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Wine

Marketing Wines to Millennials

In the Jul/Aug issue of Selector we ran an interesting feature on labelling wine bottles aimed at the millennial market. Millennials are people born after 1980 and who are so termed because they hit maturity at the turn of the millennium and beyond.

Not only is this generation cashed up, brand savvy and wine knowledgeable, they are about to overtake baby boomers (those aged 55+) as the biggest consumers and buyers of wine. Therefore, they are vital to the future of the wine industry. 

Marketing to this generation is a world away from traditional marketing.

 In the feature, we referenced a California State University study that found millennials prefer wine labels that are brightly coloured, less traditional and more graphically focused. Hence, you may have noticed a swag of wine labels that are more expressive, artistic and almost graffiti-like in nature. 

Of course, all that is fine for new and emerging wine brands on the market. But how can established producers whose labels speak of consistency, reliability and trustworthiness also appeal to the millennial market? 

 Hunter Valley wine producer Tyrrell’s Wines seems to have found an answer.

One of the Australia’s First Families of Wine, Tyrrell’s are true pioneers of the Australian Wine Industry with 160 years of experience across five generations of winemaking.

Their classic white label with a curved font and distinctive gold and black badging has become iconic as the wines they produce. This label allows them to convey a sense of trust and quality assurance to drinkers who recognise it i.e the traditional market of baby boomers.

With their recent ‘True Taste of the Hunter’ marketing campaign on their Hunter Valley range, they’ve tapped into the millennial market and what appeals to this hard to capture demographic.

What Tyrrell’s has done so cleverly is create an artistic, colourful brand story that is both eye-catching and informative.

With Instagram worthy info-graphic details of fruits in each bottle that deliver the characteristics of each wine: lemon, lime and rockmelon for Semillon; apricot, guava and grapefruit for Chardonnay; plum, raspberry and mulberry for Shiraz.

The bottles are laid out artistically on a black background with minimal but direct text and a firm but understated call to action. A snapshot of the flavours inside each bottle.

This fits the brief perfectly for capturing the attention of millennials – those who love splashes of colour and delineating lots of information in a short amount of time as is delivered via an infographic.

The label and badging remain the same both reassuring their traditional market and at the same time, creating an opportunity to imprint on a new generation of Tyrrell’s drinkers.

Fifth generation winemaker Chris Tyrrell explains the marketing campaign.

“As a 160-year-old wine company, we have built a loyal base of consumers over the years but in order to grow our brand long-term, we need to be relevant to new segments of the market, hence the development of a communications campaign that would drive awareness of our three key varieties; Semillon, Chardonnay and Shiraz, what we call our quintessential Hunter Valley range.

“We specifically chose to shoot the creative with a high-end fashion photographer, and to position the advertising in luxury magazines and online platforms to ensure we communicate with the female market and millennials and drive a more premium positioning of Tyrrell’s within the marketplace”.

