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This article is translated from the Chinese-language original of
Commentary on China's Wine Industry, Volume 1.
In the development history of China's wine industry, "imitation" can be regarded as a keyword that runs through the entire process. From variety cultivation to market operation, from rating systems to consumption scenarios, the successful experiences of mature Western markets have been treated as ready-made "teaching plans". However, amid the bustling emulation, the industry has fallen into confusion amid the predicament of 11 consecutive years of output decline. Imitation itself is not an original sin, but when "blindly following trends" becomes inertia and "copyism" replaces independent thinking, Chinese wine has gradually lost its own rhythm in the process of clumsily imitating others without mastering their strengths.
A detailed review of those "classic imitation moments" almost covers the entire industrial chain. In terms of grape varieties, after witnessing the boutique success of Argentina's Malbec and New Zealand's Sauvignon Blanc, the industry vigorously promoted Marselan in an attempt to replicate the legend. In terms of market strategies, envying the blockbuster product effect of Australia's Penfolds, numerous brands shouted the "blockbuster product strategy" one after another, but failed to learn the underlying quality accumulation behind it. In terms of rating systems, following the 1855 Bordeaux Classification in France, the Helan Mountain Eastern Foothills launched its exclusive classification system, yet it failed to form deeply rooted consumer recognition. In terms of flavor expression, to cater to Western tasting standards, Chinese wines deliberately imitated the tannin structure and flavor profile in international competitions, which forcibly erased the sunny sweetness from Helan Mountain and the marine freshness from Penglai. In terms of marketing scenarios, Western practices such as wine marathons and winery tastings were copied wholesale, with baguettes and hams placed on the table, ignoring that Chinese consumers prefer braised beef in soy sauce and spicy diced chicken, as well as lightweight consumption scenarios favored by young people such as casual drinking during camping and family gatherings. Even the price bands were blindly followed, with brands forcing their way into the high-end track, turning an everyday beverage into an "exclusive product for business banquets", only to end up in an awkward position where it is neither high-end enough nor affordable for the mass market.
It is undeniable that early-stage imitation did allow Chinese wine to avoid some detours. Just like a toddler holding onto a railing to learn walking, drawing on classification systems lowered the selection threshold for consumers, emulating the blockbuster product model built a basic sales framework, and participating in international competitions to align with global standards earned domestic wine its initial "sense of presence" in the international arena. The Helan Mountain Eastern Foothills' rapid rise as a core wine region is inseparable from the early reference to French grape cultivation and winemaking experiences. This starting method of "standing on the shoulders of giants" allowed the industry to complete the initial 0-to-1 primitive accumulation in a short period.
However, as the market matures, the drawbacks of imitation have become increasingly prominent. The most fatal problem is the lack of distinct characteristics. To fit Western flavor profiles, domestic wines have fallen into a "tannin competition", resulting in Chinese consumers finding them too astringent while Western consumers see no memorable traits, turning them into a nondescript product that pleases no one. Strategic vacillation has caused repeated internal friction within the industry: today brands learn from Penfolds to develop single blockbuster products, tomorrow they follow Saint-Émilion to implement classification systems. With such inconsistent strategies, consumers cannot remember the core label of any wine region. Scenario misalignment further disconnects products from the market: overly formal tastings make young people feel "pretentious", and high prices deter ordinary consumers. Winery tourism has eventually been reduced to a "photo-taking check-in spot" without being converted into actual consumption. The data does not lie: in the first half of 2025, the output of domestic wine plummeted by 26.5% year-on-year. The multi-year continuous decline is a silent negation of this blind imitation model.
Today, China's wine industry has long passed the stage where "copying homework can get a passing grade". The key to breaking through lies in shifting from "imitation and following" to "endogenous-driven development", and writing its own "exam paper" on the basis of drawing on external experiences.
