White, rosé, red: where wine colour comes from

Skins matter, but there are exceptions

The reddish pigments in dark-skinned grapes, called anthocyanins, are found mainly in the skins. The flesh of most such grapes is not deeply coloured, but teinturier varieties also contain pigments in their flesh. It is therefore inaccurate to say that grape flesh can never contribute to a wine’s colour.^[1]

When reading about a grape variety, look beyond the berry’s colour to descriptions of its wines. In a tasting, do not automatically favour the darkest glass. Try comparing two different reds: write a few words about appearance first, and leave the question of preference open until you have tasted them.

Pressing and skin contact

For white wine, the juice is usually separated from the skins early; red wine generally ferments with them. Colour extraction depends not only on contact time but also on factors such as temperature and grape variety. Asking how many days the grapes spent on their skins cannot, by itself, explain the resulting colour.^[2]

White wine made from dark grapes is therefore no contradiction. In Champagne, prompt, gentle pressing separates juice from the coloured skins before it becomes deeply coloured. Blanc de noirs there describes white Champagne made exclusively from dark grapes. The berry’s colour and the finished wine’s colour are therefore separate pieces of information.^[3]

There is more than one route to rosé

Many rosés have brief skin contact: the juice picks up some pigment before continuing fermentation away from the skins. The winemaker can time that separation to achieve the intended colour. This common approach does not, however, explain every rosé.^[2]

In Champagne, for example, blending white and red base wines is another route to rosé alongside maceration. We should not generalise this to all rosé: permitted methods can differ by region and wine category. The producer’s information is the place to check how a particular bottle was made.^[3]

When choosing, consider sweetness and grape varieties alongside colour. Pale pink or a deeper salmon shade can start the description; tasting should guide our preference.

What about amber-coloured wine?

White grapes can also ferment with extended skin contact. During maceration, the liquid remains with solid grape material such as skins and seeds. The OIV has a separate definition for white wine with maceration, which may show orange or amber colours and a tannic mouthfeel. Skin contact is therefore not a technique reserved for reds.^[4]

When comparing a familiar white with a skin-fermented white, pay attention to texture too. Does the sip feel silky, taut or grippy? Everyday words can capture a precise impression. The useful part of the comparison is exploring the overall experience rather than trying to find one expected aroma at all costs.

Colour is a clue, not proof

Wine pH influences how pigments appear: anthocyanins can show reddish, purple or blue shades under different conditions. Variety, growing site and ripeness also influence the grapes’ initial pigment content. These factors help explain why every difference in hue cannot be traced back to one cellar operation.^[1]

“Pale ruby” is an observation; “it must have had little skin contact” is an inference. The same distinction applies to flavour: a single aroma cannot establish the entire production method. Appearance, smell and taste together form our tasting impression, which winemaking information can help clarify.