Vasse Felix was the first winery in Margaret River, founded in 1967. Today, it is one of Western Australia’s – and the New World’s – most respected names, crafting outstanding, cool-climate Chardonnay and Cabernet Sauvignon from this remote region, south of Perth.

Square Vasse Felix

Discover the full range of wines from Margaret River’s founding winery, Vasse Felix – top Chardonnay and Cabernet Sauvignon including the cult Tom Cullity 

Explore Vasse Felix wines, Margaret River

More about Vasse Felix 

Vasse Felix 

Each November, the wine world looks to Burgundy for the Hospices de Beaune auction. We dive into the history of this philanthropic institution, the domaine and the wines it produces

Explore the history of Burgundy’s Hotel-Dieu and Hospices de Beaune, its wine estate and the famous annual auction, the Vente des Vins

Your guide to the wines of the Hospices de Beaune

Everything you need to know about the Hospices de Beaune

Soldera is one of Italy’s most iconic and best-loved wines. In top vintages, it is the absolute benchmark for Sangiovese par excellence and there are few wines in the world that can achieve the same level of ethereal beauty. The estate has always been a family affair and, following the passing of founder and guiding light Gianfranco Soldera in February last year, the remaining family members have continued his work, adhering to his strict philosophy and methods in the vineyard and winery. We caught up with Gianfranco’s daughter Monica Soldera who, alongside her husband Paolo, has worked with her father at the estate since 2003. The Soldera philosophy The Soldera story starts with the winery, Case Basse. “Its foundation is built on the history and heritage of the family", Monica says, "[it is] focused on a love of nature, passion for food and wine, and pleasure of knowledge. Nowadays Case Basse follows this path thanks to the help and personality of my mum, my brother Mauro and his wife Valeria, me and my husband Paolo.” Elegance, perfume and balance have been at the heart of Soldera from the outset. This has been achieved through a combination of factors synonymous with fine wine production: extremely low yields, strict grape selection at harvest, and the all-important terroir which is so well suited to growing Sangiovese (including not only the soil but all the natural influences specific to the estate such as climate, exposure and elevation). In addition to this, Soldera has always operated under a philosophy that the family refers to as “fine-tuning”. This fine-tuning approach has seen the estate go into minute detail in both the vineyard and winery to improve the quality of the wines. For example, the de-stemming of the grapes is done in a special machine that safeguards the integrity of the berries and enables their selection according to size. Berries are then checked manually, one by one, before being transferred directly into 100-quintal (10,000kg) oak fermenters for natural fermentation. Movement and racking of the wine is not practiced unless absolutely necessary and the wines are aged in large old Slovenian oak casks for around four years before the wines are bottled directly from the cask, completely unfiltered. Extensive research is also carried out at the property, as Monica explains. "There are two souls at Soldera: the first is very traditional in its work in the vineyard and in its winemaking processes but the other soul is academic".  Soldera has become a beacon of research in the region, commissioning in-depth studies on the soils, clones and climate within the property.  Monica says that climate change over the past 10 years has been very noticeable and therefore it has never been more important to understand nature, adding: “Nature gives you a lot of signals but you need to understand what those signals are telling you.”  Without research and a deeper understanding of their environment, many farmers might use aggressive methods to combat problems in the vineyard which cause more damage. “If you are scared, you act aggressively. If you are attentive to nature, it gives you confidence and you can work to protect it”. The research continues today with grants awarded to researchers who use the Case Basse vineyard to carry out their studies. This year they celebrated the 10th anniversary of The International Soldera Case Basse Award for Young Researchers, which is awarded by a commission of six agricultural professors and experts.  Candelaria Castello Lloret received the top prize in 2019 for her research entitled Metabolomics Characterisation of Spontaneous Vine Growth in Case Basse Estate, Montalcino. This type of research has enabled Soldera to continually refine their agricultural work as well as provide data for agricultural practices more generally. The 2019 harvest The 2019 harvest was the first at the estate without founder Gianfranco and therefore a very poignant one for the family.“It was full of emotion and responsibility," Monica says. "However, we are really happy with the results and the first evaluation of the wine leads us to believe that Soldera 2019 will be one of the best-ever produced at Case Basse."  "We took care of the vineyards, we selected the grapes and we carried out the vinification according to the principles and the practices that we learned from my dad throughout the years," Monica explains. "Even though nature can be variable and we must adapt to it. The 2019 growing season has been characterised by a different meteorological trend compared to other recent years. A cold winter with few precipitations followed by a fresh and rainy spring and a hot dry summer led to high-quality grapes very rich in fully ripe tannins, a guarantee for a long-lasting wine". "Meanwhile, 2016, 2017 and 2018 are maturing properly in the cellar and we are monitoring and tasting them regularly with the support of Professor Vincenzini and his team," she adds. "All of them offer us joy and great emotions that we will share with our customers in the coming years.“ The 2015 vintage  On the 2015 vintage, which is due to be released in the next few weeks, Monica said: "It has been a regular year in climate with no particular difficulties in vineyard and vinification. My father said 'an easy vintage' which means no challenges in production but joyful in wine. Nature was generous in 2015 and after having 2014 so difficult in weather this has been a gift.  "The 2014 Sangiovese Soldera is thrilling, but the production has been very limited so we are only able to share it in lower quantities with our customers. Coming back to 2015, we think that drinking wine is a personal and specific experience, nobody is allowed to tell you what you feel in your nose and mouth. At the end, what is worth is if you finish the bottle (not alone!) because you enjoy it. So I do not want to write about perceptions in tasting as a rule. Personally, I would say: a rainbow of emotions." The 2015 was exceptional in Brunello di Montalcino more generally. Significantly warmer and drier than the two previous vintages of 2013 and 2014. Production levels were around average for the estate at just over 16,500 bottles, up from just under 10,000 in the more difficult 2014 vintage. The wine was aged for 45 months in barrel prior to bottling.  Explore all current Soldera listingsor browse more Editorial 