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Screw Cap vs Cork - the Seal of Approval
Words by Dave Mavor on 5 Jun 2017
Tasting Panellist Dave Mavor tells why a crack wins over a pop when it comes to opening wine. Screwcap closures were first used in the Australian wine industry in the 1970s, but consumers at the time perceived these wines to be of lower quality, and the initiative soon fizzled out. The screwcap comeback came in the 2000 vintage when a number of  ClareValley  winemakers bottled some of their  Rieslings  under screwcap to prevent cork-related faults. The most common of these is cork 'taint', caused by a compound known as TCA, which was often present in cork bark. Before the proliferation of screw cap closures in Australia, the level of wines ruined by cork taint was 12-15%. To put this in perspective, for every two dozen you purchased, it was accepted that there would be at least two bottles affected. This relatively high occurrence of cork taint was due largely to cork suppliers providing Australia with (compared to Europe) second rate corks with a higher incidence of taint producing bacteria. Due to the airtight nature of screwcaps, the problem of premature oxidation was also eliminated, along with the 'flavourscalping' tendency of the porous cork material, and other potential flavour modifications. Another advantage now widely recognised by consumers is the convenience factor - screwcapped bottles are easy to open and re-seal!   SCREWING WITH TIME One of the criticisms of screwcaps, apart from the ridiculous (in my view) notion of missing the 'romance' of the sound of popping a cork, was that the seal was so good that wines would not mature with time, due to the absence of oxygen. However, there is normally a miniscule amount of dissolved oxygen within the wine itself when it is bottled, which will allow the wine to evolve, and each bottle will age at roughly the same rate, while retaining its freshness and vitality for much longer. With wines under cork, the maturation process is not only much faster, but each bottle will age at a different rate due to the variable consistency and therefore oxygen permeability of the corks. A recent innovation in screwcap technology has seen the development of closures that allow strictly controlled rates of oxygen transmission, giving winemakers the choice of differing maturation rates for different wine styles. I have now had the opportunity to taste wines that have been aging gracefully under screwcap for up to 15 years, including the same wine bottled under both cork and screwcap. I've even had the privilege of tasting wines from those early adopters in the 70's, which at the time were still going strong.   INTERNATIONAL EYE-OPENER To reinforce my beliefs, award-winning Australian wine writer Tyson Stelzer came up with some stunning results from a tasting at Italy's biggest wine show, Vinitaly, in March, 2015. Tyson presented five mature flagship Australian red wines under both cork and screwcap in a blind tasting. Some of Australia's most age-worthy and respected reds were presented, including the  Henschke  Hill of Grace Shiraz 2004. In a major surprise the panel of international wine professionals voted the screwcapped wines ahead of the corks. "The result was ground-breaking for Italy, where screwcaps remain controversial and until recently have been prohibited on the country's top wines," Tyson said. Even Venice sommelier Annie Martin-Stefannato admitted "we will have to change our mindset". So, given all the evidence for the superiority of screwcap closures, my personal preference will always be to hear a 'crack' rather than a 'pop' when I open a bottle of wine.      
Wine
Simply Savvy
Words by Mark Hughes on 19 Dec 2016
It is fair to say that Sauvignon Blanc is the most recognisable wine ever, but Australian producers are doing their best to create a host of appealing new identities. We find out who is doing what to make drinkers swipe right. I’ll come right out and say it. I quite like Sauvignon Blanc. That statement will probably earn me the ire of a few wine critics that I know, but I reckon it is a sassy and wondrous wine, and deserving of far more than the limited adulation we give it. I’d be as bold as to say it has been unfairly heaped with harsh criticism. There are a few reasons as to why Sauvignon Blanc is the kid the rest of the class picks on. Firstly, Sauvignon Blanc is seen as a pretty simple wine – it really is a case of WYSIWYG – What You ‘Smell’ Is What You Get and Sauv Blanc has an unmistakable tropical aroma. No matter where it is grown, it will always smell like Sauv Blanc, and this leads to the second reason why it is ridiculed. Because it is so recognisable, it is the first wine that drinkers new to the game can accurately identify. And for the well-heeled wine critic, that is just so ho-hum. Thirdly, it is popular, and we all know Australians hate anything that is popular. It is so well-liked for the two reasons given above. It is appealing for the novice wine drinker, particularly young women, as its simple tropical and punchy profile is not too dissimilar to the flavour of juices and fruit punches we enjoy drinking as teenagers. And it is popular because the novice wine drinker can identify it. Not only does that give them a sense of assurance that the wine experience they are about to have is going to be an enjoyable one, but it also gives them a sense of pride about their burgeoning wine knowledge. And finally, it is because New Zealand has had phenomenal success with the varietal and Aussies just can’t put that Trans Tasman rivalry to bed. It is a wonder we are still playing rugby given the dominance the All Blacks have had over us this millennium, and for the foreseeable future.   