cocktail in berlin | moët & chandon celebrate roger federer
Tennis icon and Moët & Chandon ambassador, Roger Federer, took centre stage at an intimate gathering in the heart of Berlin. The Moët & Chandon Bar was the setting for the elegant soirée, where 50 specially invited guests enjoyed an unforgettable evening celebrating the tennis legend.With champagne flowing and music curated by DJ Eline Anne, attendees were treated to a rare opportunity to get up close and personal with Federer, who remains one of the most beloved figures in the world of sport.
The event, held in honour of the upcoming Laver Cup, highlighted not only Federer’s continued influence in the world of tennis but also his long-standing partnership with Moët & Chandon. The evening was a celebration of elegance, sport, and the shared passion for excellence that both Federer and the champagne house represent.
La Galerie des Magnums.
Wine cellars, Maison Ruinart.
4 Rue des Crayères, Reims, France ruinart.com
La Galerie des Magnums.
Wine cellars, Maison Ruinart.
4 Rue des Crayères, Reims, France ruinart.com
Credits
For centuries champagne has been synonymous with celebration, but climate change is affecting how this beloved beverage is produced. Frédéric Panaïotis, Chef de Caves at La Maison Ruinart, shares with Schön! alive how the renowned champagne house is adapting to these shifts. Champagne has long been associated with joyous occasions, but the traditions behind its creation are now being tested by unpredictable weather patterns. Rising temperatures, harsher winters, and erratic seasonal changes are altering the growth cycles of vines, compelling winemakers to rethink their methods. In response, the industry is increasingly embracing sustainable practices to safeguard the future of champagne.
Ruinart’s winegrowers and winemakers have observed the accelerating impact of climate change firsthand. To counteract these effects, they have refined their techniques, adjusted their blends, and collaborated with startups to study the consequences on biodiversity. This proactive approach ensures that the rich heritage of champagne production remains intact while evolving to meet new environmental realities.
Born in 1964, Frédéric Panaïotis developed an early appreciation for viticulture in his grandparents’ vineyards. Immersed in the art of winemaking from a young age, he pursued formal education at the Institut National Agronomique Paris-Grignon, specializing in Viticulture and Oenology. He later earned the Diplôme National d’Œnologue from the École Nationale Supérieure Agronomique in Montpellier in 1988.
In 2007, Panaïotis joined La Maison Ruinart as Chef de Caves, where he became responsible for crafting the house’s signature blends. His expertise extends across Ruinart’s portfolio, from the non-vintage Blanc de Blancs and Rosé to the prestigious cuvées of Ruinart, Dom Ruinart, and Dom Ruinart Rosé. Under his guidance, Ruinart maintains its commitment to excellence while integrating innovative approaches to combat climate change.
As Ruinart navigates the evolving landscape of champagne production, Panaïotis emphasizes the importance of balancing tradition with forward-thinking strategies. By respecting time-honored techniques while embracing sustainable solutions, Ruinart ensures that future generations can continue to savor the magic of champagne. The world of champagne is changing, but its essence remains. Through dedication, innovation, and a deep respect for the craft, La Maison Ruinart is leading the charge in preserving this timeless beverage for years to come.
Frédéric Panaiotis.
Chef de Caves at Maison Ruinart
Frédéric Panaiotis.
Chef de Caves at Maison Ruinart
Credits
clockwise.
Diane de Chevron Villette.
Cheffe de projet environnement & OEnologue
HABITATS.
by Nils Udo, 2022
The Taissy vineyards of Maison Ruinart.
Since 2014, these historic vineyards have
been certified High Environmental Value and
Sustainable Viticulture in Champagne.
clockwise.
Diane de Chevron Villette.
Cheffe de projet environnement & OEnologue
HABITATS.
by Nils Udo, 2022
The Taissy vineyards of Maison Ruinart.
Since 2014, these historic vineyards have
been certified High Environmental Value and
Sustainable Viticulture in Champagne.
Credits
Tell us how you got into the world of champagne.
