Sarah Abbott shares her end of term report reflecting on our work and our clients’ successes in a turbulent 2020.
2020 began in disarray. We had the best laid plans – but my fantastic team and clients kept calm and carried on. Together, we found ways to be adaptable, creative and resilient in order to deliver what was needed, sensitively.
At the time we didn’t grasp what a crucible of adjustment it was. Fortunately, towards the end of 2019, we’d become interested in the growing trend in other industries – especially events and conferences – for blending in-person events with virtual augmentation. We had begun to research it to see how it could translate for wine – which gave us a great basis for the wholesale pivot to digital everything.
Our job is to communicate and engage on behalf of our clients, as well as assisting commercially. And I’m proud that we achieved this, in a time when promoting a product, wine, which is all about togetherness, contravened the essence of our daily lives.
So, we came up with Swirl in the Cloud – proof that every cloud has a silver lining.
From the get-go we were strict about the structure. The most important thing was fostering a sense of togetherness so, at the most basic level, either everyone got the wine, or no one did. So, we really jumped on the informational webinar format. Packing these presentations chock-full of great data and information has helped us learn so much about what really engages our clients’ audiences.
A May report from McKinsey showed that in March to May of 2020, “we have vaulted five years forward in consumer and business digital adoption in a matter of around eight weeks”. I can definitely believe it. Digital events are a great democratiser. They ensure equal access for everyone – whether you’re shielding, less mobile or just can’t get child care. That’s incredibly valuable – as we recognised in the opportunity it gave us to connect with people from across the globe. For example, for Wines of Georgia, we did a webinar about Qvevri and were joined by people from 20 different countries. Among them were some winemakers who had just started making qvevri wines in South Africa, and another using the method in Lebanon. Without that connectivity, we would never have been able to introduce them to some Georgian qvevri specialists who are now helping and advising them. That feels incredibly rewarding.
Looking forward, there are several things that this year has extracted from us which I don’t think we’ll ever put back. Clients have really risen to the occasion, making exquisite videos showcasing terroir. Combining this kind of content with in-person events is here to stay. It’s hugely valuable, especially given the high per-attendee cost of in-person events. Of course, in many ways in-person events are irreplaceable. There’s nothing like showcasing wine in the context in which it’s to be enjoyed – and we want to get back to hospitality venues as soon as possible. But there’s a high level of wastage and no-shows with the current model. I predict that this will change with a swing to smaller, more flexible in-person events blended with a digital element.
Wines of Georgia
It came as no surprise that the team in Georgia were some of the first to embrace digital innovation – they know the importance of being creative and adaptable in difficult times.
In collaboration with their team, we’ve run 13 different virtual tastings and presentations. Year on year sales of Georgian wine to the UK have increased by 240%. We now have over 60 merchants and retailers stocking Georgian wines – a fantastic result for the producers and for our wine market. We’re also so pleased to report that importers have shared what an invaluable resource the in-depth online courses and training have made to their sales.
This year we’ve been running two different projects for JFOODO – one on their wines and one on sake.
Just before lockdown 1, at the beginning of February, I was in Japan. I am a complete sake novice, but though the style and tone of sake is so different from wine, I find that the depth of the culture, heritage, craft and intersection of place, personality and technique is very familiar to me. It’s just as rich as wine, so I’m really thrilled to be running two events on sake later this year.
Conegliano Valdobbiadene Prosecco Superior DOCG
Conegliano Valdobbiadene is the premium end of Prosecco. And latest figures show that they have maintained their 2020 exports at the same level as 2019, in which exports to the UK from this specific zone doubled in volume and increased by 80% in value.
This year, we hosted six virtual tastings and supported the Consorzio with two virtual press trips. It was revelatory that a virtual event allowed us a deeper insight than what would be achievable in person. For example, we worked with Professor Digeo Tomasi, a leading authority on soil science and its effect on wine style. Using recorded video and live Zoom we were able to take attendees all over the region, sharing technical analysis of the aromatic compounds which resulted from each different soil type. While tasting the wines from each zone. It was an enormous piece of work to bring that together but it was really worth it to feel like we broke through those last vestiges of Prosecco prejudice.
We’ve just completed a really interesting project with Wine GB, focussing on classic method sparkling wine. The UK is emerging as a wine making nation and it was tremendously exciting to be able to work with Wine GB to explore how to express our identity and place in the world of wine.
We devised a communications hierarchy for how to talk about and differentiate classic method sparkling wine from England and Wales. We wanted to articulate the uniqueness of our wines made in our terroir, informed by our culture. I was really keen to move away from that trite way of talking about UK sparkling wine – in comparison to Champagne. Of course, Champagne is the benchmark for great classic method sparkling – but we’re not wannabes. We have an even more extreme climate and a much younger wine culture. We revel in the audacity, the boldness and experimentation which typifies our wine culture.
We were able to show a range of wines to predominantly trade journalists, and it was brilliant to hear them saying ‘I’ve never heard of this producer before, but this wine is fantastic’.
Respected by Gaggenau
This is a consultancy project, and one I’m really proud to be a part of. I love working on projects where wine is part of the story but not the only character. It puts wine in the broader context of humanity – a world which is broader than the ‘fellowship of wine geeks’ (among whom I’m happy to live).
Gaggenau makes really high-end, craft-focussed kitchen appliances. Their ‘Respected by…’ project celebrates culinary culture, of which wine is a part, by asking three curators from the worlds of wine, food and design to judge nominations from regional experts in each field. I’m so delighted that wine is being considered in the same breath as design and culinary excellence and look forward to sharing more when the winners are announced next year.