FormaFantasma And Perrier-Jouët Are Creating A Beautiful Future For Champagne

Photo Credit: Perrier-Jouët

DESIGN DUO FORMAFANTASMA HAVE PARTNERED UP WITH PERRIER-JOUËT TO CREATE COHABITARE, A REVOLUTIONARY PROJECT THAT WILL PROTECT AND PROPEL CHAMPAGNE’S DELICATE ECOSYSTEM.

BY LAURA SCHREFFLER
PHOTOGRAPHY PERRIER-JOUËT

Maison Perrier-Jouët has just unveiled the ultimate eco-collaboration of art, design, and — of course — champagne with Cohabitare, a project years in the making conceived by the renowned Milan- and-Rotterdam-based design studio FormaFantasma, a research-focused design studio investigating the ecological, historical, political, and social forces shaping the discipline of design today. Founders Andrea Trimarchi and Simone Farresin are championing the need for value-based advocacy and comprehensive design thinking. The aim of the designers’ practice is to facilitate a deeper understanding of both our natural and built environments, with transformative interventions through design and its material, technical, social, and discursive possibilities. The studio has earned many of design’s most prestigious awards, as well as partnerships with international brands such as Flos, Cassina, Fendi, Tacchini, Vitra Design, Prada, and Artek, among others. Their designs are present in the collections of institutions including New York’s MoMA and Metropolitan Museum, London’s Victoria and Albert, Paris’s Musée National d’Art Moderne, Musée des Arts Décoratifs, and Centre Pompidou, Rome’s Museo Maxxi, and the Vitra Design Museum, among many others. In 2020, Serpentine Galleries dedicated a solo exhibition to FormaFantasma.

For their latest project, the duo has taken a holistic and conceptual approach to design, developing projects that contribute to local biodiversity. That is the case here with Cohabitare, which draws direct inspiration from Perrier-Jouët’s experimental regenerative program. It is a living manifesto of an environmental vision that unites biodiversity and agriculture, employing design as a transformative and vital force in FormaFantasma’s first permanent project situated in nature.

Cohabitare is an architectural intervention and physical space dedicated to celebrating the productive coexistence of multiple species to foster a culture of ecology. The project necessitated two years of research, during which FormaFantasma consulted international experts in biodiversity and, in France, collaborated with a scientific committee (a naturalist specializing in the management of land and ecosystems, a doctor of entomology and landscape ecology, and an expert in regenerative viticulture) established several years ago by Maison Perrier-Jouët. The committee was consulted during the pre-research phase and provided the designers with preliminary studies, data, and analyses. The result is an innovative piece of architecture for non-human species — a long-term undertaking projected towards a better future, revealed to the public in September 2024 at Les Agusons, in Ambonnay.

The first part of the project, the Ilot de Biodiversité (Biodiversity Island) is a functional design location activated by the birds, insects, bats, and plants for which the 285 sqm space has been reimagined. Keeping humans at a respectful distance without cutting them off entirely, the installation uses 74 posts designed by FormaFantasma, structured by terracotta modules handcrafted in France, and finished with a range of natural iron oxide glazes whose bright colors attract the species. Some of the modules are designed to serve as a habitat for insects thanks to openings and cavities of various sizes and shapes. The indigenous plants of this protected space will provide food for the insects. The aim of the Ilot de Biodiversité is to enrich local biodiversity, which will be monitored, according to nature’s rhythms, by the experts on the scientific committee. A study will also be undertaken in partnership with the Natural History Museum in Paris, to establish biodiversity indicators both for Cohabitare and for the vineyard plots managed with regenerative viticulture.

The Ilot de Biodiversité is surrounded by plots that benefit from the experimental regenerative viticulture program started by Maison Perrier-Jouët in 2021 and which now extends to 28 hectares — over 40 percent of its vineyard today with an objective of 100 percent by 2030. This holistic approach considers the ecosystem of the vineyard as a whole in order to improve its functionality and resilience: the soils, the local species, and the human caretakers. Maison Perrier-Jouët is experimenting with four ways to enhance biodiversity: biomass plant covers, floral plant covers, vitiforestry, and green corridors. The regenerative viticulture program is part of the initiatives started by Maison Perrier-Jouët a decade ago to adapt its vineyard practices with the goal of minimizing strain on the environment and enriching biodiversity. The designers have also curated the first edition of the Banquet of Nature by Perrier-Jouët.

Here, the design duo shares the story of how this innovative and ecological project came to be.

