Works of art and unusual colours, the bottles play with the rules. The Houses overstep the established norms to embellish the market.

      While the little "Pop" springs out of the House of Pommery, Jean-Paul Gaultier for Piper-Heidsieck and Paco Rabanne for Lanson, are putting their refined fairy-like fingers to work. Although these original flacons can unsettle some traditional minds, they are proof of a style of creativity, which is opening up towards the new Millenium.

Lanson gambles on the 21st Century with Paco Rabanne

Praised to the skies thanks to a master's hand, the Lanson's "Noble cuvée", has entered the third Millenium as a true work of art, adorned with a suit of light, which reveals its elegance and refinement. Elaborated from the best growths from the exceptional years of 88 and 89, it received the1999 Gold Medal at the London International Wine Challenge, a distinction, which justifies a coronation entrusted to Paco Rabanne. This expert in "haute couture" (high fashion) has woven a cloth of silver thread. A close-fitting evening gown underlines the majestic lines of the flacon. A flacon born in the 18th Century, which has not yet finished evolving, adorned this time in a metal dress like a coat of mail, or even more extreme, a coat of mail finely decorated with gold. A solid friendship between the great fashion designer and François-Xavier Mora, President of The House of Lanson, has led to this quest for excellence. This idea is the result of profound thinking between two friends with a natural affinity, which has given rise to a spontaneous creation. In this way, "Noble cuvée" enters the Millenium with a true creation ignoring the easiness of one-off marketing event. François-Xavier wanted to raise his creation beyond the limits of time and Paco's taste for metal has allowed him to transform the bottle into a masterpiece.

A timeless jewel

      This jewel combines both the ancient and the modern. It conveys the values of nobility while looking towards the future. The coat of mail is reminiscent of Medieval Times and the metal suggests the years to come. Out of pure respect for tradition, the designer transcends the values of the flacon (born several centuries ago, at the same time as the House) into a charming and sensual body in a refined dress. Paco Rabanne has let the strength of his creative spirit run freely to successfully reach the quintessence of elegance and distinction, as embodied by this flacon. Conserved for at least five years in the cellar, "Noble cuvée" offers, therefore, an exceptional drinking experience. In its striking straw-yellow robe, with multiple fine and persistent bubbles, it reveals delicious aromas with accents of the ripe grapes of the year mingling with the typical dominant floral perfumes of the Chardonnay. Dressed in this way, "Noble cuvée" can be associated with both festive and prestigious events. Its enticing robe gives it such a momentum that it projects itself into the future, in a manner suited to this great wine. Jean-Paul Gandon himself, although a strict House Cellar master, cannot hide his emotion: "From this overall vertical movement emerges more elegance than strength, more refinment than abundance. The pure and radiant lines evoke Gothic architecture". Covered in this way, "Noble Cuvée" is not only seductive, it has become bewitching.

Piper-Heidsieck associates with Jean-Paul Gaultier to shake convention

      With their blood red latex corsets, the provocative flacons of Piper-Heidsieck's "Cuvée spéciale dressed by Jean-Paul Gaultier" are a sensation. This bottle reaches the height of impertinence, endowed with an unfailing sensuality, which depicts lustfulness. "It is as sensual as the body of a woman and, therefore, deserves to be dressed in a corset". The enthusiasm is easily understood, when the generous shapes of the flacon are evoked, flattered by a corset tightly laced around the body. A body, which lets itself be slightly undressed before the celestial liqueur runs out.

"Only very slightly unlaced, because the flacon is not meant to be served undressed, the laces are just slightly loosened to lower the higher part of the corset". A manner of clearing your throat, in a certain way. And there, as if by miracle, it reveals a tattoo, like a sign or a mark that strikes the eye on a woman's bare shoulder: "the trademark of Jean-Paul Gaultier". Mister Gaultier, as he likes to be known, has charmed the House of Piper: "a genius, a true designer, surprising, open-minded, without the whims of a star", all the more so because this great man sticks (no one can do it better) to the traditional values of the House. The red corset carries with all its emotional nuances (such childhood reminiscences as memories of a grandmother who did not know that by being restrained in her own corset, she had already inspired her grandson): these are symbols of excitement or even of seduction. This genius of a fashion designer and the no less famous Piper-Heidsieck brand melt together into common values: fashion (materials and accessories for one, fashionable night-clubs for another), luxury (high fashion, the top of the range), urbanity, sensuality, passion. Jean-Paul Gaultier was delighted to bring the values of high fashion towards another universe, just as luxurious. A strengthening of labels for both parties in this universe of luxury.