Prior to the upcoming release of the long-anticipated 2015 vintage, we caught up with Gianfranco Soldera’s daughter, Monica, who, alongside her husband Paolo, has worked at the estate since 2003.

Soldera is one of Italy’s most iconic, best-loved wines among collectors. Gianfranco Soldera’s daughter, Monica, discusses the benchmark Sangiovese

Monica Soldera on Super Tuscans 

Monica Soldera on the Super Tuscans and her family's iconic estate

We arranged a tasting of some of the top picks including Jean Stodden, Klaus Peter Keller, Bernhard Huber and Dr. Heger. The variety on offer just from a handful of these wines showed the incredible potential of the region for top Pinot production. With Pinot’s inherent ability to express terroir we found a huge range in structure and flavor profiles from different single vineyard sites. 

Prior to our mixed case offer of these top producers out next week, the tasting helped us map out the different terroirs in Germany as well as the typical profiles of these top producers. With such rich diversity in soils, climate and clones throughout the Pinot growing regions of Germany, there is plenty to discover, from the cooler climate, slate soils of Ahr to the richer, more opulent Pinots of Baden.  Pinot Noir’s amazing ability to express terroir is the perfect vehicle for the variety and nuance to be had from the top sites in Germany, which are dotted all around the fine wine regions of Germany including Mosel, Ahr, Franken, Rheingau, Rheinhessen, Baden and beyond. In the last 20 years there has been a quality revolution in Germany, specifically with Pinot Noir production, buoyed by the ever-increasing demand for Burgundy and the intrinsic connections the Germans have with their contemporaries in Burgundy.  Many producers have strong links with the Cote d’Or either having worked extensively in the region or from forging long-term friendships with some of the top growers. Between the two regions, there has been a real sharing of knowledge from viticultural to winemaking techniques, exploring the variations and nuance created by the distinct soils and the mix of both German and Burgundian clones being used today in Germany.   The recent trends in Pinot Noir production with a move towards earlier picking, less extraction and a reduction in oak have helped further promote the diversity of styles found throughout the German Pinot regions and allowed the top producers to really shine in recent years. Critics throughout the world have been praising the results coming out from the top producers in Germany. This Pinot Noir Revolution gripping Germany is well worth getting excited about and we are thrilled to be able to offer a range of some of the finest examples.

 Top Pinot Noir producers Jean Stodden – Ahr 
One of the longest-running wineries in Germany, the Jean Stodden estate has been producing wine in Ahr since 1578. The wines are unique thanks to their very specific terroir and incredibly cool climate and this shows in spades throughout their range of wines, producing beguiling ethereal examples that are quite unlike Burgundy but distinctly European. 

This really is cool-climate Pinot, with vineyards located 50km north of Mosel. The wines
only reach ripeness thanks to the steep south-facing slopes grown on slate soils that retain the heat in the vineyard. The Estate has just 6.5 hectares of vineyards. This soil type, steepness and slate soil offer a completely different style of Pinot Noir compared to the Cote d’Or.

On tasting, the wines have an incredible line of acidity running through them, distinctly more marked than Burgundy. There is amazing contrast here too. Tasting the Sonnenburg Grand Cru alongside the Monchberg, these wines have completely different personalities, the Sonnenburg is incredibly linear and focused on the palate with great precision and pitch. The fruit is delicate and uber-fresh – sappy cranberry, wild strawberry and earthy rhubarb flavours. This is one for all the acid heads.