I was born and raised in this region. My dad liked wine, and it grew in my family. My grandparents had a small vineyard, so when I was very young – around two years old – I was allowed a little sip of champagne every now and then. As I got older and started to think about what I would do as a job, I studied biology and, even though it was not my initial wish, I naturally chose the path to study vineyards and winemaking. But what really convinced me is the people, not so much the product. We had this amazing trip to Burgundy when I was a student, and this old producer opened a jeroboam of Pouilly-Fuissé 1969. I remember he said, “I have four of them, but I’m opening one for you,” and I was mesmerised because we had no money – we weren’t going to buy anything – but the guy was so generous to open and share and show us what an old Pouilly- Fuissé tasted like. I think that’s what I like about wine. It’s about sharing, memories and friendship.
Can you tell us what a typical week looks like for you?
The good thing is that there’s no typical week or typical day. That’s what I love most about my job. There’s zero routine and because the season changes, you’re constantly learning. There’s always something new. I feel like it’s a big privilege that I don’t get bored, and I honestly can’t get enough of it. There are so many outside factors that make every day different, but there are also human factors. In the morning you’ll be wearing your boots and stomping through the mud, going around the vineyards but then in the evenings, speaking to a crowd of VIPs in Paris about the vintage. clockwise
Nestled in the Nicolas Ruinart Pavilion, near
the Crayères, a secret cellar is home to
iconic cuvées and historic bottles of Ruinart
champagne, preserved as milestones in the
Maison’s history such as the
Dom Ruinart Blanc de Blancs 1961
Nestled in the Nicolas Ruinart Pavilion, near
the Crayères, a secret cellar is home to
iconic cuvées and historic bottles of Ruinart
champagne, preserved as milestones in the
Maison’s history such as the
Dom Ruinart Blanc de Blancs 1961
Credits
What is the secret to making excellent champagne?
Grapes, vineyards and grapes again! That’s where it all starts from. Then teamwork, passion, dedication, and time to make champagne – because that ageing time is extremely important. Time is one of the essential elements of champagne, but the beauty is that you can drink it early on. You can also age them and discover another facet of the champagne. Is there some sort of mindset you enter when you’re working? How can you not be happy having this kind of job? I came across this Chinese saying: “Find a job you love, and you will never have to work a day in your life.” I’ve been doing this for 35 years and not once have I felt like I’m working.
Desnatureza 6.
by Henrique Oliveira, 2024
Open to all, 4 Rue des Crayères
offers an immersive experience of
art, history and bespoke champagne
pairings crafted by acclaimed chefs.
Desnatureza 6.
by Henrique Oliveira, 2024
Open to all, 4 Rue des Crayères
offers an immersive experience of
art, history and bespoke champagne
pairings crafted by acclaimed chefs.
Credits
How is climate change impacting the production of champagne?
It brings new challenges. The grapes are ripening faster, the cycle of the vine is shorter, and it brings a different balance in the grape. So, we had to reinvent and re-adapt ourselves to the new conditions. We’ve proven with Le Saint-Golier that we can still make great champagnes even in the craziest, warmest year on record, which could be the norm in 20 or 30 years. It showed that we have the capacity to adapt because we still have water, which is obviously one of the most important things when you deal with plants. And we have the knowledge.
What we’ve done [is] based on a know-how that’s decades – even centuries – long. We know how to adjust and slightly change to the new parameters and still make champagne that is very appealing and enjoyable with this kind of softness, nice texture and with a beautiful, fresh balance. Even though the climate is changing in our region, we can manage for a few decades. That could probably not be the case for other regions that are exposed to extreme drought. South of France, Italy, Spain…some of the areas might disappear in the near future. In Champagne, we still have some future, but we need to rethink and be ready to change a few things.
Do the other houses think this as well?
We are lucky in Champagne to have this amazing committee that equally integrates the houses and the growers. So, we work together. We’re on the same boat, so we go in the same direction, and I think most people are very progressive about it. When you work with nature, you really see climate change. It’s not through books or Instagram stories or the news. It’s the reality. You deal with it. I think people in Champagne are fully aware how precious the name is.