Photo Credit: Perrier-Jouët

Can you tell us a bit about yourselves and the work you do with FormaFantasma, particularly in relation to the luxury space?
Whatever we do, we never really think, “Are we working with a luxury client?” We end up working with many clients who could be considered part of the luxury industry, but it’s not necessarily our perspective — we work with them because we share similar efforts. To give you a framework of who we are, we established our office in 2009. We have offices in Milan and Rotterdam; we are both Italian; and a lot of our work has to do with research. It is not only about the esthetics of things, but it’s also about developing projects that are a bit more extensive and holistic. Our focus is very often related to ecology and sustainability and, as previously stated, it is very much research-based, which means that we don’t sit in our office and think independently, waiting for inspiration. Rather, we search for context, we try to understand what makes sense for that specific client in that specific context, and after all that, we end up developing the project itself.

What brands have you collaborated with in the past, and what makes your studio a fit for said brands?
We collaborate with many brands in the furniture industry; we’ve worked with Flos, and now we also work with Cassina. We love to work with Flos because what they do is always based on innovation and research, and they have a fantastic team of developers. This allows us to do things that are new, that do not exist, and that push the boundaries within the field of design. Then, of course, we are working with Perrier-Jouët. I think that what they do is also very much connected to ecology, and we really care about nature, so that is why we work together. Similarly, we work with Prada. We have a similar interest in developing projects that have significance. We’re not only developing products; there should be cultural significance behind. And these are brands that work extensively on that level; that’s the reason why we are working with them and why it works. In the past, we have also worked with other fashion brands, but I guess these three exemplify our interest particularly well. It is research but also pushing boundaries in terms of application of technology. With Flos, Perrier-Jouët, and Prada, it is about ecology. We are also aiming to make an impact with what we do; it is not only about designing new products, but also reflecting what is culturally relevant in a specific moment in time.

Photo Credit: Perrier-Jouët

What principles or values guide your studio when selecting new projects, especially those with an artistic or environmental impact?
First of all, we need to get along with the people we speak to. We need to know that the collaboration is not shallow and superficial, especially when it has to do with ecology. We need to make sure that the client we have in front of us actually understands what ecology is, and is willing to take risks at the level we are.

Your most recent project was a collaboration with the Champagne house Perrier-Jouët. What inspired you to partner with Perrier-Jouët, and how does this collaboration align with your creative and ecological vision?
What was interesting for us when working with Perrier-Jouët is that, first, it is a company that is rooted in agriculture and nature. They make champagne, so they have a very deep understanding of what is happening in terms of climate change. They already have an ecological agenda, so it makes sense for us to work with them — they are very committed to that. That is the reason why we decided to work with Perrier-Jouët. Also, bravely enough, they came to us with an understanding of our practice, and they said, “Why don’t you come over? You can visit and see what we do in Champagne, the way we cultivate the land in terms of regenerative viticulture.” We did develop a project together, but at the end of our initial conversation, they did not come up with a brief, more a willingness to establish a conversation and develop a project together. We then ended up developing a project that is much more long term, which is an ecological intervention in the fields of Champagne. But it is also turning into something bigger than that; it is about creating a space where the ideas of biodiversity and what it means to protect biodiversity can also be discussed and investigated in the future, with other designers, partners, and so on. It’s a long-term project and this sort of long-term commitment is what is making this project truly special.

Photo Credit: Perrier-Jouët

How has the process of creating the architectural installation in the vineyards, curating the Banquet of Nature, and designing the limited-edition bottles evolved? What unique elements of Perrier-Jouët’s ethos did you incorporate into these projects?
Everything we do with Perrier-Jouët is a clear evolution of or is inspired by regenerative viticulture, which is a new way of cultivating the land — it is much more inclusive. It is not only about the grapes; it is also about the relationship to insects, to herbs, and the flora and fauna. For us, this was extremely impressive because it is a much more sustainable way of cultivating the land, which also includes the needs of other species. So, when we worked on the installation in the vineyard, the idea was to use design. We didn’t want it to only be appealing and beautiful; we wanted it to equally contribute to the well-being of other species, and that’s why we designed an installation that is essentially becoming a landmark in the fields. But it is also designed with the Scientific Committee of Perrier-Jouët, which is made of experts in biodiversity, landscapes, and in ecology and biology. We designed the ceramic modules in a way that insects and pollinators — which are helpful to pollinate trees and plants — can nest within. And for the Banquet of Nature, the idea was that, since we’re doing this installation in the vines and vineyards of Champagne, we didn’t want to make a design intervention that is traveling all over the world — that would mean having an infrastructure and, of course, emitting CO2. Instead, the idea — to still have the Banquet all over the world — is to use the table setting and the conversation that you can have around the table to actually discuss issues related to ecology, biodiversity, and to re-evoke the installations in Champagne without having to travel. Similarly but in a much more direct way, the bottle is elaborating on this subject.

