I have been engaged in importing wine for the last 20+ years. In general, I have been engaged in winemaking and product development (wine) since 1999. The owner of Egge Farm is one of the largest wine importers in Norway (Gaia Group) and we have a wide range of well-known wine producers from Italy and other countries. Some producers have visited us, all happy to give good advice to improve the quality of vineyards and wine production in Norway.
D+: When I was looking at your site, ISEPLE caught my eye. Do I understand it right that this is an analogue of Ice Wine? But Ice Wine is made from grapes frozen on the vine. And what about apples in this case? What is the technology? Does the variety of apples matter? Are you planning to make a classic Ice Wine?
H.S.: ISEPLE is an Ice-Cider and yes, the philosophy is based on Ice Wine. However, (luckily!) there are no long frosts in the Lier Valley. Therefore, we achieve the necessary conditions artificially. Apples are larger than grapes, so you need to use a larger freezing container for making Egge ISEPLE.
The technology is as follows: Freshly pressed apples juice, in 1000 Liter containers, is placed in a room with a temperature of minus 22℃. As soon as the water in the wort freezes and begins to crustallize, we take the containers out and obtain the juice, which at that moment has a high level of sugar and acidity. 25-30 kilograms of apples are needed to produce one Liter of ISEPLE. Fermentation takes place over a long time until the level of alcohol reaches 10 %. Nothing else is added to this drink, ISEPLE is pure apple! The drink has 260 g/l of natural sugar, and acidity is 26 g/l. It is a very fresh and very sweet dessert wine. The apple varieties used for this production are Aroma-apple, Gravenstein and Discovery.
And of course it would be cool to produce Norwegian grape Ice -Wine. Perhaps we will start doing that in the future.
D+: Recently, such a form of association as Wine of… has been gaining popularity. National stands under their auspices participate in the most famous wine exhibitions (Vinitaly, ProWein, London Wine Fair, etc.) and export wines to different countries… How about these things in Norway? How popular are Norwegian wines in Norway itself? What wines do Norwegians drink? What is their attitude to the wines of their kingdom? In the wine list of restaurants, what is the ratio of Norway/Wine of other countries?
H.S.: Since the 1980s, the Norwegian market and consumers have come to prefer wine over stronger alcohol and beer. The dominant country in terms of demand is Italy, especially such its regions as Piedmont and Veneto. In recent years, German reslings have become an important part of the demand.
In Norway, the monopoly on the sale and production of alcohol (strength above 4.7%) belongs to the state. That is, such drinks can be sold only through Vinmonopolet monopoly stores located throughout the country. Private importers sell products to Vinmonopolet. Today, Vinmonopolet sells about 40,000 different products to consumers through its stores, the Internet or a mobile phone application with an option of pickup from a local store. A regular store has from 700 to 3,500 products on the shelves, but through the application and the Internet consumers have access to 40,000 products.
Alcohol tax is high (political decision), table wine is expensive, however, if you want high quality wines, the prices are lower than in France, Italy, etc. because the tax is fixed only on the level of alcohol.
So I think it is a bit early for Norwegian wines to visit ProWein or other international exhibitions. The production is too small and the price is too high. However, Egge Gård was at ProWein-2024, although not with wine, we were showcasing ciders and spirits.
Regarding the wine list – in restaurants you will mostly find good wine lists with a selection from famous producers from all over the world: Italy, Spain, France, Greece, Germany, Austria. New World wines can mostly be found in Vinmonopolet stores. Except for wines from California and Oregon, which are popular now (especially Pinot Noir).
Egge Gård mainly sells products to wholesalers, directly to hotels and restaurants, as well as to Vinmonopolet. But we have a shop on the farm, I guess about 5% of our products are sold directly from the farm.
D+: Tell us what is the situation with exports? To which countries does Norway send its wine? In general, how does sale of products take place under the conditions of a state monopoly? How strict and regulated is everything? At least, compared to other EU countries (in some of which even wine is equated not to alcohol, but to food). I, for one, have not met Norwegian wines in Ukraine. I have seen akvavit, gin, sake, beer (including non-alcoholic), but not wine. To be honest, I am interested in Norway and I would buy Norwegian wines. What are your plans for the future, do you plan to expand exports?
H.S.: As a producer (or importer) we are free to sell all Horeca wines without any problems with the Government. We can sell our own products with alcohol up to 22 % vol. at our farm-shop. However, to private consumers, we can do it only through the Vinmonopolet system.
We are currently starting with export to UK. And export will be a priority in the future. Here we are talking, however, about our Ciders and spirits. No producer in Norway is ready today to export its product. I think that Egge will be the first to start exporting when the new vineyard is ready to give good quality grapes.
D+: Have your wines participated in any wine competitions (within the country or abroad). Have you visited any wine exhibitions?
H.S.: I have already said about exhibitions, it was ProWein-2024. Nationally, we have received good feedback from the wine-media and the wine community. We are planning to keep the wines longer on sediment and improve quality even more. However, we have not attended any international tastings yet.
D+: Currently, wine tourism is becoming more and more popular. Please tell us what exactly is the program of the visit to your winery? Are your guests Norwegian or foreign tourists?
H.S.: We are in contact with companies like VISIT NORWAY and VISIT OSLO to receive tourists to our farm. Egge is only 30 minutes from the centre of Oslo.
Now, we accept groups from 10 to 50 persons. Normally, we show guests our vineyard and the apple orchards, visit he production area, the distillery, the cider-room and the barrel room. We offer a tasting of several products; and before they leave, our guests can visit our farm-shop. Special tastings can also be arranged. Anyone interested can contact us via e-mail egge@egge.as.
D+: Regarding wine tourism… During the quarantine related to the pandemic, many wineries of the world made virtual tours, virtual tastings, created training courses online. In short, they wanted to survive themselves and help other people survive total isolation. How did your winery live during the quarantine?
H.S.: It is true. The pandemic was hard for the farm. Some people at the farm had to stay at home and seasonal workers were not allowed to travel. Financially this was stressful for Egge Gård.
Restaurants could not accept guests, and a lot of them went bankrupt. Alcohol producers were forbidden to engage in marketing among private consumers, only HoReCa However, Norwegians started to make a lot of good food at home. Wine Monopoly was selling great volumes of wines and spirits in this period. A lot of tastings were done through the internet. Usually a journalist or independent product person took part in that.