A very special cuvée

      Daniel Thibault, Cellar master at Piper-Heidsieck, is no stranger to this creation, which has already conquered several continents. Indeed, he himself elaborated the Piper-Heidsieck "cuvée spéciale", dressed by Jean-Paul Gaultier, by blending the wines he judged to be appropriate. This "cuvée spéciale" was achieved for the occasion and constitutes a true launch, established to last rather than being a simple fleeting glance at the first hours of the new Millenium.

      The reactions were fast. While the more classic were astonished or even rebellious, before definitively cracking, others were immediately delighted: "Wouldn't life be sad without creativity!". Amongst the ardent followers, the night-club owners could not believe their eyes: from Paris to London via New-York, the clients insisted on taking the bottle home. Others bought one, driven by the desire to possess it. Initially designed to be consumed rather than collected, this bottle is none the less an object of art, dressed and laced by hand. Maybe, this is what generates the vampire-like effect, this ability to add spice to the celebration. An enthusiasm signed by Piper-Heidsieck, which keeps going with the launch (on 1st March) of a magnum, just as flamboyant and corseted. The House wishes to move away from convention and restore the intensity and impulsion at the moment of consumption, so that the instant is chosen rather than imposed. The association of Champagne with celebrations and pleasure is thus reinforced.

Pommery promotes Pop as the in-thing

      Loyal to its innovative tradition, Pommery is attempting to create a new way of enjoying Champagne with a small blue quarter bottle. It is particularly suited to the pleasure of drinking with a straw, even directly from the bottle. Pop allows surprise reunions, unexpected meetings, also sometimes love at first sight. Why? Because Pop has a festive name, evocative of euphoria and spontaneity. It awakes the senses and lets us contemplate the world in its festive colours, the fullness at the heart of a beautiful night out. Not only does it transgress all the conventions and references in the Champagne universe, but it also enters the scope of nightlife. A world, which up until now, ignored Champagne to the profit of strong alcohol albeit slightly old-fashioned.

Pommery is creating innovations. Pop is translated in the same way in all languages and, throughout the whole world, evokes the universal sound of a bottle of Champagne being uncorked. Pop is born, its destiny is on its way. It is curious for a Champagne to cultivate, without complexity, an egoism of real worth. "It is an unusual moment of individual consumption. Pop can be drunk alone or shared between lovers. No old-fashioned conventions! Pop can be taken anywhere with you and enjoyed anytime. This small quarter bottle, dressed in blue glass and adorned with a white label and a silver capsule, has the effect of a bomb in the middle of its more traditional older sisters. The blue, albeit frequently a symbol of coldness, suggests celebration, life and the night. Pop is a totally new drinking concept. Pop is not meant to be provocative, it is the discovery of a blend during unusual drinking moments. This extra-dry Champagne, in a mini bottle of 20 cl, can be drunk by the bottle or with a straw. It clashes with the sometimes stuffy universe, which usually surrounds our fine bubbles.

Seducing a new clientele

      "We regret the absence of Champagne in certain elegant places, where it must win its space, and in particular "after dinner" between midnight and 4 o'clock in the morning", explains Jean-Marc Lacave. "For Pommery, it does not consist of a media coup for the year 2000 but a true blend of quality, respectful of the House's rules of elaboration with long term ambitions". For the time being, it is only the lucky inhabitants of Paris, London and New York who can quench their thirst with Pop. "We have other projects: this year the small revolutionary bottle should conquer about ten countries but I can not reveal any more". The House is remaining discreet because Pop is an original innovation. Designed to please the generation of 25/35 year olds, it can be radically distinguished from its elders by its mobility, nomadic style and capricious and cheerful nature. Pommery reveals itself as the forerunner of a product, which is causing a sensation amongst those, who appreciate the conviviality of fun cocktails or latin beers. "It is the answer to a real trend: a time when everything is on the move, when the traditional universe of Champagne is transporting the consumer towards the future and new sensations. With the imagination of some and the original ideas of others, the Houses are working to maintain the royal position of Champagne so that they can crown the third Millenium, just like the second".

Johanne Collot