The Monchberg really is outstanding, and certainly worthy of Grand Cru status anywhere in the world. Incredibly compact with tons going on. The spectrum of fruit goes from fresh red fruit right through to meatier, savoury tones. The mid-palate is striking – weighty and viscous yet still has such delicacy and finesse. The length and breadth of the wine is extraordinary and the contrast of the wine shows real terroir in action. This wine is not cheap but its is stunning. 

Both wines have quite a different tone to Burgundy but are full of European etherealism. If you can find it, the Monchberg is one not to miss. World-Class.

 Key wines:     Jean Stodden Spatburgunder Herernberg Grosses Gewachs (GG) Jean Stodden include Hardtberg Spatburgunder GG Mayschoss Monchberg Spatburgunder GG  NeuenahrerSonnenburg Spatburgunder GG What the critics say: 

“From their home village Rech, Stodden's 2016 Recher Herrenberg Spätburgunder GG shows a ruby-garnet color and an aroma of pure, fine slate but warm, ripe fruit. Lush and intense on the palate, this is a full-bodied, quite powerful and intense Pinot with a lingering juiciness and spicy slate flavor. The 2016 is still very young, but its potential is enormous. Tasted during the preview of the GG wines in Wiesbaden in August 2018."
 93 points, Stephan Reinhardt, Wine Advocate “Alexander Stodden's 2016 Neuenahrer Sonnenberg Spätburgunder GG is brighter in color than J.J. Adenauer's Sonnenberg and shows a very ripe, slightly caramelly yet pure and slatey bouquet with remarkable precision. Sweet, round and elegant on the palate, this is an intense and refined Pinot Noir with good concentration, remarkable length
and a tight finish. This 2016 is excellent, but it needs time.”
 91+ points, Stephan Reinhardt, Wine Advocate

 Markus Molitor, Mosel
 Starting from practically nothing in the early 1980s, Markus Molitor has rapidly grown into one of the world's most respected winemakers, with a list of accolades including Rising Star of the Year 1999 from Gault & Millau, Winemaker of the Year 2014 from Falstaff and raft of huge critic scores. He is also the proud owner of over sixty hectares of prime real estate that Mosel Fine Wines – an independent review of Mosel Riesling – describes as a "who's who of Grand Cru between Erden to Bernkastel and the Southern Saar."

Molitor, like all producers in the Mosel, is most well known for his Rieslings, with Pinot Noir just making up 4% of his plantings. However, his top Pinot Noirs are becoming as collectible and as respected as his whites and are rated amongst the finest in the world. He produces seven different Pinot Noir cuvees in total.

"Try the most 'simple' Pinot Noir Molitor is bottling and you are already in the upper class of German Pinot Noir. His three-starred Pinots are mind-blowing and can compete with prestigious Grands Crus from Burgundy.” Stephan Reinhardt, RobertParker.com

 Key wines:        Trarbacher Schlossberg   Brauneberger Klostergarten     Graacher Himmelreich K.P. Keller – Rheinhessen 
 Alongside Egon Muller, Klaus-Peter Keller’s wines are the world's most collected and prized wines coming from Germany, famously quoted by Jancis Robinson his Riesling has been described as the Montrachet of Germany. Whilst his Rieslings initially brought so much international fame to the winery, his Pinot Noirs today also have a strong following. His 16 hectares of vines are predominantly made up of Riesling plantings but he has a Grand Cru site for his Dalsheim Spatburgunder grown on the Burgel Grosses Gewachs site. 

This Grand Cru has a specific shell limestone soil more suitable for Pinot Noir than Riesling
production. Yields are minuscule with each vine reduced to just two bunches of grapes and each individual cluster further halved. Klaus believes this helps to increase the overall acidity allowing him to pick the grapes at full ripeness whilst retaining freshness. His global recognition in a region more famous for high yielding dirt cheap Liebfraumilch, has caused a quality revolution in Rheinhessen, with more producers following in his footsteps. 

The Keller Pinots are genuinely impressive, the wines capture the beguiling Pinot fragrance
and the finesse to the tannins are very close in style to top Burgundy. We tasted the Frauenberg Grand Cru, the last of Keller’s Pinot Noir vineyards to be harvested, being the coolest site and grown at altitude. The wine has tremendous stony minerality, very precise fruit clarity and is not without structure – think Clos de la Roche rather than Chambertin.