D+: Are there sommelier schools in Norway? How popular is this profession?
H.S.: Sommelier schools were established in the beginning of 1990. Norway has today approximately 1000 sommeliers and 6 MW. It must be said that the interest for wine and food is very high in Norway. In the past only people from restaurants attended this school, but today we see highly motivated persons from other industries wishing to receive a sommelier education.
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Most of us know little about the Kingdom of Norway. The warmest sweaters in the world, unique brunust cheese, fjords, Edvard Grieg, Knut Hamsun, trolls in mountain caves, the northern lights… Being located from Ukraine in kilometers no further than, for example, France, Norway seems very distant and exotic, and in the very word “Norway” […]
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One crisp morning in the heart of the Cognac region, I walk through sun-dappled vineyards towards a stately château. This is the home of Camus, one of the world’s most prestigious Cognac houses, and I’m here to meet Cyril Camus, the 5th generation owner. As we settle into comfortable armchairs in his wood-panelled study, surrounded by family portraits and vintage bottles, Cyril begins to share the rich tapestry of history, innovation, and passion that defines Camus.
Kateryna Yushchenko: Cyril, you’re the 5th generation to lead Camus. What does that legacy mean to you personally?
Cyril Camus: It’s both a tremendous honour and a weighty responsibility. Every day, I’m acutely aware that I’m not just running a business but also the custodian of my family’s legacy. The portraits you see around us (he gestures to the walls) – these are my ancestors who built this company from the ground up. Their spirit and passion are all distilled into every drop of Cognac we produce.
K.Y.: How has Camus remained family-owned for over 160 years when so many others have been sold?
C.C.: It hasn’t always been easy, I can tell you that. We’ve had a unique succession system where, for every generation, one of the children bought out the others. It’s allowed us to remain independent, with the family member running the company also owning 100% of the shares. But more than that, it’s about instilling a sense of purpose and responsibility in each generation. We’re not just inheritors; we’re entrepreneurs.
This approach has allowed us to avoid many of the conflicts that can arise when ownership is divided among multiple family members. In France, inheritance rules are obvious and strict. You have to give equally to all your children. If you have three kids, you’d typically end up with three shareholders in the next generation. But in our case, one child would buy out the others, consolidating ownership. This means that for five generations now, the person running the company has also owned 100% of it.
K.Y.: Can you elaborate on that sense of purpose? How has it evolved over the generations?
C.C.: Absolutely. For my grandfather, it was about making the best Cognac in the world for those who appreciate the finer things in life. My generation has evolved to “bring about beauty and refinement, to create emotion and pleasure.” It’s not just about the product anymore; it’s about the entire experience.
I grew up in an environment where we had people from different parts of the world at our dinner table every night. By the time Cognac was served, there was this incredible atmosphere of warmth and connection. That’s what we want to create for our customers.
This sense of purpose is what animates and motivates both the family and everyone in the company. It’s where you have a match between the community – all the employees, the distribution partners, and so on. This alignment between them and the family allows the company to stay the course in more difficult times but also to innovate when needed.
K.Y.: That’s beautiful. How do you balance this rich tradition with the need to innovate?
C.C.: It’s a constant dance, I’ll tell you. The Cognac industry is heavily regulated, which can be frustrating at times. But we’ve found ways to innovate within these constraints. (He stands up and walks to a shelf, picking up a uniquely shaped bottle) Take this, for example. We innovated on the packaging, creating a stopper that’s part crystal, part cork. Everyone in the industry said we were crazy, that cork wasn’t ‘premium’ enough to be used with crystal. But we realised that the stopper is in the bottle 99% of the time, just sitting there looking good. So, we created something that looks beautiful and solves the problem of leakage. It’s been a great success.
But innovation isn’t just about packaging. We’re constantly looking at ways to improve our production methods, too. We call it the “science of traditions.” We’ve revisited every step of the production process, looking at how things used to be done and analysing if there was value in those old methods that we’ve lost through modernisation. Sometimes, we find ways to reproduce those beneficial effects using modern, economically viable methods.
K.Y.: Camus has survived through significant market changes. Can you discuss some of the biggest shifts you’ve seen and how you’ve adapted?
C.C.: One of the most significant shifts in my father’s time was the emergence of Japan as a major market. It went from nowhere in the 70s to being our largest Cognac market in value by the late 80s. Now, it’s about 10% of what it used to be. More recently, we’ve seen the rise of China and the U.S. as key markets.
These shifts require us to be incredibly adaptable, not just in terms of marketing but also in product development. For instance, the Japanese market really drove innovation in packaging and premium presentations. That’s where Cognac started to break out regarding bottle shapes and decanters.
Another significant change has been in consumer demographics. Today, Cognac consumers are much younger than they used to be. This presents its own challenges, as I’m now older than many of our consumers. In a non-family business, you might simply change the CEO to someone from the consumers’ generation. In a family business, we have to find other ways to stay relevant and connect with younger consumers.
K.Y.: How does Camus differentiate itself from larger competitors in the Cognac industry?
C.C.: It’s essential to understand that Cognac is a tiny category in the spirits world with an outsized reputation. Our challenge is to maintain relevance and visibility in a crowded market. Unlike larger, corporate-owned brands, we have the advantage of being more agile and willing to take risks. We’re not bound by quarterly reports to shareholders, which allows us to make decisions with a longer-term view.
However, this can also be a double-edged sword. Larger competitors often have more resources for marketing and distribution. They can sometimes lock up access to markets or dominate the share of voice. We counter this by focusing on innovation, quality, and creating unique customer experiences.
One of our key differentiators is our focus on aromatic intensity. We’ve spent the last 25 years changing every step of our production process to achieve this distinctiveness. It’s taken a long time, but it’s given us a unique profile in the market.
K.Y.: What do you see as the biggest challenges facing Camus and the Cognac industry today?
C.C.: We’re grappling with several challenges. First, there’s the rise of other premium spirits categories. Single malt whisky, for instance, has been a significant competitor over the past 20 years. They’ve adopted some of the storytelling techniques Cognac pioneered and have fewer production limitations.
Then, there’s the challenge of staying relevant to younger consumers. The natural market share of Cognac in any given country is relatively small, usually less than 1%. We need to continually work to maintain our visibility and appeal.