Rooted in Terroir, Telling a Distinct Chinese Story
Each wine region should create its exclusive "persona": Ningxia focuses on "Gobi Sun Wine from Helan Mountain", highlighting the rich fruity aroma brought by high altitude and long sunshine hours; Penglai positions itself as a "marine-style refreshing dry white wine region", showcasing the crisp taste shaped by coastal climate; Yunnan strengthens its label of "high-altitude pure flavor". There is no need to rush to claim that the wines are "comparable to Bordeaux", or compete to be known as "Oriental Bordeaux" or "Snowy Burgundy". It should be noted that what consumers always remember is uniqueness. The Gobi spirit of Helan Mountain and the Eight Immortals legend of Penglai, these culturally unique symbols exclusive to the East, are far more appealing than the mechanically copied Western narratives.
Reconstructing Consumption Scenarios to Meet Local Demands
Instead of clinging to Western-style formal tastings, it is better to launch small-sized bottles suitable for camping, screw-cap designs convenient for wine drinking while watching dramas, and create localized pairing guides such as "sweet white wine with hot pot" and "fruit wine with barbecue". In recent years, the popularity of low-alcohol, sparkling, fruity, eco-friendly packaged wines and cross-border tea-wine products has proved that young consumers need beverages that "can be enjoyed anytime, anywhere with ease", rather than "high-end collections" placed on high shelves. The industry should lower its overly "sophisticated" stance, expand scenarios from business banquets to family meals and casual gatherings among friends, and integrate wine into the daily lives of Chinese people.
Constructing an Oriental Wine Cultural System
As the industry consensus points out, it is extremely urgent to build China's own wine cultural IP. The industry should break out of the Western tasting framework and establish its own quality evaluation standards and expression system. It is necessary to dig deep into the historical origins of Chinese wine, innovate winemaking techniques suitable for Chinese dietary habits, and conduct more research on Chinese consumers' flavor preferences — after all, what Chinese people pursue when drinking wine is not "tasting like Western wine", but "suitable for themselves". Meanwhile, the convenience of the European and American wine subscription model can be drawn on and localized by combining China's social characteristics, so as to build consumer stickiness through membership systems and private domain operations, rather than simply copying the Western club model.
China's wine industry is like a novice learning to cook: it is understandable to follow Western recipes to make Western dishes at the initial stage, but only by creating a "hometown flavor" can it retain diners. Against the backdrop of continuous decline in global wine output, the Chinese market still harbors huge potential. The gap where China's per capita wine consumption is less than 1/3 of the international average is exactly the space for the industry to achieve breakthroughs. Instead of getting lost in imitation, it is better to take root in its own land, brew Chinese flavors with Chinese terroir, and carry Chinese emotions with Chinese scenarios. One day, when domestic wine no longer needs to benchmark against Western products, but stands firmly in the market with unique labels such as "Helan Mountain Flavor" and "Oriental Smooth Sweetness", the industry will truly reach maturity. After all, followers can only look up from behind, while only creators can open up a brand new track.
Reference
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Author's Bibliography
Dr. Jiajia Pan completed his undergraduate studies at Université Blaise Pascal (Clermont-Ferrand II) in France and Copenhagen Business School in Denmark, earned his master's degrees from Université Jean Moulin (Lyon III) in France and Lingnan College of Sun Yat-sen University, and obtained his doctoral degree from The Education University of Hong Kong.
He holds the national first-level oenologist and national first-level wine taster qualifications in China, and also serves as a winery investor and publisher. He is currently an off-campus supervisor for master's programs at the School of Tourism Management of Sun Yat-sen University, the School of Tourism of Xinjiang University, the School of Tourism Management of South China Normal University, the School of Wine and Horticulture of Ningxia University, and Burgundy School of Business.
With 20 years of experience in the wine industry, his business scope covers international trade, brand marketing, market sales, winery investment, cultural communication and professional personnel training and education.
In terms of academic achievements, he is the co-editor-in-chief of the China Wine Industry Integrated Development Report (Blue Book of China Wine Industry), and has edited and published multiple wine-related textbooks and books including Sommelier Service and Management and Tasting Chinese Wine. He initiated the "China Wine Academy" program, which promotes the global outreach of Chinese wine brands and culture by building an international education system for Chinese wine.
His research interests cover wine marketing, wine tourism, wine sensory evaluation, wine supply chain management and vocational education. He also serves as the editor-in-chief of the Chinese-English journals Global Cases and Practices of Vocational Education and Commentary on China's Wine Industry.