 Key wines      
 Dalsheimer Burgel Spatburgunder GG         Frauenberg Spatburgunder GG      Westhofen Morstein Felix Spatburgunder GG What the critics say 
Frauenberg Spatburgunder GG 2013: “From French mass selections planted in 1996 and picked with 35 hectoliters per hectare, the 2013 Frauenberg Spätburgunder trocken GG has a
clear and subtle yet aromatic bouquet of red and dark berries (raspberries, wild blackberries, cassis), along with some flinty/smoky flavors. Intense, concentrated and firm on the palate, this is a full-bodied, powerful and firmly structured Pinot.  It has a velvet texture, ripe and grippy tannins, and a persistently sweet and concentrated flavor of ripe cherries and red fruit jelly in the finish. The wine has more power and body than the Bürge, l but also needs more time to develop. It's from a cooler and windier plot, and always the last Pinot harvested at Keller. The 2013 was aged in used barrels, whereas only the 2012 was still in new barrels until the malolactic fermentation was finished.  92 points, Stephan Reinhardt, Wine Advocate “The 2014 Frauenberg Spätburgunder GG offers a ripe, yet precise, fresh, well-focused and rather coolish Pinot aroma; it shows some very discreet toast and mocha flavors highlighting the wild blackberry and dark cherry aromas. Full-bodied, ripe and concentrated on the palate, this is an intense and juicy, almost charming Pinot Noir from low-yielding vines on limestone
bedrock (21 hectoliters per hectare). The finish is intense and powerful, but well structured due to the stems on which the wine fermented for 21 days.  The finish is almost sweet, due to the ripeness (a word rarely used 30 years ago in the higher altitudes of the Frauenberg), but is also very fresh and precise; whereas the ripe tannins give the required grip and structure. This is a promising wine with delicate fruit flavors, mineral freshness and probably more power than the Bürgel; but at least at this moment, it maybe has less transparency and finesse.  
91-92 points, Stephan Reinhardt, Wine Advocate

 Bernhard Huber, Baden
 Bernhard Huber was seen as the German godfather of Pinot Noir and was one of the most
instrumental vignerons to improve the region's reputation for the varietal. Working extensively with massal selection of clones, 10 – 15 different Pinot clones exist within one vineyard. Huber’s style has always been centred around creating a “nervosity” in his wines. The vineyards share a similar climate and limestone soils of the Cote d’Or. 

The wines are distinctly smoky, meaty with both sweet cherry liqueur notes but also greenness too. The Sommerhalde Grand Cru however is a real step up from the Alte Reben cuvee (made from declassified Grand Cru grapes). Even more impressive was the Bienenberg Grosse Gewachs. You certainly get more weight in these wines from Baden. The wines have rich broad textures on the palate and the tannins more velvety and sturdy than the wines of Keller and Stodden with have more finesse.

 Key wines:     Bernhard Huber Alte Reben Spatburgunder    Bernhard Huber Sommerhalde Spatburgunder GG  Bernhard Huber Malterdinger Bienenberg Spatburgunder “R” 
What the critics say
 "Cherry red and fresh in color, the 2015 Sommerhalde Spätburgunder GG has a pure, very elegant and rather floral bouquet of fresh red fruits. Still a bit reductive on the palate, this is an elegant, silky textured, fresh and fruity Pinot Noir with firm but fine tannins and a long, complex and pretty tight finish with reduced power. It is an impressive wine but the most closed of Huber's 2015 GG Pinot quartet at this early moment. Tasted in Wiesbaden,
August 2017. 
93 points, Stephan Reinhardt, Wine Advocate
 
Bernhard Huber Malterdinger Bienenberg Spatburgundr “R” 2015 – “Julian Huber's 2015 Bienenberg Spätburgunder GG shows a lovely, vital ruby red color and opens a bit reductive still, with a clear, fresh and well-defined bouquet of red fruits, crushed stones and spicy and floral aromas. It is a full-bodied, firm, fresh and finessed Pinot Noir with a serious tannin
structure and persistent vitality. This is a terribly clear and precise Pinot, and the finish is really cleansing and stimulating. Tasted at the "VDP Grosses Gewächs" presentation in Wiesbaden, August 2017.” 
 92 points, Stephan Reinhardt, Wine Advocate 
Weingut Dr. Heger, Baden  
One of the more established domaines in Baden the winery has been in operation since 1935.
Today run by Joachim Heger who was understudy to Helmut Donnhoff, the winery has never been in better shape, producing their unique expression of German Pinot Noir thanks to the distinct volcanic soil found in their two main Grand Cru sites of Winklerberg and Achkarrer Schlossberg.  
The 2015s we tasted were stunning. Whilst perhaps less complex in terms of fragrance at
least at this point, the palate has very fine textured tannins, tremendous finesse - there is so much elegance to these wines and so much freshness, the wines leave your mouth enlivened and salivating. Is this the effect of the volcanic soils? Whilst clearly European in style this is again very different to Pinot Noir from Burgundy but certainly as interesting and ethereal. 