Another major challenge is sustainability. We’re looking at ways to reduce our energy consumption, particularly in the distillation process. The current method of distilling with a naked flame is energy-intensive, and we’re eager to adopt more efficient technologies. However, regulatory hurdles mean this process of change is slow. It could take up to eight years before we can implement more sustainable distillation methods, even though we know they work and produce excellent Cognac.
Lastly, there’s the challenge of maintaining our ‘share of voice’ in the market. Cognac has this aura that’s completely out of proportion with the actual size of the industry. We must ensure that people continue to know about and aspire to drink Cognac, even if they don’t do so daily.
K.Y.: How does being a family business impact your approach to these challenges?
C.C.: Being a family business gives us both advantages and disadvantages. On the plus side, we can take a longer-term view. We’re not as pressured by short-term profit demands, which allows us to invest in quality and innovation that might not pay off immediately.
Family businesses are often more value-driven, too. We’ve always had a strong sense of social and environmental responsibility, not because it’s trendy, but because we live where we work. We want to preserve and improve our community and environment.
However, we also face limitations. We typically have less capital to deploy than our corporate competitors. We tend to be more conservative with leverage and risk-taking, which can sometimes slow our growth or limit our ability to seize opportunities.
Another aspect is that in a family business, key decisions often involve family dynamics. This can lead to more stable, values-driven decision-making, but it can also sometimes slow us down, especially when facing critical decisions in times of crisis.
K.Y.: Speaking of innovation, if you could change one thing about Cognac regulations, what would it be?
C.C.: Oh, that’s easy. I would love to be able to do the finishing, similar to what’s done in the whisky industry. (He leans in as if sharing a secret) We’ve had some experiments that have produced incredible results, but we can’t bring them to market due to current regulations. It’s a shame because I think it would allow us to bring more diverse taste experiences to our consumers.
I believe the Cognac industry needs more diversity in taste experiences. We need to create more distinctive profiles while still clearly identifying as Cognac. Finishing could be a quick way to bring new taste experiences that would work well for consumers. It could help us compete better with other spirit categories that have more freedom to innovate in this way.
K.Y.: How do you prepare the next generation to take over such a storied business?
C.C.: It’s a delicate balance. We want to provide them with the knowledge and skills they’ll need and allow them the freedom to find their own path. We focus a lot on education – not just about the business, but about family dynamics and values.
My kids are still young, but I can already see their different personalities emerging. One is very finance-oriented, like my grandfather. The other is more into project management and marketing, more like me. Whatever path they choose, the most important thing is that they understand the responsibility that comes with our name.
We’ve built our legacy around four pillars: entrepreneurship, sense of purpose, freedom to innovate, and education. We try to instil these values in the next generation, along with an understanding of how to manage family dynamics in a business context. This isn’t just for those who might run the company but for all family members. It’s crucial for maintaining family harmony and business success.
K.Y.: Looking ahead, what’s your vision for Camus in the next decade?
C.C.: Our goal is to continue pushing the boundaries of what Cognac can be while respecting its rich heritage. We’re investing heavily in sustainable practices, not just because it’s the right thing to do but because we believe it will enhance the quality of our product.
We’re also focusing on creating more diverse taste experiences for our consumers. If regulations allow, we’d love to explore finishing techniques to bring new flavour profiles to Cognac.
Digitally, we’re looking at ways to enhance the consumer experience, perhaps through augmented reality or other technologies that can bring the story of Cognac to life.
We’re also constantly working on improving our production methods. Even though Cognac has been made the same way for centuries, we believe there’s always room for improvement. We’re using modern science to understand and enhance traditional methods.
Ultimately, our vision is to ensure that Camus remains at the forefront of the Cognac industry, known for its innovation, quality, and the unique experiences we provide. We want to pass on to the next generation a company that’s surviving, thriving, and shaping the future of this industry we love.
K.Y.: Finally, I have to ask – what’s your personal favourite Camus Cognac?
C.C.: That’s like asking me to choose between my children! But if I must… (He stands and walks to a cabinet, pulling out a bottle) This is our Camus XO Borderies. It’s fantastic as an after-dinner drink. But for an all-around favourite, I’d choose our Camus Special Dry. (He pours a small measure into two glasses, handing one to me) It’s versatile and works well in various settings. It represents the perfect Cognac moment – you’re in the right place, with great people and a beautiful landscape. You don’t necessarily need a bar nearby. Just this, and good company. Santé! (We clink glasses)
As our conversation concludes and we sip the golden liquid, it’s clear that Cyril Camus is navigating a complex landscape of tradition, innovation, and market pressures. His analytical approach, combined with a deep respect for his family’s legacy, positions Camus uniquely in the Cognac industry. While challenges abound, from sustainability concerns to changing consumer preferences, Camus seems poised to meet them with time-honoured wisdom and forward-thinking strategies.
The passion with which Cyril speaks about his family’s legacy, the depth of his knowledge about the industry, and his clear vision for the future are truly inspiring. It’s evident that for the Camus family, Cognac is not just a product but a way of life – a legacy passed down through generations, each adding its chapter to the story.
In an age of rapid change and corporate consolidation, there’s something profoundly reassuring about knowing that some things – like the passion and craftsmanship behind a fine Cognac – remain constant, passed down from one generation to the next.
One crisp morning in the heart of the Cognac region, I walk through sun-dappled vineyards towards a stately château. This is the home of Camus, one of the world’s most prestigious Cognac houses, and I’m here to meet Cyril Camus, the 5th generation owner. As we settle into comfortable armchairs in his wood-panelled study, surrounded by […]
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Drinks+ spoke to Tabor Istvan, chief executive of the Winelovers Wine Awards. Our editor-in-chief Olga Pinevich-Todoryuk, as last year, was invited to the team of judges of the competition, and participation is free for Ukrainian winemakers. The event will take place in Budapest on June 28-30.
Considering all info listed in your website, can you, however, define the key special features of Winelovers Wine Awards? What makes it different from other international contests?
Winelovers Wine Awards is not only a competition, but a complete project that includes an international wine contest, a 3-day-event with several trade related side events focusing on Central Eastern European countries, and online wine magazine and social media. This focus on the CEE countries is our special feature and it is going to be more and more feasible in the future. I am being honest with you: in the first two years we had fancy topics of the masterclasses (side events of the contest), and the winelover public as well as the jury members were happy to taste Champagnes or other highly esteemed wines. At the recent, 3rd edition the masterclasses will present only CEE wines, for example the wines of Romania or indigenous varieties from 10 countries of the region. We also plan to have a guest country each year from the next edition, again countries from the Central Eastern European region.