ANOTHER POINT OF VIEW Having said all of that, Australian winemakers are a hardy bunch (even more so than the Wallaby scrum) and they have been busy creating a unique identity for Aussie Sauv Blanc that will have a point of difference from Kiwi SB and be just as popular, or even more popular. “I think Australian Sauvignon Blanc tends to be leaner than NZ wines, lower in alcohol with less residual sugar,” says McWilliam’s winemaker Adrian Sparks, whose High Altitude Sauvignon Blanc from the Orange wine region topped our State of Play tasting. “It is a crisper, more refreshing style of wine. This is what we try to achieve, but you want the wine to say where it is from. “I would hate to see wines from Margaret River , Adelaide Hills and Orange all looking the same. Regional differences are important.” Dan Berrigan, winemaker at Berrigan Wines and avid Sauv Blanc lover agrees. “As an Aussie winemaker, I try to understand what makes the NZ Sauv Blanc so popular, and emulate those characters in my wine,” he explains. “I then weave in the regional Mt Benson personality, which is usually in the form of more fruit weight on the palate, and I feel that it’s this combination that drinkers really appreciate, and are drawn to as a point of difference.”   BETTER WITH AGE Shane Harris, chief winemaker at Wines by Geoff Hardy in the Adelaide Hills makes another good point – we have only been growing and making Sauvignon Blanc for the last decade or two. After a slow start, we are growing better fruit and getting better at making good wine out of it. “When the Sauv Blanc train came to town, lots of the industry was fixated on turning the volume up to 11 on the varietal character, but somewhere along the line, the focus on site was lost and replaced with maximising varietal character with picking times and yeast selection based on volume of varietal character more than reflection of site,” says Shane. “More and more Australian winemakers are learning how to get the best out of the fruit sources they have available to them. Sauv Blanc has a great ability to show the site it comes from if you let it.” “I love Australian wine due to the vast differences in climate and styles. We are so fortunate in that fact and more so than any other country,” adds Adrian. “The altitude of Orange is the key, with its warm days and cool nights allowing the grapes to ripen slowly, retaining wonderful acidity and not tending to have full blown tropical fruit, rather a lovely combination of citrus, herbs and exotic notes.”   TINKERING THE TECHNIQUE So what are some of the techniques winemakers are using and what result does it have on the wine? Overall, the answer seems to be to bring Sauv Blanc some complexity. “Winemaking begins in the vineyard,” says Dan. “With the Berrigan Sauvignon Blanc this means managing the canopy to achieve fruit with a balance of tropical and grassy flavours. “In the winery, you then need to extend the skin contact time of the must to ensure that those flavours you’ve worked hard for in the vineyard are extracted from the skins and into the juice. From there, it’s all about minimising the extraction of phenolics, while maximising flavour retention and balance in your wine without oak maturation, lees stirring or fining.” “Oak with the right fruit works very well,” says Adrian conversely. “Lees contact providing texture and depth and some wild fermentation all are providing layers of complexity.” “Sauv Blanc responds to as little to as much winemaking as you wish to give it. Whether that response is appropriate depends on the site and the intended style,” explains Shane. “This doesn’t mean that just because you can do something that you should! A level of restraint is required to bring the subtle characters from your little patch of earth. “For our site I find that some skin contact time, leaving the juice slightly cloudy, and yeast selection are the most important areas of my input. Some post primary fermentation lees contact also helps, but this varies vintage to vintage. “The ability to change and adapt to vintage variation and change your approach is required to get the best out of the variety. Following what you did last year isn’t good enough if you want to get the best out of it this year.”   THE FUTURE While critics predict the popularity of Sauvignon Blanc cannot last, our winemakers seem to believe it will be here for quite some time to come. “The wine style is just so strong in its personality, and with the majority of Australians living in warm, sunny coastal regions, the freshness of Sauvignon Blanc will always have its place amongst our lifestyles,” says Dan. It will always be popular as it’s such an easy drink and suited to Australia’s summer climate,” agrees Adrian. “I hope as an industry we can move with the ebb and flow of consumer preferences and make moves to deliver a style that is relevant and current,” says Shane. “We have to learn to not flog the horse too hard and kill the market and burn the variety, we need to be more sensitive to changes in consumer preferences and move with it, not fight against it. “Keep it fresh, keep it relevant.” Top 20 Sauvignon Blanc 2016 McWilliam’s Wines High Altitude Sauvignon Blanc 2015 (Orange) Scotchmans Hill Sauvignon Blanc 2015 (Geelong)  Henschke & Co Coralinga Sauvignon Blanc 2015 (Adelaide Hills)  Berrigan Wines Sauvignon Blanc 2016 (Mount Benson)  Taylors Wines Sauvignon Blanc 2015 (Adelaide Hills)  Blue Pyrenees Estate Sauvignon Blanc 2015 (Pyrenees)  Redgate Reserve Sauvignon Blanc (Oak Matured) 2014 (Margaret River) Silkwood Wines The Walcott Sauvignon Blanc 2016 (Pemberton)  Tamar Ridge Sauvignon Blanc 2016 (Tamar Valley) Dominique Portet Fontaine Sauvignon Blanc 2015 (Yarra Valley) Howard Park Sauvignon Blanc 2015 (Margaret River) Alkoomi Sauvignon Blanc 2016 (Frankland River) Dandelion Vineyards Wishing Clock Sauvignon Blanc 2015 (Adelaide Hills) Wangolina Station Sauvignon Blanc 2016 (Mount Benson) Geoff Hardy Wines K1 Sauvignon Blanc 2016 (Adelaide Hills) Cherubino Sauvignon Blanc 2016 (Pemberton) Eden Road Single Vineyard Sauvignon Blanc 2015 (Canberra District) d’Arenberg The Broken Fishplate Sauvignon Blanc 2015 (Adelaide Hills) Lambrook Wines Sauvignon Blanc 2016 (Adelaide Hills) Nannup Ridge Firetower Sauvignon Blanc 2015 (Blackwood River)
