Most Fuji Frontier labs are using sRGB because the majority of the consumers who buy prints are bringing in digital files that are in sRGB colorspace from consumer cameras.
High end inkjets, such as Epson, Canon, and the other pro printers can use whatever color format you send to them. The key is the color gamut and matching everything all down the line, which is the color range. sRGB is far smaller, why limit your range when you spend all that money on a digital camera that captures tons of colors.
sRGB (Satanic RGB) was developed by HP for low end consumer digital cameras and printers. Its the preferred space for web because monitors are sRGB. Everything else should be Adobe RGB or DNG (digital negative).
If you go on PS and do a soft proof, you can approximate what your print or final version of printed material should look like. You'll see that SWOP (most offset print presses) doesn't even come close to what you see on your monitor, so you are going to loose tons of color on a printed piece from what you see on the monitor. You can get software which will show you the gamut (range) of color and if the image has more gamut than the final capability of the print process, the colors just won't be there. The desired effect is to have the gamut of the image match the gamut of the media so you are not loosing colors. sRGB has the smallest gamut of all color spaces, so you often aren't capturing colors you could use later. Why discard info before it can be used?
Bottom line still lies in monitor calibration monthly. If you don't have an exterior calibration device, your monitor is all over the place and you'll never be able to match your prints to your monitor with any certainty. You might get close some days, but you'll never have managed color.
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