Piotr Pietras MS will be hosting a masterclass at the event
Does your competition have a mechanism regulating the number of medals granted to the participants? How does it work, practically?
Our contest is a so-called “Anglo-Saxon” competition, so we do not limit the number of medals granted to producers. Wines are scored out of 100 and judging comes to a decision based on independent blind tasting, and a collective discussion. However, judgings are half-day affairs so we have incorporated this element from the OIV, Organisation Internationale de Vin, system.
What are the most meaningful advantages the participants are getting from your competition? What are the benefits for those who don‘t win the medals?
The medal winners are featured in several ways from our digital and print magazines to social media posts and events. Maybe the digital publication is the most relevant for entering producers: the award-winning wines will be featured in an English-language digital publication and distributed to more than 4,000 key international decision makers (importers, head sommeliers, wine merchants and wine writers).
As for the non-medal-winners, well – they can learn from the results, since the jury consists of renowned wine professionals from all over Europe. Can you mention any wine contests, where the jury members are introduced before the contest? There are a few, but not many. We want to be as transparent as possible. From the website, the photos, the videos, wine producers can actually see which experts have tasted their wines. Are you a winemaker, entering a rosé? This year Jonas Röjerman MW will be the specialist of the rosé wine tasting table. If your wine does not win medal, will you say that he is not a seasoned taster? Or will you revise the way your rosé was made?
The wine map of the world has been expanding in the last 10-15 years. How did that influence your competition (participants, judges)? Which countries, except Hungary, are represented among the participants and the jury members?
You are right: the last edition of The World Atlas of Wine features countries that were not known as wine countries earlier. Also, there are more and more developing wine countries, like Taiwan – now wonder we will have guests from Taiwan, though not as jury members, but as buyers. This Buyer’s Program is a novelty, and extra opportunities for wine producers and generic boards to introduce their wines to potential importers.
As for your second question, the proportion of foreign experts is much higher than last year.
This year we have 30 foreign jury members and 17 Hungarians, and the next year there will be even less local experts. The jury members come from several countries: Finland, Sweden, Norway, Denmark, the USA, Columbia, the United Kingdom, Ireland, Croatia, Romania, Bulgaria, Serbia, Slovenia, Poland, Israel, Italy, Portugal, Spain, the Netherlands, Belgium, France, Switzerland, Germany and Austria.
We do not preach water: we will make this wine contest THE Central Eastern European wine competition.
There’s a certain stereotype in the wine community: if a contest is held in Germany / Italy / France / UK, it focuses mainly on the buyers and consumers of that country. Do you think it’s true — and what are the core “markets of influence” for your competition?
Hungary is not a target country for most of the other CEE countries, because it is a wine producing not a wine importer country. There are some exceptions – like Pannon Borbolt with a significant selection of Balkan wines –, but the majority of the Hungarian buyers and consumers are at the phase of discovery when it comes to for example Ukrainian wines. However, we are a catalyst in this process – and we are the only one in this country with this mission.
But more importantly, our aim is to open a gate to the region. We are obliged to invite buyers and other experts of the west, and winemakers of the east and to create a professional environment to meet, taste, network and make business. We are seeking the competitive edge of the Central Eastern European wine producing region, the facets that can make this region interesting for the distributors and consumers of well-established wine importing countries.
What is your experience with Ukrainian wines? Do you see them as competitive as other wines of the Old and the New World within Winelovers Wine Awards?
Last year we had 3 gold medals from Ukraine, 15 silver medals and 6 bronze medals from 6 Ukrainian wineries. This year we are aiming to have 50+ entries from 10+ wineries. We are progressing step-by-step, and I think it is time to learn more about Ukrainian wines. Winelovers Wine Awards is ready to make your wines more recognized! It is up to you to join or not.
Drinks+ spoke to Tabor Istvan, chief executive of the Winelovers Wine Awards. Our editor-in-chief Olga Pinevich-Todoryuk, as last year, was invited to the team of judges of the competition, and participation is free for Ukrainian winemakers. The event will take place in Budapest on June 28-30. Considering all info listed in your website, can you, […]
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One of the most significant expo events in Europe is approaching — it is the London Wine Fair. Just before this important event Hannah Tovey, Event Director of London Wine Fair, despite the incredible amount of organizational tasks, found time to talk to the head of the Drinks+ Media Group. After all, despite the fact that the British market has historically attracted all those who are concerned with wine sales, this year the LWF organizers are introducing a number of innovations that will enhance the presentation capabilities of this expo hub and attract an additional audience of traders from around the world.
In 2024, the London Wine Fair, as the largest event in the beverage trade sector in the UK, is introducing a range of new features. Could you please name 3–5 of the most significant new options for exhibitors, in your opinion?
We have a host of new features for 2024, as well as several first time and returning exhibitors, so the Fair will have a real sense of “newness”. One of the most significant new features is Judgement of London. And we have a brand-new exhibitor area: The Discovery Zone, a dedicated section which will host non-wine drinks, including No and Lo. Another first for 2024 is the Hosted Buyer Programme which will be available for all exhibitors and visitors as well as a full Concierge Service for 50 of the UK’s top buyers.
As it is known, the British market is one of the leading arenas for wine traders, always having unique advantages for wine trading. However, how does LWF additionally attract leading trading companies? Could you please elaborate on the motivation and services? Perhaps the Wine Buyers Awards play a significant role — what’s new in this project this year, and how does the motivational mechanism work?
LWF has an enviable reputation as an event for drinks professionals from the UK and beyond. This is based on three key elements: business; education; and networking. We are very much a platform for our exhibitors, be they distributors, wine brands, generic bodies, boutique distillers to show their portfolios to the UK’s top buyers from supermarkets to independent merchants to sommeliers. It is this happy marriage of our exhibitor and visitor audiences which makes the LWF such an attractive proposition.
Who among the new participants this year would you particularly like to highlight — new ones or those who have returned after the break?
Several of the UK’s leading agents, importers and logistics companies are returning this year. Mentzendorff will take a stand for the first time in 12 years and will host a series of unmissable masterclasses; Buckingham Schenk; Freixenet Copestick; Hillebrand Gori UK; Lanchester Wines; and Origin Wine are also all returning. We will also host Japan with a generic pavilion for the first time and we have four Chinese producers attending.
