An intervention in the vineyards that emphasizes coexistence with the natural world

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Interview: FormaFantasma and Perrier-Jouët Launch Cohabitare

An intervention in the vineyards that emphasizes coexistence with the natural world

Mike Tommasiello

11 December 2024

As the world descended upon the shores of Miami to take in and toast the world, one champagne house in particular was thinking about the larger impact that their harvesting was having not just on their own terroir but on the world at large. Perrier-Jouët, one of the week’s foremost purveyors of bubbles, opted to think about art and design in an entirely different way. Teaming up with the Milan-based design studio FormaFantasma, they launched Cohabitare, a partnership to bring regenerative viticulture to the forefront of not just champagne, but of the agricultural and design industries as a whole. We sat down with Simone Farresin of FormaFantasma and Caroline Bianco, the new cultural and creative director for Perrier-Jouët, to discuss how they’re reshaping the world of champagne, one insect at a time. 

What drew Formafantasma to collaborate with Perrier-Jouët, and how does the maison’s heritage resonate with your studio’s ethos?

Simone Farresin: Perrier-Jouët’s heritage is in the arts, specifically Art Nouveau, and what is interesting about that is that nature was understood as a source of inspiration. I think in this century, we have to do a bit more work than that. It’s not enough to look at the world in terms of beauty, beauty is not going to save the world. We are trying to think about how design can do so by developing projects that are meaningful not only for the human experience, but also for other species. Seeing psychology is basically the idea that we are living on this planet, not alone, but with many other species.

Beauty is not going to save the world

Caroline, how did you land on FormaFantasma to sort of start this journey?

Caroline Bianco: Perrier-Jouët has been collaborating with artists and designers for more than 10 years and I agree with what Simone is saying, that we were at a moment where it was not enough. It was also a big shift for the brand. Normally each year we work with a new designer or artist, but when you start a new project like this, one year is not enough. 

It’s also not only one person, there’s a group of people you have to bring to the table such as scientists, botanists, philosophers, and not only one voice who can offer answers. Therefore, my first job was to also make sure that the company would be okay with starting a project that could be outside the commercial realm of things and perhaps take more time. Our CEO, César Giron, is a visionary and gives me the freedom to do projects like this.

The project with FormaFantasma, for me, is really the beginning of a long-term collaboration because we decided that every two years we will conduct an experiment on-site. Not something that will travel, not something that is linked to anything commercial, but something that will be directly linked to the problem that we have on the territory. I think we’ll continue working together even after the project. FormaFantasma will be part of the family and we will continue to think about the next steps together. 

The concept of sustainability is central to your work. How did this shape the design process for the latest collaboration?

SF: The way it shifted the most is the way in which we establish our work. For example, instead of coming to Perrier-Jouët with a brief, we came with a request to visit and provided a response to a context. That is, leading the project, which is not a product actually, but it is a larger intervention. We can talk about what we’ve started to do, because what we have been presenting is just the beginning of something larger. It is about reflecting what Perrier-Jouët has already enacted for regenerative viticulture. Essentially, promoting a much more responsible, inclusive of other species, way of cultivating the land and trying to understand how design can first of all communicate this.

In Cohabitaire, you explore coexistence with the natural world. How does this project expand on FormaFantasma’s ongoing dialogue with sustainability and nature?

SF: This is the first time we’ve worked with a company that is based on agriculture, and when you work with a company that is based on agriculture, there is a better understanding from their side of the struggle, the real struggles that are happening in the world and in nature. Also our interventions, for the first time, actually presented and intervened with the landscape, so it’s all outdoor. It is in direct contact with our species, but for other species.

Can you tell us a little bit more about what regenerative viticulture is and what it means in the greater context? To both of you?

