Champagne: four founding myths of a global icon

(MENAFN- The Conversation) What made a simple wine grown in a fairly one of the most prominent and enchanting icons in the world today? How did Champagne, against all expectations, acquire such a prestige? No wedding, business deal, sporting event or art exhibition would be complete without it. Champagne's success cannot be explained by its intriguing bubbles alone, so how did it become the ultimate symbol of celebration worldwide?

Looking for answers, I decided to examine to discover what it can teach us about the ever-changing image of Champagne and its place in consumer culture.

Champagne's undying fame is, in fact, the product of four myths. These have shaped its identity and the images now associated with its consumption. The marvellous history is demonstrates the power of collective myth-making in knitting and reknitting brands into the cultural fabric of society.

A view from Hautvilliers, in the Champagne region. , 1. The founding myth

Initially, the Champagne region of France was than its wine. The most northern wine-growing region in France, it was not considered appropriate for producing high-quality grapes. In fact, local wines were often given as a promotional gift to customers of the wool trade.

It was the Benedictine monks who began to improve the quality of wines from the Champagne region, selling them to fund their monasteries. Contrary to popular belief, however, the monks did not 'invent' Champagne. It wasn't until much later that (1635–1713), head of a monastery in Reims, was integrated into a deliberate marketing strategy to highlight notions of heritage, authenticity and tradition associated with Champagne, and secure its place in an increasingly competitive market.

So who invented Champagne? No one. The bubbles simply form naturally under certain conditions. It's sales really began to flourish when wool producers, receiving more and more orders for Champagne, saw an opportunity to leave the wool industry behind for what appeared to be a more promising and profitable business. But the myth of a magic elixir, invented by holy men, has endured.

Champagne glasses, symbols of luxury. , 2. The myth of opulence

The second myth that grew up around Champagne is that of opulence. The fact that Champagne is seen and marketed as a luxury product is the result of a happy coincidence, dating all the way back to the year 496.

, king of the Franks, , the home of Champagne. From then on, tradition dictated that all French kings be crowned in Reims, and coronations were accompanied by sumptuous feasts, where the local wine, Champagne, flowed freely. This tradition explains why Champagne is known as a festive drink, sipped by those of privilege.

This image was cemented when Louis XIV, the most opulent monarch of all, first tasted Champagne at the age of sixteen in the magnificent cathedral of Reims. The Sun King was the one would associate Champagne with his other obsessions: fashion, prestige and luxury.

The industry caught another lucky break when Louis XV (and only Champagne) in glass bottles rather than wooden barrels. This made all the difference for producers, because the barrels let the carbon dioxide gas that escape, causing it to go flat.

The new law also contributed to the development of Champagne's carefully designed packaging, one of the first instances of modern marketing. Labels featured well-known figures such as Marie-Antoinette and Jeanne d'Arc, as well as victorious military officers, nobles, artists, and other celebrities. Vendors quickly understood the value of graphic design to increase their brands' renown and arouse desire in their expanding and increasingly wealthy client base.

Champagne is often associated with French kings and queens as depicted in Marie-Antoinette, the 2006 movie directed by Sofia Coppola. 3. The myth of the nation

In 1789 the French revolution and its guillotine severed the connection between Champagne and the country's monarchs and aristocrats. Yet the revolution brought on the third, and perhaps most powerful, myth-making cycle, directly associating Champagne with the 'soul' and character of the new French republic.

Champagne had already gained enough renown to be seen as a national symbol, a worthy collective triumph. Champagne had become not only 'the shining reflection of our nation', according to the famous words of Voltaire, but also the 'most glorious expression' of French civilisation.

It was under the French Empire that Champagne really came into its own. to help him create a new bourgeois society that was both industrious and loyal.

established Moët in the United States, attracting a new set of clients, including President George Washington himself. And when the Russian army routed Napoleon and reached the city of Reims, the enterprising Clicquot 'Widow' in the hope of conquering the Russian market.

These strategies proved successful. Following the fall of the French Empire in 1814, the dawn of the industrial revolution was the start of a veritable golden age for Champagne. As rail lines began to spread outward in the mid-1800s, Champagne could be transported further, in greater quantities and to new markets. Innovative equipment enabled more efficient production and improved quality, both in terms of aesthetics and taste. It quickly became a symbol of France in the eyes of the world.

This period was also marked by an increase in the production of imitation champagne (note the lack of the capital C) in other countries. The Champagne region's signature sparkling wine was granted international recognition in the 1930s, protected by the (AOC) certification.

4. The myth of modernity

From the early 1900s, Champagne advertising took on modern symbolism. During the Belle Époque, ads often featured modern marvels that dazzled the growing middle class – steamships, hot-air balloons, automobiles, planes and more.

Amandines de Provence. Biscuits H. Lalo. The poster shows a woman eating almond cookies, accompanied by Champagne. Exposition Universelle, Paris 1900.

It is no coincidence that Champagne was served at the 1889 Paris Universal Exhibition, when the Eiffel Tower was unveiled to the world. It became ubiquitous at ship launches and on transatlantic voyages – including on that of the Titanic – and at the closing of business deals. It was the subject of the world's first film advertisement, and became a symbol of modernity at a time when France was trying to forget the horrors of World War I and turn towards a promising new age.

When competition came from Italian prosecco and Spanish cava sparkling wines, advertising for Champagne adapted, emphasising its history and heritage, endowing it with unique prestige to distinguish it from its lesser rivals. At this time, Moët created the Dom Pérignon 'myth' to promote his premium brand.

Champagne highlights from hip-hop music videos.

In contemporary times, James Bond, Audrey Hepburn and, more recently, Beyoncé and have been associated with the myths and history surrounding Champagne. This is the ultimate proof of its continued relevance and iconic attraction in global markets. Through collective myth-making, Champagne has not only managed to take advantage of favourable social and cultural trends, but also to navigate deep cultural contradictions and continue to sparkle in our collective imagination.

Translated from the French by Alice Heathwood pour .

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