Wines of South Africa will return with a large Pop-Up Tasting on the Tuesday. The tasting will bring together some of South Africa’s best producers and highlight a wide spectrum of wines on offer, from well-known names such as Spier, DGB, Waterkloof and Springfield to less well-known producers and those seeking representation. Groupings for Cap Classique (South Africa’s traditional method sparkling wines) and the Stellenbosch Cabernet Collective highlight how important these two categories are for South Africa in the UK market.
We will also see many of our long-standing exhibitors at the show: Hatch Mansfield, Awin Barratt Siegel, Richmond Wine Agencies, Ellis Wines, EWGA, Felix Solis, H2Vin, Marcato Direct, Beyond Wine and Friarwood Fine Wines., to name just a few.
The most important aspect, perhaps, of organizing such global forums as LWF is meeting planning. Is there any statistics on how visitors and participants utilize the communication opportunities provided by you through the online platform? In this regard, what advice could you give to wine producers who would like to attract the attention of effective traders/buyers, etc.?
Our searchable database of exhibitor products at the show, which is managed by Bottlebooks, is invaluable for visitors who wish to create a personalised tasting sheet to maximise their time at the show. This is very widely used, and last year we saw 7,000 unique users of the product list. The Hosted Buyers Programme will give visitors and exhibitors access to London Wine Fair’s digital networking and show planner platform, where they can book sessions and invite other attendees to meetings, all based on bespoke searches. VIP buyers have specifically requested a bespoke service, and this has resulted in a dedicated space for meetings “The Hosted Buyers Lounge”.
Could you please explain in more detail for potential users how the integration of a resource like Bottlebooks into your services is planned?
The Fair’s official digital directory is run by Bottlebooks; a now universally used platform for wine data capture, which launched with the LWF back in 2016. Bottlebooks is a tool that gives the wine industry one place to host and exchange comprehensive, producer-entered product information including product information, photography, maps, controlled by the source – the producer. As such it really enhances the visitor – and exhibitor – LWF experience.
Perhaps, it would be worthwhile to provide more information about the exhibition layout on the eve of the event. As for me, the following sections sound particularly appealing: DRINKS BRITANNIA, ESOTERICA, TRADING FLOOR, WINES UNEARTHED… What exactly will visitors find there, and who are they intended for?
Drinks Britannia celebrates our English and Welsh producers; we have a record number – 18 – signed up this year, some of which are exhibiting under WineGB. Esoterica is always one of the busiest sections; it hosts boutique, independent importers mainly targeting the premium on-trade and independent merchants. The Trading Floor is the main area of the show and hosts the larger UK agents distributors and generic bodies. And Wines Unearthed hosts non-domestic producers seeking a UK agent for the first time.
DISCOVERY ZONE — I suggest delving into this in more detail. Do we already know which startups and innovative technologies will be presented here?
The Discovery Zone has been moved to the heart of the exhibition. The idea is that the products and services that are hosted in this zone, are really at the centre of future-proofing our industry. Whether that’s a sustainability agency, an App, or a logistics company.”
Are there any new venues or sections in your exhibition this year that will appear for the first time? What prompted their introduction?
For the first time we have a large, hosted meetings lounge. This was prompted by a conversation last summer with two key buyers. They explained that meetings on stand are often great for tasting, but sometimes they need a more private location to have in-depth meetings with suppliers.
I can’t stay aside and not ask you about the JUDGMENT OF LONDON — who exactly came up with the incredible idea to recreate the famous tasting in Paris now in London? The media group Drinks+ has already outlined the principles of the upcoming tasting on its resources in general terms. And we hope to have the opportunity to cover its results. But I would also like to clarify — how were the wine analogs from the Old and New Worlds selected, do you personally have any forecasts or premonitions?
I first dreamt up Judgement of London in 2019, with the intention to launch it at the 2020 show but that was scuppered by Covid-19 and the subsequent UK Lockdown. Logistically, it has been quite a significant addition to the show, but we felt this year we were in a perfect place to revisit the original idea. Judgement of London will pay homage to Steven Spurrier’s ground-breaking Judgement of Paris but will have a broader remit.
Instead of a France vs California blind tasting, Judgement of London will feature pairs of wines from Europe and the Rest of the World; eight white, and eight red. These have been selected to be comparable in terms of style and readiness for drinking. Two of the UK wine industry’s most experienced professionals, Ronan Sayburn MS and CEO of The Court of Master Sommeliers, and high respected wine writer and tasting judge, Sarah Abbot MW, will be selecting the wines and curating the tasting and we have a panel of 20 of the UKS most impressive palates to judge, Judging will take place on the first day of the show, and we will announce the results on the Tuesday on Centre Stage.
I have no preconceptions of how this will pan out, but whatever the results are it will be an incredibly interesting exercise.
It’s logical to continue the topic with global trends, which JUDGMENT OF LONDON will undoubtedly demonstrate through its results. Could you please name the main directions in which the wine world is moving, and which ones do you personally observe from the perspective of your own experience and years of activity in general? Which of them will have a critical impact on the industry? For example, could you comment on a phenomenon that LWF focuses on — such as regenerative.
Sustainability is the number one issue for wine right now and The Fair gives an opportunity to shine a spotlight on this and create an environment to instigate change. 2023 was the most sustainable show to date, and we have strengthened that focus for 2024, with more seminars and masterclasses on the key challenges our industry faces such as climate change and carbon emissions. We will also report back on our Bottle Collection Initiative which we platformed for Sustainable Wine Solutions and The Porto Protocol last year. The LWF is very much a showcase for future trends in the wine industry and 2024 is no exception: the use of Artificial Intelligence for example.
Perhaps, it’s worth focusing separately on the designated zone at LWF — MINDFUL DRINKING EXPERIENCE. How is this segment growing, and are wines with low alcohol content or even zero capable of regaining some lost audience of wine lovers — as global statistics, as far as known, indicate a decrease in demand for wine in almost all segments? Could you please detail the initiatives of an association like Club Soda?
No and Lo remains one of the fastest growing sectors within the drinks industry and also one of the most innovative and exciting. We will be hosting 16 exhibitors / brands in the Mindful Drinking Experience this year, 7 for the first time.
According to observations by Drinks+ observers, competition between exhibitions — the world leaders in the professional wine community — has sharply intensified after the pandemic. Does London feel the pressure? What are your strongest positions that allow you to stay in the top league? What are the plans — if not a secret — for the coming years?