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Sharp Thinking
Queensland mechanical engineer Mark Henry had the professional chef in mind when, as a student,   he set about developing a range of knives that were supremely functional and of such quality that they could withstand the rigours of Australia's busiest restaurants. They became so popular with chefs, they are now sought by home cooks as well. “I developed the knives for working pro chefs,” recalls Mark. “As a young student with no commercial experience, I had no idea about retail. I just wanted to redefine the working chef’s knife and eliminate all those traditional old weaknesses. “Chefs really liked the Füri knives from the beginning, then they talked about them, wrote about them in their food columns, at their cooking schools. Soon, the department stores were getting so many enquiries from consumers that they wanted Füri too. The demand was such that Füri was an immediate success, and quickly became Australia’s #1 premium knife brand.” The best metal for the best blade Most professional knives are produced in Europe, but Mark wanted to design a knife range that totally re-shaped the category. His first idea was to use high carbon Japanese stainless steel, noted for its superior durability and ease of sharpening.   For the best combination of sharpness and toughness, Mark specified the blade be between the thick, strong European style and the sharp, light Japanese style. “I was determined to use a type of high carbon stainless steel alloy that was more like the old carbon steel knives than the modern European knives,” says Mark. “Without the complex metallurgy, that means Füri knives have the ideal combination for working chefs of a blade material that holds its edge a long time, but is also easier to sharpen than the more common CrMoV alloys used in German knives, and most Japanese knives today. I would love to use full carbon steel, like the famous old French chef knives that take such a sharp edge so easily, but the corrosion would drive everyone mad these days, so it had to be also stain-resistant! Not an easy combination of features, but we achieved it.” Seamless design The next crucial element was in the seamless construction. The blade and the handle are one, so there is no place for food to get trapped, and no rivets or plastic parts to fail. So not only does it look stylish, it is the ultimate in food hygiene and durability. “I thought it was a bit silly that after 800 years of chef knife making, in the ‘90s we still had the same riveted handles, sometimes still with the same type of wood ‘scales’, or plastic more recently,” says Mark. “My chef friends and I all had knives with handles that had split wood, lots of gunk in the gaps, rivets missing, melted plastic, etc. I worked on a way to make the blade and handle into one seamless piece, while still keeping a hollow cavity in the handle for the correct balance. “Nothing beats this construction for hygiene and durability, particularly when combined with our tough steel and strong blades. The Iconic handle What also raises Füri above its competitors is its innovative handle design. The iconic reverse wedge shape means the handle locks into the hand for a safer grip, which helps reduce hand fatigue, and reduces repetitive strain injuries. “While I was still at university (QUT) studying my mech engineering degree, I put some research into the forces involved during the most repetitive and heavy cutting motions chefs use,” explains Mark. “It became quickly evident, to me, that the traditional handle shape (basically the same for 800 years) was opposite to what it should be. The traditional taper which becomes narrower toward the handle actually encourages hand slip toward the blade. Then I realized why nobody cut themselves, even with wet/oily hands: the brain automatically compensates for any small slip by making the hand squeeze tighter on the handle to produce more friction and grip. “That means fatigue for chefs  in the short term, and arthritis, carpal tunnel and other problems in the long term The Füri reverse-wedge handle actively reduces this slip by becoming thicker toward the blade, in the direction that counts, so that less hand squeeze is required for the same cutting work. This means less fatigue and less hand problems for chefs, or anyone with sore hands.” Füri’s innovative design elements and materials result in knives of the utmost quality and are the reasons Füri is the knife of choice for chefs around the world. TV chef and restaurateur Kylie Kwong is a Füri brand ambassador, while Nigella Lawson is also a big fan. Füri knives are ranged in all major department stores and independents around the country. For more information visit furiglobal.com
Two Blues Sauvignon Blanc 2014
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