Can you share more about Cohabitare and the Ilot de Biodiversité? How did these projects come about in partnership with Perrier-Jouët, and how do they reflect the brand’s commitment to nature and biodiversity?
When we visited Perrier-Jouët at first, we agreed that we should not do an art installation that would travel around the world, to Miami or any other city. We thought we should do something rooted in Champagne, because this is where the biggest change is happening, in the way we cultivate the land. This was the perfect opportunity to address the subject of biodiversity, so that there may be more companies, brands, and farmers that get to know this different way of cultivating the land. The project will develop over the course of a few years, and the Biodiversity Island is the first installment. It is a plot of land that is not cultivated with vines. But agriculture can also be intense for birds, animals, and insects for example. Insects need diversity and even though Champagne is a very important land for the cultivation of wine, it is sort of lacking diversity in species. So, this plot of land is an island where different species of trees, with different kinds of bushes and greenery, are planted, so that insects can find refuge there, when they need something that is provided by the vines. This plot of land needs to be protected so that humans cannot enter it. Because of this, we created modular structures in ceramic. We use ceramic because, again, it embodies the idea of the terroir as clay is extracted from the Earth. But there is also 32 out of 74 modules that have cavities: they are designed for the ecosystem at large, but also to host pollinators and provide further refuge to some species of insects.

Photo Credit: Perrier-Jouët

Photo Credit: Perrier-Jouët

How long is the Ilot de Biodiversité projected to inhabit the vineyards and what is the final goal?
It is supposed to be there forever. In the next few years, the idea is to expand the project and restore two buildings that are in the area. The process of restoration will also be developed in a way that insects and birds can inhabit the facade and the rooftop of the architecture. One type of architecture will be completely opened up; it will not be for humans, and it will open up with bigger windows and no glass so that animals can enter the architecture, where plants will also be included. The center of the main architecture, called the Grange, will be restored and serving the farmers who cultivate the land, while also being used as a place to gather, have conversations, a residency, and a program that the team at Perrier-Jouët is working on to promote the idea of biodiversity with the local community.

During the Banquet of Nature in Épernay, guests experienced Oecanthus for the first time. What was your role in bringing this project to life, and how does it reflect Perrier-Jouët’s dedication to the natural world?
With the Banquet of Nature, we wanted to unveil an array of future projects that Perrier-Jouët can be involved in, and we invited David Monacchi to work in the fields in Champagne — he is a composer who works with Eco Acoustics, a company that tracks biodiversity by using sound. The idea is to create in-depth, advanced recordings so that over the years, people can see how biodiversity is changing. David worked extensively in the Amazon, and we invited him to come over to Champagne to do the first recording in the Biodiversity Island to understand the kind of fauna that lives there. You can appreciate the sounds of the birds of course, but also of the insects, which are very subtle and difficult for the human ear to register. It is also the starting point of our resiliency, where David, over a few years with his team, will record the area to monitor how biodiversity is improving. With the new systems of cultivation, it is also a way for Perrier-Jouët to monitor what is happening. And because sound is a sort of emotional way to understand our surroundings, it is also a way to communicate scientific complexity to a broader public.

Photo Credit: Perrier-Jouët

The limited edition cuvées you designed are both visually stunning and meaningful. What inspired this look? What was your design and thought process?
Regarding the limited edition, flowers and animals have been extensively used in the design as a form of embellishment. What we have now in the box are real species that are inhabiting the fields. There are also specific plants and species that have been introduced to the fields because they are beneficial for winegrowing.

What activations will you be participating in with Perrier-Jouët at Design Miami?
We will have conversations and, of course, the Banquet of Nature, which is our main platform to let guests know about our work and intervention in the fields. With many different experts, we’ll not only promote but also explain the concept of biodiversity so that everyone can be engaged on a deeper level.

Photo Credit: Perrier-Jouët

Photo Credit: Perrier-Jouët

What has been the most rewarding aspect of developing projects with Perrier-Jouët? Is it the contribution to ecological awareness and biodiversity enhancement, creating impactful mechanisms that aim to improve our ecological and biodiversity footprints, or something else?
The most rewarding thing is that the project is not superficial; it is not just a one-off, it is a project that is developing and becoming more complex. It will outlive our presence. The idea is to activate these locations in the fields, and turn them into places that can also incorporate the work of other designers, scientists, and researchers to develop projects that are specifically inspired by the fields of Champagne. What is also rewarding is the creation of a larger platform; it is really about developing a curatorial project with Caroline Bianco, the culture and creative director of Perrier-Jouët, and curating a project that is more complex and expansive than all other projects that have ever engaged with ecology.

To you both, what is the greatest luxury in life and why?
The greatest luxury in life is to have time to dedicate to your passions and your loved ones. As much as this seems simple and obvious, it is not always easy because we’re all busy and working a lot. Sometimes, we tend to forget how much time we should dedicate to the things we really care about. But at least we are lucky enough to be doing what we love. 

Photo Credit: Perrier-Jouët