Champagne is apparently the second most known French word in the world after Paris. Everywhere you go – to any country in the world – you say Champagne and people know what it is. That’s not the case with Camembert, for instance! We know our name is an amazing treasure, so we need to protect it. We need to protect it by making sure there’s no copy using our name, but also by making sure that the land stays the same for as long as it can, that we are sustainable in everything we do, from growing, winemaking, shipping to packaging, etcetera. I would say that maybe not all, but a high majority of producers, are fully aware of it.
Crayères Blanc de Blancs
La Galerie des Magnums.
Crayères Blanc de Blancs
La Galerie des Magnums.
Credits
Wine cellars, Maison Ruinart.
4 Rue des Crayères, Reims, France
Wine cellars, Maison Ruinart.
4 Rue des Crayères, Reims, France
Credits
What was the most significant thing you’ve learned since starting this position?
I realised that I don’t know so much! The cool thing about this job is that you keep on learning, which keeps you fresh and young. The other thing I’ve learnt is that you need to be in love and in harmony with the company you work for, sharing the values and the tastes as well. Here I feel at home.
What makes Ruinart special compared to the other houses?
We have this incredible mix of modernity and tradition. We express it in many ways, but we also express it in wines. We are the oldest champagne house. We were the first to make rosé back in 1762. We’ve been innovating since the beginning and have been the first in so many fields. Today the style of our wine is not old school at all. It’s actually amazing. We use modern technology to make our wines more precise. So, we really have that tension between tradition and modernity in every aspect of the house and I think that’s what makes it so special and so successful. If you’re modern with your style, it means you change it all the time. The Blanc de Blancs you taste today is different from the Blanc de Blancs that we made ten years ago, because we are living with our world and adjusting to new conditions. Also, we’ve been disruptive. The second skin packaging, for example, was a little revolution. It’s part of the DNA of the house to innovate.
What do you bring to a 300+ year history? What’s legacy to you?
I feel like it’s easier to go away when you’ve left something tangible – whether it’s a book or a piece of art – and we’re lucky because we leave bottles for the next generation. Rebuilding the library is a huge pleasure because I know that, in the future when I retire, someone, somewhere will enjoy it.
Bottles of Ruinart in the innovative, authentic and
environmentally conscious Second Skin Case. ruinart.com
Bottles of Ruinart in the innovative, authentic and
environmentally conscious Second Skin Case. ruinart.com
Credits
Nicolas Ruinart Pavillon.
An exceptional space where every
guest is welcomed with bespoke care,
offering inviting lounges, a champagne
bar, a boutique, and a terrace for a bright,
immersive experience.
Nicolas Ruinart Pavillon.
An exceptional space where every
guest is welcomed with bespoke care,
offering inviting lounges, a champagne
bar, a boutique, and a terrace for a bright,
immersive experience.
Credits
And what is most challenging about part of your job?
Climate change. We see the effects. We’ve seen them for the last 25 years and it’s bringing new issues. For example, we’ve had to adjust and change the recipe for the rosé because of the grapes ripening early. And not only learning how to react, but how do we play in our role towards sustainability as well? We’re taking so many actions, like how we can reduce packaging yet ensure it still looks luxurious.
What advice would you give to someone wanting to enter the industry?
Be passionate and be humble, because wine is a lot about humility. It teaches you humility and it’s hard.
And what’s the most rewarding part of your job?
When people smile and are having a good time. That’s honestly the best reward. I have friends or customers send me pictures of bottles they’ve enjoyed, and they’ll say ‘Fred, thank you,’ even sometimes when I’m not responsible for a particular bottle! Like someone once sent me a picture of 1990. I wasn’t even there! But you feel like you gave them some pleasure. This kind of recognition is the greatest reward I can get. There’s two ways of seeing my job. As a cellar master, my job is to make wine according to the style of the house, and in that way, I’m the guardian of the temple. But the other way I see my job is to make people happy. I’m bringing pleasure to people. And how many jobs in the world do that?
clockwise.
Fenêtre sur vignoble.
by Ugo Gattoni, 2024
Cerf Contrôle.
by Pascale Marthine Tayou, 2024
Serpentine Bell.
by Tomoko Sauvage, 2024
clockwise.