SF: We can try to respond collectively because it’s something that I learned from Perrier-Jouët, but essentially I would say that it is a way of cultivating the land and introducing the fields, not only the vines, but actually other specimens of plants. For example, the flora are not only contributing to biodiversity, but enhancing the terroir with minerals and nutrients that are needed. At the same time, because of this sort of addition of plant coverage, that is fully covering the earth, this is also diminishing the quantities of water that is needed for cultivating the land. This avoids the need of, I think “scarification” is the word in English, to move the land, which is a process many people don’t know, but it releases a lot of CO₂.

CB: Regenerative viticulture is a process that is very interesting because it takes the full ecosystem, the soil, the flora, the fauna, and humankind. In the end, it’s not something that is totally new, rather something that was existing but it is just starting again, from the beginning, without all the big monoculture that we’ve committed. It’s not that the technique is complicated to apply, but it’s more that you are in Champagne and every square meter of the estate costs significant amounts of money, so when you would like to change something, it’s very complicated. You don’t have a lot of chances to fail.

You’ve spoken about bringing not just designers but philosophers, artists and others to the grounds. What is the thought behind that and how do you see this really helping the future of the house?

CB: Yes, I really think that there are several subjects that are too complex for one person or one skill and I really trust in the fact that together we can better find a solution. I also think the dialogue between a designer, a scientist, and a farmer is so interesting. It’s a part of my past experience, also. The pluridisciplinarity is really for me, the beginning of a good project. That is really the goal with the Cohabitaire project, creating a kind of biodiversity committee. Perhaps we will also look at some of the projects as a prize or residency program. I don’t know at the moment I’m currently working on it, but of course it’s for me the beginning of something.

SF: I must say that when we started the project, it was always implicit in what we were trying to do collectively with Perrier-Jouët. It is of course intervention in the field, but it is also about what that is actually creating in a physical space.

In the physical space, the fields need to have programming, which also means that it is about establishing a commitment. So it’s not only about presenting a project today, but it is about, say as much as Maison Belle talk, it’s about celebrating the heritage of Art Nouveau. I guess this is another location that is about looking forward to engaging in the years to come with biodiversity involving many different people because that’s the best way of working actually.

You mentioned that by 2030, the entire estate will be biodiverse. And so outside of the partnership with FormaFantasma, what other steps or how are you bringing that vision to life? If you can share.

CB: But to be honest, I’m not working alone on that. So Séverine, the cellar master, is doing a lot of experimentation. So that’s really, again, also in the company, a very collective thinking. I will not come and give ideas for the future. It’s really like I need to discuss with a lot of people also internally to imagine what could be the future of the Maison of Perrier-Jouët. Of course, our goal is to continue to have the best champagne that we can have because that’s part of the history.

Our mission is to preserve the soil and the land. My hope is that all the projects with Maison Perrier-Jouët could be shared and duplicated or be the starting point for different things that people can use on the vineyard. It’s not something that I would like to keep for the House of Perrier-Jouët. It’s really something that I would like to share.

SF: When we were working on this project, there were many aspects that were never shared. However, the idea of working in that location is really about connecting with the local context. Therefore, when you create an innovation like this, there are people that are resistant to it simply because they aren’t familiar with it. Also the idea of performing intervention in the field and working there, makes the project about coming together and meeting with the local community. Thanks to Perrier-Jouët, we were connected with the local school of design where many student’s parents work in the fields.

However, they have never worked on a project that revolves around thinking together about how this area can be re-designed and how we can contribute to biodiversity. I think this part of the initiative will also become part of the location’s future programming, which is about connecting with the global people, but also with the local context and actively promote the basic ideas of biodiversity and how design can engage with that.

CB: Yes, that’s true. We need to embark on this journey with all the people. Previously, we worked with our system designer to create the art piece that returned to the Maison Belle Epoque in Épernay. For the people facing difficulties and problems on the territory, looking at the art piece was nice. That was a very lovely moment for them to celebrate and appreciate the work, but it was nothing linked to their daily life.

I think that’s really important that now when we are doing a project it also means something for everybody working for the company.