Having an event the scale of London Wine Fair which serves the UK market – one of the most diverse in the world – has never been more needed. Having a platform which raises the most pertinent issues and challenges – as well as opportunities – is absolutely essential. The impact of Brexit, the looming changes to duty, falling wine consumption, our carbon emissions all need to be debated and solutions implemented and LWF provides the space to do this, alongside doing business and identifying trends for the future.
One of the most significant expo events in Europe is approaching — it is the London Wine Fair. Just before this important event Hannah Tovey, Event Director of London Wine Fair, despite the incredible amount of organizational tasks, found time to talk to the head of the Drinks+ Media Group. After all, despite the fact […]
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|Коментарі Вимкнено до Exclusive Interview with Hannah Tovey, Event Director of London Wine Fair: Innovations and Highlights of the Upcoming LWF
One of the most authoritative winemakers in Italy, the President of Assoenology Marche, Luigi Costantini, found the opportunity in his busy schedule to answer the questions of the director of Drinks+ International Communication Media Group. Luigi Costantini was born in the Marche region and has been working exclusively with local wines for 45 years. By joining forces with the owners of Tenuta Manoylo and the unique data of the terroir, Luigi Costantini managed to create a pool of brilliant wines at this winery. And from the first steps on the international stage, these wines won the highest awards of the prestigious international competition. How success was achieved, what direction the winemakers of Marche are moving in — we asked about all this in this interview.
D+: We know that your whole life is dedicated to the development of winemaking in Marche, the revival of local grape varieties and the international recognition of wines from this historical region. Five years ago, in particular, you, as an enologist, began collaborating with Tenuta Manoylo on the idea of producing “grande vino rosso”. We ask you to explain what meaning you put into this phrase. What should such wines be like?
(Editor’s note: the winery is a nominee for the international Wine Travel Awards, you can vote for Tenuta Manoylo here until March 31 inclusive).
Luigi Costantini: The meaning is quite simple and expresses the idea of the project to obtain red wines with specific characteristics that are the optimal expression of a particular grape variety and climatic environment, with differences, even minimal, related to the climatic trend. These red wines should have niche characteristics to satisfy clients who are able to appreciate and understand the nuances highlighted by the terroir, with differences related to the vintage, but with the same common theme. Therefore, these are long-lived, complex, elegant, deep and powerful red wines that evoke sharp emotions in the taster.
D+: This year we are already seeing the fruits of this collaboration. In 2024, Tenuta Manoylo received the highest awards from the Mundus Vini competition: Grand Gold — 2021 Marche IGT Sangiovese; Silver — 2021 Falerio DOC Pecorino and Best of Show Marche for the excellent wine 2021 Marche IGT Sangiovese. Can you comment on the specific outstanding characteristics and features of each wine, noted by the esteemed judging panel?
Luigi Costantini: Indeed, this year we are finally beginning to see the results of the work started in 2020: all this became possible thanks to the owners of the winery, who believed in us — I say “in us”, because I work with colleagues: Lucciarini Vincenzo, who heads the analytical laboratory, and Lucciarini Matteo. I will try to briefly describe each of these wines.
Marche IGT Sangiovese 2021 — is the embodiment of the history of Sangiovese, one of the most important Italian grape varieties, which has an ancient origin and has been known since Etruscan times. The first documented reports date back to 1500 and refer to the central Apennines, the region between Umbria, Marche, Romagna and Tuscany. Sangiovese is able to best convey the features of climatic microzones. If we describe the appearance of this wine, then I note the ruby-red color with weak purple reflections. The aroma is intense, complex, refined, enveloping and ethereal, with notes of underbrush, with hints of ripe red fruits, plums, raspberries and cherries, with spicy and balsamic tones. These features complement each other and give the wine balance, elegance and harmony. There is a noticeable presence of tertiary aromas, such as toasted, vanilla or spicy notes. Light balsamic notes complete the complex aromatic picture. Taste: dry, sharp, warm and fruity, gives elegance to the wine and demonstrates evolution. Thanks to elegant and balanced tannins and low sugar content, it acquires a piquant and persistent taste with balsamic final notes and a spicy tertiary aroma.
Falerio DOC Pecorino 2021
The local vine of this ancient variety was rediscovered in the Arcquatano del Piceno area by Guido Cocci Grifoni in the 80s. The 90s were marked by the revival of Pecorino, an excellent wine with a striking appearance and powerful acidity, but only in the 2000s, after experiments in the field and on the vineyard, DOC was created. And since 2011, it can be produced on the territories of Moresco, Falerio DOC Pecorino. Pecorino today is a symbolic wine and ambassador of the Piceni Fermani region: it is defined as “red in white clothes”. It has a beautiful straw-yellow color, tending towards golden, with soft greenish reflections. The aroma is deep, a complex bouquet, with an elegant structure with intense notes of white flowers and ripe fruits and with light notes of vanilla and balsam. Pecorino demonstrates a good range with very noticeable and clear aromas, with a predominance of herbal and sage tones. This wine has a wonderful structure, good acidity, full, piquant and pleasantly mineral, with a persistent taste.
Marche IGT Passerina 2021
The “Passerina” wine is one of the most famous wines of Marche and Abruzzo, produced from grapes of the same vine. The reason why this wine is called “Passerina” is that sparrows particularly like to peck at the grapes on the vine, from which the name of the wine comes. This vine was highly valued by winemakers and was called by such synonyms as Cacciadebiti, Scacciabebito, Pagadebito and Uva d’Oro, clearly indicating the variety’s ability to guarantee a good harvest every year and reliable profitability. Passerina has a nice straw-yellow color with golden reflections. The intense aroma of medium complexity has strong floral notes of lime and hawthorn, with broad fruity notes, mainly pear; cedar and ripe grapefruit notes and elegant mineral hints complete the aromatic trail. The proximity of the vineyards to the sea adds a characteristic taste — fresh, pleasant and soft, with a good structure. It is clear and persistent, with light citrus and aromatic herb notes.
D+: We and, of course, our readers would like to learn more about the unique wine Peconero, a white wine with red properties, created by macerating Pecorino grapes on the skin of Petit Verdot using amphorae made of local volcanic clay. Please comment on this idea — how do these two varieties work together, how does the wine material develop in the amphora? What characteristics does such wine acquire?