Fenêtre sur vignoble.
by Ugo Gattoni, 2024
Cerf Contrôle.
by Pascale Marthine Tayou, 2024
Serpentine Bell.
by Tomoko Sauvage, 2024
Credits
left
Retour aux sources. art installation
by artist duo Mouawad Laurier, 2019
right
Chateau of Maison Ruinart.
mirrored in the Nicolas Ruinart Pavillon
left
Retour aux sources. art installation
by artist duo Mouawad Laurier, 2019
right
Chateau of Maison Ruinart.
mirrored in the Nicolas Ruinart Pavillon
Fabien Vallérian
International Director of Arts & Culture
at Maison Ruinart
photography. Alice Jacquemin
Fabien Vallérian
International Director of Arts & Culture
at Maison Ruinart
photography. Alice Jacquemin
Credits
Each year, Ruinart’s cultural program in Reims—the heart of Champagne’s winemaking tradition—invites leading contemporary artists with a strong ecological perspective. Within this rich setting of fine wine, Gothic heritage, and thought-provoking dialogue, artists not only immerse themselves in Ruinart’s storied history but also engage deeply with pressing environmental topics such as climate change and biodiversity. It’s why it’s important to the International Arts & Culture Director of La Maison Ruinart, Fabien Vallérian, to collaborate with some of the most innovative artists addressing environmental issues today. He firmly believes that “Artists are key ambassadors to drive change.” Since joining Ruinart in 2018, he has spearheaded artist commissions, forged partnerships with museums and galleries, and expanded the brand’s presence at 30 major international art fairs across Europe, Asia, and the U.S., including Art Basel and Frieze.
“We inhabit the earth like we own it, taking too much from the ecosystems without them able to renew themselves,” states Vallérian. “Artists are here to show us the beauty of a true relationship to nature and warn us against our endless search for more possessions and exploitation.”As part of this edition of Schön! alive, we turned to the expert to curate a lineup of visionary artists— Bianca Bondi, Florencia Sadir, Victoire Inchauspé, and Daniel Steegmann-Mangrané. The four are pioneering creatives whose distinctive artistic voices captivated Fabien Vallérian. “From the craftsmanship of Victoire Inchauspé to the mysteries of alchemy created by Bianca Bondi, these artists show us that we can learn from fauna and flora and interact with our environment in a way that is not harmful or dominant”, explains Vallérian. “They are at the vanguard of a sheer sensitivity which emerged from their new generation.”
Through biomorphic sculptures and organic installations, each artist inspires audiences with urgent, thought-provoking messages. What stands out most to Vallérian is their commitment to understanding and safeguarding the natural world. They make “nature understandable and approachable, not distant or abstract,” he explains. “I believe in the visions of these artists to create emotions and to convey a powerful message and change our behaviours. Art has the power and the desire to help save the planet and humanity.”
Read snippets of our chats with Bianca Bondi, Florencia Sadir, Victoire Inchauspé, and Daniel Steegmann-Mangrané and check out the full interviews in issue one of Schön! alive, available now.
Chef d’OEuvre #5 ‘Crayère’ + Chef d’OEuvre #6 ‘Bassin’.
by Eva Jospin, 2022.
for the Carte Blanche PROMENADE(S)
Chef d’OEuvre #5 ‘Crayère’ + Chef d’OEuvre #6 ‘Bassin’.
by Eva Jospin, 2022.
for the Carte Blanche PROMENADE(S)
Credits
La nuit, le jour, la nuit.
by Victoire Inchauspé, 2024
From the exhibition Une chambre à soi,
curated by Margaux Plessy,
Château La Coste, France
Courtesy of the artist
photography. Victoire Inchauspé
Nothing/Everything to Remember.
by Victoire Inchauspé, 2024
Installation created for the 17th Biennale
of Lyon, France
Courtesy of the artist
photography. Blandine Soulage
La nuit, le jour, la nuit.