 Key wines:     
 Hausleboden Winklerberg Spatburgunder GG Mimus Winklerberg Spatburgunder      Achkarrer Schlossberg Spatburgunder GG      Vorderer Winklerberg Spatburgunder GG Rudolf Furst, Franken
 These days this prolific estate is run by Paul Furst who has continued to make further improvements in their already world-renowned vineyards, further increasing the planting density and replacing German clone vines with Burgundian clones. The estate comprises 20 hectares in total, of which 13 are planted on the Centrafenberg Vineyard in Burgstadter, one of the most celebrated vineyards in Germany. The site is made up of red sandstone, iron rich soils ideal for Pinot Noir production. He also produces a Pinot Noir on the very steep slopes of Schlossberg. Furst is famous for their tiny yields operating at ruthlessly low production levels in order to maximise quality.

 Key wines:       Centrafenberg Spatburgunder GG         Hundsruck Spatburgunder GG          Klingenberg Schlossberg Spatburgunder GG What the critics say: Weingut Rudolf Furst Hundsruck Spatburgunder GG The 2016 Hundsrück Spätburgunder GG is even more fine and spicy on the nose than the Centgrafenberg. The palate is lush and firm but also concentrated and very elegant, with remarkable finesse and aging potential. This is great German Spätburgunder, and I am looking forward to tasting it again with more time and more wine in my glass. Temporary score. 
94-95 points, Stephan Reinhardt (tasted in Wiesbaden in August 2018) Explore more Editorial 

We have sourced a parcel of some of the finest Pinot Noirs coming out of Germany, a diverse region that is today arguably producing the most exciting Pinot Noirs in Europe, outside of Burgundy. Top examples are world-class and offer both similarities and important differences to the Cote d’Or. 

The finest Pinot Noirs are coming out of Germany, a diverse region that is arguably producing the most exciting Pinot Noirs in Europe, outside of Burgundy. 

Exploring Germany's Pinot Noir

Beyond Burgundy: Exploring Germany's Pinot Noir

Gaja’s wines from Barbaresco are undoubtedly some of the finest wines in the world, but their single vineyard wines from their Brunello di Montalcino estate – Pieve Santa Restituta –whilst a lot less well known, deserve equal attention, particularly with the release of their 2015s due out next week. 
It was a big decision for this Piedmont producer to invest in another region of Italy but Montalcino to Gaja seemed the logical choice. On our visit to the property last summer, Angelo Gaja explained to us the obvious parallels between Barolo/Barbaresco and Montalcino – both regions of prestige for fine wine, both made from indigenous varieties and from single varietals that undergo extensive élevage. These were enough for him to pursue a search for the right plot in Montalcino. 
Now after 20 vintages at the property and blessed with the fantastic climate conditions of 2015 – Gaja have produced arguably some of the finest Brunellos of the vintage.
The Pieve Santa Restituta Estate in the Tavernelle region of Montalcino has an amazing history. Named after its church situated in the middle of the estate, it is one of the four remaining churches still standing in Italy whose foundations date back to 400AD.  Of more contemporary relevance, the vineyards themselves neighbour Soldera’s Case Basse estate so there is no question the terroir here is of exceptional quality. For Gaja, the vineyards are in a particularly privileged position, facing south and south-west with an altitude ranging from 320 to 350 metres and characterised by an extremely windy, dry and bright microclimate. The windy site protects the vineyard from damp, alleviating disease pressure, whilst the altitude slows down the ripening allowing the grapes to gain flavour complexity with a long slow ripening process and retaining freshness. 
They produce just three wines from this estate and perhaps more interestingly no Rosso Di Montalcino or Brunello Di Montalcino Riserva. The three wines are a straight Brunello Di Montalcino (first produced in 2005) and two separate single vineyard cuvees: Rennina and Sugarille.  The Rennina is more accurately from three vineyard sites in the same vicinity with similar terroir, first vintage produced by Gaja in 1994. Rennina is characterised as a more tannic, earthy, structured Brunello with riper, preserved fruit character. The Sugarille, first produced by Gaja in 1995, is a single-vineyard site that is more delicate with heightened floral complexity and more approachable tannins but has great ageing potential. 
They don’t produce a Rosso believing that it would be a second-rate wine, which is not in keeping with the Gaja philosophy. Instead, they sell off any second-rate fruit in bulk. In a poor vintage, they don’t produce their single-vineyard wines at all. In 2014, 2012 and 2009 no Sugarille or Rennina were produced. They also never produce a Riserva because Angelo Gaja’s winemaking philosophy has always been to reduce rather than extend the ageing of the wine in barrel.  Ageing to Riserva levels, Gaja believe, means the wines lose their freshness and clarity. Coupled with warmer temperatures in the vineyard over the last 20 years, the effects of global warming have only further cemented this belief. Angelo's daughter Gaia Gaja also believes the higher temperatures produce riper fruit and more alcohol which, when aged extensively in oak, leads to more of the wood tannins infiltrating the wine.  For Gaja, over-extending the oak ageing of the wine is the reason they don’t produce a Brunello Riserva (typically aged an additional year in barrel). The property is very much focused on their single-vineyard sites of Rennina and Sugarille, each representing their top cuvees. 
The 2015 vintage 
Critics and winemakers alike have put the 2015 vintage on a par with the great 2010, sharing similar levels of opulence and voluptuousness on the palate. The 2015 vintage has produced some incredibly juicy yet vibrant wines. Wines with amazing voluptuousness backed with great acidity, fatness and freshness. This style, like 2010, is a real crowd-pleaser but with trends in the region backing away from over-ripeness and high-level extraction, the 2015s are arguably more elegant, with much more tension and finer tannins than the monolithic 2010s. 
Having extensively tasted the 2015s from Montalcino, the wines have a staggering richness, fleshiness, almost a creaminess that is rare to find in pure Sangiovese. At the same time, the fruit does not feel at all over-ripe, still retaining fresh fruit clarity alongside tannins that are fully resolved, yet providing a piquant bite and structure to the wines. These characteristics come through in spades with the single vineyard wines of Gaja’s Pieve Santa Restituta. 
The wines 
“Sugarille” Brunello di Montalcino
Getting to taste their 2015 single vineyard cuvee alongside the same single vineyard 2013s was a great insight into the two very different personalities of the two wines. I can’t help be drawn to the Sugarille with its seductive complex florality, it’s beautifully delineated fruit and seductive tannins. Whilst the 2013s are more “classic” with a wonderful mouth-watering acidity, elegant body and overriding finesse, the 2015s Sugarille is exceptional, it has added energy, contained power and an abundance of complex aromas (aniseed, dark chocolate, contrasting earthy hedgerow and floral lift). The Sugarille is totally defined by very fine tannin and is incredibly elegant for a Brunello. 
“Rennina” Brunello di Montalcino
Whilst the Sugarille may be more immediate, the Rennina has a brooding quality and power with more spice and structure that is equally impressive if a little more backward and austere. It certainly needs more time to further integrate but the slickness and fired/ scorched earth quality and sinewy textural qualities is equally beguiling. You can’t help but compare it with its Soldera neighbour and wonder if with further time in bottle it will be a worthy comparison. It is certainly brilliantly made, texturally sound and will age beautifully.  
They are some of the best examples from the vintage, both with distinct contrasting personalities. These 2015s are due to be released next week and are not to be missed. The combination of the winemaking prowess of the Gaja family, allied with a superb vintage in Brunello di Montalcino makes for some extraordinary wines. Explore more Editorial 


