Lollobrigida: Let's Not Call Non-Alcoholic Drinks 'Wine'

At the heart of Italy's famed Vinitaly, the wine trade fair that sets the tone for trends and shifts in the global viticulture market, a bold proposition has been put forth by none other than Agriculture Minister Francesco Lollobrigida: strip the label "wine" from non-alcoholic products. This year's iteration of Vinitaly was not just about sampling the finest Sangioveses or debating the nuances of Nebbiolo. It was a platform for potentially groundbreaking regulatory shifts, spearheaded by Lollobrigida's sharp critique of non-alcoholic products masquerading as wine.

The minister's stance is clear: for a product to earn the title of "wine," it must adhere to the traditional processes and authentic characteristics that have defined the beverage through the ages. "Let's make non-alcoholic drinks, but let's not call them wine," Lollobrigida urged, highlighting the intrinsic link between the quality of genuine wine and the reputation it upholds both domestically and internationally.

But why this fierce protectiveness over a name? For Italy, a country where wine exports surpass the €8 billion mark, maintaining the sanctity of what wine represents is not just about cultural pride—it's a significant economic concern. The label "wine" carries with it a heritage, a promise of quality born from specific vineyards and centuries-old methods. It's a narrative that Lollobrigida and his colleagues believe is diluted when extended to non-alcoholic substitutes.

This debate isn't happening in a vacuum. Across Europe, the wine industry is watching closely as Ireland proposes health warnings on wine labels—a move that has sent ripples of concern through Italy's viticultural heartlands. Lollobrigida criticized the Irish plan, which is seen by many in the industry as a potential threat to wine's image as a product of culture and pleasure rather than mere alcohol content.

Meanwhile, Vinitaly also served as a showcase for the art and culture deeply intertwined with wine. This year, in a novel collaboration with the Ministry of Culture, a special section was dedicated to multimedia installations and artworks, like Picasso's 'Bacchanal' and Garofalo's 'The Wedding at Cana.' It's a testament to how wine is more than just a beverage; it's a cultural artifact, steeped in history and artistry.

Furthermore, the fair spotlighted initiatives like Pasqua's Onirica, an audiovisual installation set in a Valpolicella vineyard, marrying the sensory experiences of art and oenology in a setting that invites contemplation and celebration alike.

In all, Vinitaly is not just a wine fair. It's a statement of cultural identity, a battle line drawn around the definition of wine itself, and a celebration of the deep, inseparable connections between wine, art, and Italian heritage. As these discussions unfold, they reveal the complexity of wine as both a product and a cultural symbol, reflecting broader debates about authenticity, tradition, and the modern pressures of global markets.