by Victoire Inchauspé, 2024
From the exhibition Une chambre à soi,
curated by Margaux Plessy,
Château La Coste, France
Courtesy of the artist
photography. Victoire Inchauspé
Nothing/Everything to Remember.
by Victoire Inchauspé, 2024
Installation created for the 17th Biennale
of Lyon, France
Courtesy of the artist
photography. Blandine Soulage
Credits
Victoire Inchauspé’s sculptures and installations explore themes of life, death, strength, and fragility, drawing deeply from nature and personal memory. Raised in a small Basque village, she was the youngest-ever finalist for the SAM Prize for Contemporary Art at the Palais de Tokyo in 2022, the same year she graduated from the École des Beaux-Arts de Paris. Her work, recognized with multiple awards, resonates widely due to its introspective nature and emotional depth.
Inspired by her late mother, an art teacher, Inchauspé integrates childhood memories of wildlife—deer, spiders, bees, and sunflowers—into her art, creating a dialogue between the fleeting and the enduring. “She taught us to value creativity as a way of understanding the world,” Inchauspé recalls. “Her presence in my life was a guiding force.” She uses materials like wax and salt to symbolize rituals and light, while bronze preserves delicate flora in a timeless state. Her recent works include Nothing/Everything to Remember, showcased at the 17th Lyon Biennale, featuring a bronze sunflower and a wax boat inspired by ancient rites.
At its core, Inchauspé’s art invites audiences to slow down, reconnect with nature, and reflect on the transient yet enduring aspects of life. Her ability to evoke deep emotional responses is what she finds most fulfilling, particularly when viewers find comfort and inspiration in her work. She creates spaces for reflection through poetic and tactile expressions, encouraging a renewed sensitivity to both personal memories and the natural world.
Victoire Inchauspé
Victoire Inchauspé
Credits
Bianca Bondi.
image. Courtesy of Bianca Bondi
Bianca Bondi.
image. Courtesy of Bianca Bondi
Credits
“It started with magic,” says Bianca Bondi, an artist and environmental activist, who creates ethereal sculptures and site-specific installations infused with mysticism and a deep reverence for nature. Inspired by occult traditions and artists like Hieronymus Bosch and Leonora Carrington, her work blends magic with ecological awareness, incorporating crystallized surfaces, moss, plants, and dried herbs. Originally from South Africa, Bondi initially aspired to be a pilot, but her passion for science and geography ultimately shaped her artistic practice. Her works, such as Astral Ponds—crystallized pools immersed in chemical solutions—and plant-infused installations, reflect both her scientific background and her belief in nature’s transformative power. A lifelong fascination with Wicca has further influenced her approach, reinforcing her commitment to environmental activism.
Themes of life, death, and preservation are central to her art. Profoundly affected by the loss of her father at a young age, Bondi turned to ritual and spirituality to explore the continuity of existence. This philosophy extends to her ongoing collaboration with the Covid Foundation, which envisions submerging a whale-shaped sculpture in a marine sanctuary as a statement on ocean degradation. Inspired by her 2021 piece The Rise and Fall, which depicted the natural phenomenon of Whale Fall, the project aims to become an evolving underwater ecosystem.
Currently in residence at Villa Medici in Rome, Bondi remains dedicated to “rewilding” industrial spaces through her work. Her pieces captivate with their dazzling colours and crystals, yet upon closer inspection, they reveal organic decay and transformation. This interplay of beauty and entropy invites viewers to confront nature’s cycles, evoking both wonder and urgency in the face of environmental change. “When they look closer, they realise that these crystals and colours are coagulating or seeping,” Bondi reveals. “This can inspire feelings of attraction and repulsion; unveiling the true harmony of nature.”
Scrying in Astral Ponds
[Haciendo vaticinios en estanques astrales]
Installation by Bianca Bondi, 2024
La Casa Encendida,
curated by Pakui Hardware collective
courtesy. La Casa Encendida
photography. Maru Serrano
Scrying in Astral Ponds
[Haciendo vaticinios en estanques astrales]
Installation by Bianca Bondi, 2024
La Casa Encendida,
curated by Pakui Hardware collective
courtesy. La Casa Encendida
photography. Maru Serrano
Credits
Where the wind is born.
by Florencia Sadir, 2023
Open air drawings. Engraved clay tiles.