Now after 20 years of vintages at the property and blessed with the fantastic vintage conditions of 2015 – Gaja have produced arguably some of the finest Brunellos of the vintage.

Gaja has produced one of the finest Brunellos of the 2015 vintage from its single vineyard Pieve Santa Restituta. We investigate 

Exploring Gaja’s Pieve Santa Restituta

Exploring Gaja’s Brunello di Montalcino Pieve Santa Restituta

Brunello di Montalcino is so well-established in today’s world of wine that it is hard to believe how relatively young its international reputation is. This pure expression of Sangiovese, from the vineyards around the hilltop town of Montalcino in Tuscany, was first produced in the 1860s, named by Ferruccio Biondi-Santi (of Biondi-Santi). The name Brunello di Montalcino comes from the supposedly superior clone of Sangiovese identified by Ferruccio’s father, Clemente Santi – known as Sangiovese Grosso or Brunello. Prior to 1968 (when Montalcino was first awarded DOC status), however, there were just 11 producers operating in the region, working around 60 hectares of vines. It was these pioneering wine-growers who went on to set up the Brunello Consorzio (consortium), determined to promote and protect the region’s vinous heritage. By 1980, when Montalcino was granted DOCG status, that number had grown to 53. Today there are over 250 producers, with more than 2,000 hectares under vine, and Brunello di Montalcino is one of Italy’s most famous appellations. As the vineyards have expanded, so has the range of styles, showcasing the varied terroir and distinct characteristics of single vineyards or Crus. Made exclusively with Sangiovese, Brunello di Montalcino is released a minimum five years after the vintage, spending at least two of those in oak. Riserva wines are aged an additional year prior to release. Producers generally also make a Rosso di Montalcino, with an additional 500 hectares classified for Rosso di Montalcino production. These wines can be released after just one year, with any vessel permitted – producing a softer, earlier-drinking style of Sangiovese. The famous Brunello clone long thought to define the wines is a myth, and various clones are planted in the region today. Subzones or crus? Despite the climatic differences in Montalcino, the concept of subzones within the region is still in its infancy and not without controversy. Some producers are reluctant to endorse a terroir-specific identity to Montalcino because many have vineyards throughout the region. They use this to their advantage, identifying how certain sites perform better than others in different vintages, allowing them to play around with their blends when designating what becomes their Brunello and what is relegated to their earlier-released Rosso di Montalcino. Another reason for their reluctance is that there is plenty of variation even within these subzones – with microclimates varying dramatically, most notably in altitude. It is the altitude of the site that, for many Brunello producers, is the central factor in determining the style and in many cases the quality of the wine. If this is the case, high-altitude vineyards could have more in common with each other than neighbouring vineyards lower down the slope that sit within the same subzone. For this reason, single vineyards or Crus could be a more accurate way to divide and break down Montalcino’s terroir. Subzones may not tell the whole story, but it is easy to understand why producers with vineyards located in a specific subzone with a distinct identity are keen to highlight this area – a village, so to speak, rather than single vineyard or Cru. The north-south divide The Montalcino vineyards are positioned in a circle around the eponymous hilltop town. At the simplest level, the sub-zones to the north of the town are cooler than those to the south. Producers in the northern regions of Montosoli and Canalicchio tend to pick their grapes later than those in the south. In the 2016 vintage, for instance, lower sites in the south were picked three to four weeks earlier than those in the north. However, altitude and prevailing winds also play an important role in the microclimate of a site. The vineyards in the hottest region of Montalcino in Castelnuovo dell’Abate are also some of the closest vineyards to Mount Amiata, which – at 1,740 metres’ altitude – is large enough to create its own weather patterns. This is hugely beneficial, creating a larger diurnal shift in temperature. While each of the sub-zones (particularly Montosoli) has a distinct flavour profile, the important factors of altitude, picking dates and winemaking techniques all play a role in influencing the region’s rich and varied tapestry of wine styles. The North Montosoli Directly to the north of Montalcino sits the Montosoli hill, perhaps the most distinct terroir in the region and certainly the sub-region that most strongly champions the sub-zoning of the appellation. Montosoli is distinct not just because of the cooler climate but also because