Luigi Costantini: The project to create Peconero was born from the fact — already mentioned by me — that Pecorino has always been defined as “red in white clothing”. Varieties: Pecorino no less than 90%, Petit Verdot up to 10%. The yield is ensured by agronomy and is about 70 quintals per hectare. The harvest, which begins in early September for both vines, when the grapes reach the optimal and necessary level of ripeness, is carried out manually in boxes. The cleaned and slightly pressed grapes are macerated and fermented at 15-20 °C in steel tanks with flooding to promote the extraction of the anthocyanin component from the red skin and the aromatic component from Pecorino; maceration is stopped as soon as the optimal color is achieved. After the end of fermentation, the wine remains on the fine lees for at least 20 days. Here I note that malolactic fermentation should not be carried out in order not to lose the typical freshness of Pecorino. Then the wine moves on to the aging phase in wooden barrels and amphorae for 2-4 months. After bottling, Peconero does not require further processing. Pecorino matures early; gives wine with a wonderful structure, with very noticeable and clear aromas, with a predominance of herbal notes, sage. The wine has a wonderful structure, good acidity, full, piquant and pleasantly mineral, with a persistent taste. Petit Verdot, on the other hand, matures late, but we harvest it early to have a ruby-red color, fresh and slightly sour, with fruit and floral aromas that make it similar to Pecorino. These two grape varieties complement each other, and we still have a ruby-red color with complexity in the nose, waiting to be opened. This wine is very balanced in taste, even if Pecorino has a slight advantage. It must be consumed fresh. This is, so to speak, a “summer, fish red”.
D+: By the way, about amphorae — is this traditional vessel for aging wines in your region?
Luigi Costantini: Amphorae are very ancient vessels, dating back to 6000 BC, used primarily by the Greeks and Romans for transporting wine and other agricultural products. It is no coincidence that the history of amphorae, produced in the Adriatic region, from Pedaso to the hilly area, begins with the Greeks, continues with the inhabitants of Piceni and the Romans, as evidenced by some archaeological finds, around the mouth and along the banks of the river Aso, Roman ruins, which testify to the production of amphorae for transporting wine. According to these artifacts, our amphorae are made of volcanic clay in the area of Monteleone Fermano, a few kilometers from Moresco. That is why they are unique and have a volume from 100 to 500 liters. In fact, this is a unique material — since the clay is porous, the amphorae allow moderately oxygenating the crushed grapes or must, and later the wine itself, which gives the aromatic and organoleptic components of the wine noticeable typicity and territorial characteristics.
D+: As we know, you are a professor of viticulture and winemaking, and such deep and comprehensive education allows you to conduct very productive experiments both with grape varieties and with different vessels for fermentation and aging of wines: steel tanks and oak barrels, concrete eggs and clay amphorae, in order to create wines with the best reflection of the terroir of Marche. Our readers are mostly professionals, so could you please dwell on this topic and tell us how exactly the vessels affect the organoleptic properties of wine? Perhaps on the example of the above-mentioned award-winning wines?
Luigi Costantini: I would like to note that our company is very sensitive to environmental issues, with rational management from the vineyard to the cellar. We have succeeded in obtaining the EQUALITAS certification, which is a standard that defines the requirements according to the three pillars of environmental and socio-economic sustainability in the wine supply chain. We also use biotechnology in the cellar for aging, maximally avoiding the use of chemicals. In the company, we use different types of containers: stainless steel tanks, concrete tanks, oak barrels, tonneaux, barriques and amphorae. Obviously, the use of these different containers depends on the final goal — the product you want to obtain. Our grapes, washed and dried, are vinified separately, except for DOC ROSSO PICENO, using stainless steel tanks, the Ganimede vinificator and roto vinificator; all the vessels are equipped with temperature control devices. We also use wooden vats. Maceration and fermentation vary in time, depending on the type of grape and the product you want to obtain, and since there are many variables — from harvesting to the end of fermentation, it is necessary to know how to understand and plan all the stages of winemaking. Red wines, which are always kept separate, after a certain period of time on the fine lees are moved to cement or wooden vessels and/or amphorae, always and in any case depending on the product itself and the desired result. The duration of stay varies from a minimum of 2 months to 12-14 months. Careful and periodic analytical and organoleptic checks allow us to determine the optimal time for any planned blending and bottling. In fact, the final organoleptic properties are not always the same, they depend on all the variables, starting from the harvest to maturation and aging.
D+: So, you not only revive and apply in practice the old traditional winemaking technologies involving the grape varieties of the Marche region, but you also, as we see, experiment with international grape varieties and innovative winemaking methods. Can you share your plans – what is happening today behind the scenes of Tenuta Manoylo, which innovative wines should we expect in the near future from this potential winery?
Luigi Costantini: Undoubtedly, the varieties of our grapes are traditional for our territory: Sangiovese, Montepulciano and Alicante, as well as international grape varieties for red wines, exclusively local for whites Pecorino and Passerina. It is true that we implement modern winemaking technologies in practice, such as the use of the Ganimede vinificator or rotary vinificator, but we also rediscover old winemaking technologies, first of all vinification under water and of whole grapes. The results of these winemaking methods can be predicted, but to draw final conclusions, we need to wait a few months. At the same time, we began research and selection of wild yeasts: this work will be quite long, but we hope to obtain proprietary yeasts that will further characterize our product. For the next few years, we have several projects for red wine, and we have already talked about Peconero. Another project that we have been conducting since 2023 is dedicated to Alicante. This grape variety has been present on our territory since 1800, we will vinify the grapes according to an ancient technology, which I do not want to reveal yet. In addition, we are already working on a wine in an international style using traditional grapes from our territory, Montepulciano. Both of the last projects will be implemented, I assume, in 2025.
D+: You started your professional career in the same region of Marche, in Ascoli Piceno. And you remain faithful to this region. But Marche, unfortunately, is not such a widely known region in the wine world, as a whole list of other Italian winemaking territories. But you prove with your work — and the success of Tenuta Manoylo is the best fresh confirmation of this! — that the wines of Marche deserve more attention from wine lovers and professionals. Tell us about its features. And why did it happen that at some point it undeservedly found itself on the sidelines of fame?