Site-specific installation CIMAM
Post-Conference Salta Tour Cafayate,
Argentina. Ivana Salfitty, Cecilia Lutufyan.
Where the wind is born.
by Florencia Sadir, 2023
Open air drawings. Engraved clay tiles.
Site-specific installation CIMAM
Post-Conference Salta Tour Cafayate,
Argentina. Ivana Salfitty, Cecilia Lutufyan.
Credits
Florencia Sadir
photography. Pablo Masino
Florencia Sadir
photography. Pablo Masino
Credits
Argentinian artist Florencia Sadir draws from the traditions and sustainable practices of her homeland, Valles Calchaquíes, crafting sculptures, installations, and drawings that connect deeply with the San Carlos community where she lives and works. Using natural materials like clay and vegetable fibres, she bridges the relationship between human production and the environment, creating works that critique capitalist excess while celebrating ancestral ways of living.
Her minimalist, earth-based artworks serve as both conversation starters and reflections on the fragile balance between nature and human influence. Exhibiting globally, including at the Aichi Triennial in Japan, Sadir highlights the impact of extractivist practices, emphasizing how they harm both communities and ecosystems. She transforms traditional materials like adobe and fertile soil into stripped-down installations, challenging viewers to rethink their relationship with the land.
Drawing also plays a crucial role in her practice, offering an intimate means of storytelling. In Where the Wind is Born, Open Sky, she engraved sun-dried clay tiles with memories and symbols of the Calchaquí Valleys, preserving a visual history of the region. While rooted in San Carlos, her work speaks to broader ecological concerns, urging us to recognize the vulnerability of our ecosystems. Sadir sees her art as an offering—one that restores “the wounded memory of the world” and invites us to reconsider the role of tenderness and ritual in our daily lives. “There is an urgent need in me to communicate the vulnerability of ecosystems and the fragility of the territories we inhabit,” she admits. “I often wonder what role tenderness and rituals play in our daily lives.”
Daniel Steegmann Mangrané.
photography. Teresa Estrada
Daniel Steegmann Mangrané.
photography. Teresa Estrada
Credits
Daniel Steegmann-Mangrané, a Barcelona-born artist based in Rio de Janeiro, merges biology and architecture in his abstract sculptures and immersive installations. His multidisciplinary practice—spanning holograms, sound, film, and photography—explores humanity’s entanglement with nature. “The only thing I ask for from a new work, is for it to bring me to places I didn’t even know existed before,” says Steegmann Mangrané. “I love finding myself at the beginning of a process and trying to do things I don’t know how to do.”
Believing art is a collective pursuit, he collaborates with specialists across disciplines to challenge the illusion of human separation from the natural world. His 2023 exhibition, A Leaf Instead of an Eye, spanning 25 years of work, confronted ecological crises through both physical and digital art. Now on sabbatical, Steegmann Mangrané is reimagining his practice—seeking a slower, more tactile, and deeply experimental approach to art. “The world is going to change in a scale and at a speed of which we have never seen before. It’s going to be extremely important to have a sharp imagination,” he explains. “It’s difficult to say how such changes will impact my practice or my thinking of art, but I’m already sure I want it to be slower, more sensual, more handmade, more fragile, more experimental, more raw, more essential, more alive.”
A Leaf Shapes the Eye.
by Daniel Steegmann Mangrané, 2023
courtesy the artist,
MACBA
Museu d‘Art Contemporani de Barcelona,
Mendes Wood DM,
São Paulo, Brussels, Paris, New York
and Esther Schipper Berlin/Paris/Seoul
photography. Andrea Rossetti
A Leaf Shapes the Eye.
by Daniel Steegmann Mangrané, 2023
courtesy the artist,
MACBA
Museu d‘Art Contemporani de Barcelona,
Mendes Wood DM,
São Paulo, Brussels, Paris, New York
and Esther Schipper Berlin/Paris/Seoul
photography. Andrea Rossetti