of its soil, a distinct calcareous galestro. Wines from Montosoli have a finesse to the tannins as well as heightened aromatic capacity. The galestro rock brings a sapidity and mineral salinity to the wines. Despite the notable elegance, the wines also match the power and intensity of some of the other great sites within Montalcino. Altesino was the first producer in the region to produce a separate exclusive Montosoli cuvée in 1978. Baricci (one of the founding fathers of Brunello), however, has only ever had vineyards in Montosoli and has long been aware of the qualities of the subregion, claiming that it has been legendary for wine production for hundreds of years. Key producers: Altesino, Baricci, Caparzo, Livio Sassetti, Canalicchio di Sopra, Valdicava Other wineries based in the north of Montalcino, outside Montosoli, make some of the region’s best single-vineyard Crus, including Il Marroneto’s Madonna delle Grazie and Castiglion del Bosco’s Campo del Drago. Torrenieri To the far northeast lies Torrenieri; here the compact clay soils create more tannic, burly examples of Montalcino. Key producers: Sasso di Sole, Citille di Sopra Central + The South Tavernelle Tavernelle is home to some of the most famous producers in Italy. Soldera’s Case Basse vineyard is situated here, alongside neighbouring Pieve Santa Restituta, the Brunello estate owned by the Gaja family. For Gaja, Tavernelle is in a particularly privileged position, facing south and southwest with an altitude ranging from 320 to 350 metres, characterised by an extremely windy, dry, and bright microclimate. The wind protects the vineyard from damp, alleviating disease pressure, while the altitude slows ripening, allowing the grapes to gain flavour complexity but retain freshness. Poggio Antico is also based in Tavernelle and has some of the highest vineyards in the whole of Montalcino, with an average elevation of 480 metres. At this height, the soils are rockier and more calcareous, providing good drainage for the vines while the vineyards are exposed to sea breezes coming from the Tyrrhenian Sea, extending the ripening period and creating more flavour complexity in the grapes. Key producers: Soldera, Pieve Santa Restituta, Poggio Antico Sant’Angelo in Colle To the southeast of Tavernelle, these south-facing vineyards feel the full effect of the localised weather patterns caused by Mount Amiata. Here lies an historic part of the Montalcino appellation with many of the original founders of the consorzio based here, including Lisini, Il Poggione, Talenti, Argiano and Col d’Orcia. This region is known for producing the most muscular and powerful styles of Brunello. Key producers: Lisini, Giodo, Talenti, Il Poggione, Argiano, Col d’Orcia
 Castelnuovo dell’Abate Castelnuovo dell’Abate – the warmest subzone in the appellation – expanded considerably in the 1980s and 1990s. Here the wines – such as those of Poggio di Sotto and Mastrojanni – are known for their balance between elegance and power. Alongside its two vineyards in Central Montalcino, Le Ragnaie also has a vineyard in the region. The slopes are south-facing, however their warmth is moderated by the cooling winds of Mount Amiata, which are particularly noticeable at night. This diurnal shift slows ripening, retains acidity and allows for more complex aromatic and flavour components to develop in the grapes. The mountain also acts as a protector, helpfully diverting storms from the region and protecting it from hail. The varied altitudes within the subzone can produce contrasting styles of Brunello: Poggio di Sotto, for instance, will harvest its vineyards on lower slopes four to five weeks before their higher vineyards. Key producers: Poggio di Sotto, Le Ripi, Mastrojanni, Le Ragnaie Central Montalcino + Le Croce The central vineyards, located directly to the southeast of the town of Montalcino, are home to some of the most traditional styles of Brunello, known for their ageing potential. Both Fuligni and Salvioni have southeast-facing vineyards that sit between 380 and 450 metres above sea-level on soils of chalk, schist and stony marl – and Salvioni in particular argues that this altitude is key to producing the best Brunello. Further south in the Croce subzone, Cerbaiona has become a cult name in Montalcino, offering a unique expression of the appellation largely due to its distinct patch of terroir. The vineyards of Cerbaiona are located on limestone shale and sandy soils, which – combined with a gentle touch in the winery – produces a particularly elegant style of Brunello. Of course, Le Croce is also home to Biondi-Santi – the estate that started it all. The original Il Greppo property is situated at 480 metres above sea-level and, despite the high altitude, the estate likes to pick early, opting for a distinctly fresher, structured Brunello that is austere in youth but built to age for decades. Key producers: Biondi-Santi, Cerbaiona, Fuligni, Salvioni Read more about Italy or explore all current Brunello di Montalcino listings

