By Marco Hugo Barsotti MHB 
You are listening to a new special of France Today in podcast and on Centrale Milano 1575 kHz.
Record growth in twenty years
The new Campari Group data puts Aperol Spritz above Champagne with 1.5 billion servings worldwide, versus 1.35 billion flutes of Champagne. Confirming the jump, the producer states it has placed 265 million bottles of Spritz on the market. In the recent twenty‑year history, servings have risen from 60 million to 1.5 billion, with an average annual growth of 17 percent. In Italy, consumption stands at around 395 million servings, while the rest of the world has driven the surge thanks to rapidly expanding markets.
Cammino’s global strategy
After acquiring Aperol in 2003, Campari pursued an internationalisation strategy that started exporting from Veneto to Austria and Germany, then expanded to the United Kingdom, Canada and the United States between 2008 and 2014. The post‑Covid period further accelerated demand, making Spritz one of the protagonists of the recovery. 2025 results show a 1 percent growth in Italy versus an 8 percent increase in foreign markets. In the first half of 2026 Campari’s sales rose by 2.7 percent, with Italy recording +1.4 percent, France +0.9 percent, the United Kingdom +4.3 percent, Germany +2.7 percent and North America +2.7 percent. Aperol now contributes to 26 percent of Campari’s turnover, amounting to roughly €790 million.
Cultural impact and future prospects
The cocktail, with its “3‑2‑1” recipe of Prosecco, Aperol and soda, has become a symbol of the Italian art of conviviality, with Spritz cited by international media as an emblem of “sweet living”. From after‑work evenings to performances by international artists, the drink has turned the aperitif ritual into a global appointment. Campari does not stop at the results: the strategy envisions further penetration into fast‑service channels, motorway rest areas, concerts and new packaging formats, as well as a campaign against imitations. The company’s dream is to place Spritz among the top ten cocktails worldwide, solidifying its role as ambassador of Italian conviviality.
Rachel’s Editorial – The aperitif that beats glamour (and the flute)
I am now reading you my editorial of today.
It’s curious how the comparison between two “marketing strategies” boils down to a single one: Campari, with its branded beach in Cannes, gives us an orange that shines brighter than a Hollywood star. But where do the Champagne bubbles come from? They have been relegated to some script of “Emily in Paris”, where a sparkling flute appears in the most lavish living rooms as if it were the latest must‑have of an influencer. The result? A discreet positioning, almost in the silence of field flowers, while Aperol targets all the selfies, sunsets and Bruno Mars songs. If the flute were truly “in” the reality, where does genuine “product placement” end and the narrative of a universe where luxury is only an Instagram filter begin?
Yet the press of Il Sole 24 Ore, with its usual veneer of “verified data”, presents the overtaking of 1.5 billion Spritz servings as if it were an epic battle against the French bubbles elite. But who verifies that “quota” of 1.35 billion flutes? The Comité Champagne, defenseless, replies that it has no estimates, while Campari fires numbers like fireworks over Cannes. It’s a bit like comparing the number of a cat’s eyes with the length of a tie: the comparison is more theatrical than realistic. Isn’t it merely a marketing trick narrating victory, rather than a genuine triumph of taste?
The real difference lies in the use of color. Spritz wears a sunny orange, a hue that catches the eye and the social feed, while Champagne relies on classic white‑pearl, almost “invisible” among millennials who no longer distinguish between sparkling water and sparkling wine. Campari’s choice to turn the aperitif into a “chromatic experience” is not just marketing, it’s a stroke of genius: the branding becomes part of the landscape, a beach in Cannes that seems painted by an advertising artist rather than a beverage company. The flute, on the other hand, continues to hide at gala tables, making people believe that true elegance is silent and hard to photograph.
Finally, what the article does not say is that both strategies aim at one thing: our attention. If the product appears in a Netflix series, we watch it while sipping tequila; if it’s on a Cannes beach, we capture it at sunset and share it with the world. The real “color” here is our consumer hypocrisy: we believe we choose taste, but we are actually seeking the next like. And while Campari celebrates its “sunset in the glass”, Champagne still awaits being invited to an evening where the true audience is the reality‑show audience.
Koan of the day
Monaco: If the Aperol Spritz is so popular, why does Champagne persist in portraying itself as a symbol of elegance?
Master: Because true luxury is not measured in glasses sold, but in those who still believe that the sparkle of bubbles can hide the emptiness of taste.
Monaco: Then, what should guide the choice of a drink: color, history, or the ability to make us look better on social media?
Master: The scent of truth is bitter, but if you mix it with a pinch of orange, at least life will seem brighter, even if it remains the same old beer.
That’s all for now. From the Paris newsroom I’m Rachel Costa: this is FranceToday with Centrale Milano 1575 kHz.