Luigi Costantini: I entered this profession back in 1973, as soon as I received a diploma in “Winemaking and Viticulture” from the Ulpiani Institute in Ascoli Piceno. I have always worked exclusively in this region until 2005. But since then I started working abroad, mainly in Albania. Unfortunately, it is true that the Marche region is not very well known, although its winemaking potential is high. It is undeniable that the average wine production does not exceed one million hectoliters, as can be seen in 2022, when this figure was 93,000 hl. However, the wine palette is diverse and interesting, in fact we have 5 DOCG (Conero 10,000, Castelli di Jesi Verdicchio Riserva 8,700, Offida 35,200, Verdicchio di Matelica Riserva 2,100, Vernaccia di Serrapetrona 900), IGT Marche and 15 DOC: Bianchello al Metauro 11,700, Colli Maceratesi 8,000, Colli Pesaresi 7,200, Esino 1,400, Falerio 33,000, Lacrima di Morro d’Alba 13,800, Terre di Offida 1,200, Rosso Conero 8,700, Rosso Piceno 72,000, Verdicchio dei Castelli di Jesi 148,000, Verdicchio di Matelica 26,800, Serrapetrona 1,000, I Terreni di Sanseverino 97, Pergola 460, San Ginesio 370, La I.G.T. Marche 268,600. Undoubtedly, the flagship product of our territory is Verdicchio for whites and Rosso Piceno for reds.
D+: How much importance do you attach to terroir in general and what potential do the vineyards of Tenuta Manoylo have? After all, not for nothing did a specialist of your level take up this project!
Luigi Costantini: I would like to note that in managing the vineyard I work with my colleague Giuseppe Camilli, one of the most knowledgeable agronomists in Marche. As for the terroir, it is a very important concept, really basic. The company’s vineyard is diverse, it consists of different plots, distant from each other. This diversity means that there is an opportunity to obtain wine from one and the same grape, but which will express the differences of the terroir: in each glass you will feel different soils, etc. Now we are testing different varieties to optimize stylistics, product quality. To better understand the vineyard of the estate, I will give a table.
Grape variety
Area (m2)
Year of planting
Alicante
33925
22
Cabernet Sauv.
33514
20-21-22
Merlot
18430
20
Montepulciano
60238
21-22-23
Sangiovese
6831
18-20
Syrah
25161
18-20
Petit verdot
26921
20
Passerina
16267
20
Pecorino
14314
22
Total: 23,5646 ha
D+: From the height of your positions — ex-president of Assoenologi regione Marche and current president of Harvest Group Centro Ricerche Enologiche – you probably have a good view of what winemakers in Marche should do today to win the battle for recognition of their wines in the world, which today has been launched by such wineries as Tenuta Manoylo. What role can Harvest Group play in this? Can you briefly outline the roadmap: in what style to move, with which grape varieties, how to promote, etc.?
Luigi Costantini: A complex question… Undoubtedly, the wine sector of the region needs to create its own system, abandon limitations, focus on specific projects to create the opportunity to develop a synergistic strategy between all components of the supply chain and the territory. In order to finally overcome critical problems and improve the situation on the market. One of the main problems that determine the weakness of the regional wine and agri-food sector is the extraordinary fragmentation of the production and, above all, commercial system. In the provinces of Ascoli and Fermo, the agri-food sector, in particular the wine sector, has invested more than 130 million euros in improving the quality of production over the past 10 years, distributing the budget between modernization of processing structures, renewal of vineyards, diversification of agricultural activity, etc. But there is still no adaptation of these efforts to advertising and commercial policy, which remains the weak link in our production system.
D+: Dear Mr. Luigi! Thank you very much for your time answering our questions, success to you and your wines and well-deserved fame — to the Marche region!
One of the most authoritative winemakers in Italy, the President of Assoenology Marche, Luigi Costantini, found the opportunity in his busy schedule to answer the questions of the director of Drinks+ International Communication Media Group. Luigi Costantini was born in the Marche region and has been working exclusively with local wines for 45 years. By […]
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DIGITAL ПОДПИСКА на журнал DRINKS+ на 2020 год
Журнал DRINKS+ – специализированное издание с уникальной информацией, адресованной как профессионалам внутреннего алкогольного рынка, так и продвинутым любителям качественных напитков.
Журнал DRINKS+ – о самых лучших и интересных напитках мира, о винных дорогах, легендарных винодельнях и звездных ресторанах.
Журнал DRINKS+ – это информация о напиточных и гастрономических выставках, конкурсах и форумах Европы, Америки, Азии.
Журнал DRINKS+ – это новости, советы специалистов, интервью с известными личностями, тесты, исследования рынка, рейтинги, материалы о дегустациях, публикации о национальных традициях и культуре потребления напитков.
Периодичность – 10 номеров в год
Стоимость годовой подписки диджитал-версии журнала в 2020 году (10 номеров) составит:
в гривне – 1500 грн
Реквизиты:
ФОП ПОГРЕБНЯК І. М.
ЄДРПОУ 2665504466, тел. 423-11-89, +-380 67-747-14-80
IBAN UA223808380000026003799963479 в АТ “Правекс-банк” м. Києва МФО 380838
Ждем Ваши заявки по тел. +38 067 405 62 03
E-mail: gabrelka@ukr.net
ПОДПИСКА на журнал DRINKS+ на 2020 год
Журнал DRINKS+ – специализированное издание с уникальной информацией, адресованной как профессионалам внутреннего алкогольного рынка, так и продвинутым любителям качественных напитков.
Журнал DRINKS+ – о самых лучших и интересных напитках мира, о винных дорогах, легендарных винодельнях и звездных ресторанах.
Журнал DRINKS+ – это информация о напиточных и гастрономических выставках, конкурсах и форумах Европы, Америки, Азии.
Журнал DRINKS+ – это новости, советы специалистов, интервью с известными личностями, тесты, исследования рынка, рейтинги, материалы о дегустациях, публикации о национальных традициях и культуре потребления напитков.
Периодичность – 10 номеров в год
Стоимость годовой подписки на один экземпляр журнала в 2020 году (10 номеров) составит:
1500 грн – при отправке по Украине
230 евро – при отправке за рубеж
Реквизиты:
ФОП ПОГРЕБНЯК І. М.
ЄДРПОУ 2665504466, тел. 423-11-89, +-380 67-747-14-80
IBAN UA223808380000026003799963479 в АТ “Правекс-банк” м. Києва МФО 380838
Ждем Ваши заявки по тел. +38 067 405 62 03 E-mail: gabrelka@ukr.net