Arguably the ultimate expression of Sangiovese, the Brunello di Montalcino appellation produces some of Italy’s finest wines – but the region is hugely varied. Here, we examine its subzones – one of the keys to deciphering the wines – and highlight the top producers in each

Exploring Brunello di Montalcino – these special Sangiovese wines and the appellation’s varied terroir, and the varied styles it produces

Your guide to Brunello di Montalcino wines

Your guide to Brunello di Montalcino

The sheer number of distinctive styles of wine that emanate from France never fails to amaze. From the full-bodied, sumptuous Cabernets and Merlots of Bordeaux to the ethereal Pinot Noirs of Burgundy; from the mineral whites of the Loire to the aromatic spectrum of Alsace – everywhere you look there is variety. The Jura, situated in the remote central-eastern frontiers of France (bordering Switzerland) is another completely unique and distinctive French winemaking region – one which, perhaps because of its limited size and isolation, is not quite so universally known. But in recent years the region has grown in prominence and is now a real point of interest for collectors today – most notably for the quality of its white wines. Chardonnay and the native late-ripening white grape Savagnin produce wines that rival top Burgundy and, in many cases, offer better value. But it hasn’t been an easy road to recognition for the region. Following the phylloxera outbreak in the late 19th century, the Jura was on the brink of being wiped out altogether. Historically, it was a significant wine-producing region – 10 times bigger than it is today. But, in terms of size, it never recovered. Many of the vineyards were grubbed up, becoming farmland pastures; what remained amounts to just 2,000 hectares (a mere 10% of its original size). The leftfield oxidative style of the region’s wines also meant that as France’s wine exports grew, the Jura remained largely unnoticed. Traditionally, the region’s uniqueness came from the oxidative style of its white wines – the most famous, distinct and extreme of which is vin jaune. This white wine is made from Savagnin that is aged in barrels for over six years. During this time, the wine evaporates, allowing for oxygen ingress and a yeast film to form on top of the wine – protecting it from oxidation and at the same time strongly influencing the flavour. The process and effect is not dissimilar to Fino or Manzanilla Sherry, but the ageing is typically longer and the wine is neither fortified or blended – remaining single vintage. This style is distinct and, at its best, produces wines of outstanding complexity and fantastic ageing potential, but its intense flavours were never going to create mass appeal. Over the last 25 years or so, the younger generation of winemakers in the Jura have started to move away from only producing this oxidative style, influenced by their neighbours in Burgundy – whose vineyards are not dissimilar. The Jura – just 100km directly east of the Côte d’Or – shares similar soils of clay and Jurassic limestone and has the same continental climate, as well as growing both Chardonnay and Pinot Noir. In fact, many of the Jura’s younger vignerons cut their teeth making wine in Burgundy. Returning to their family domaines, they were more interested in producing wines styled on those of the Côte d’Or, focused on expressing site, rather than the region’s traditional style, dominated by oxidative characters and the influence of yeast. Young producers such as Jean-François Ganevat and Stéphane Tissot started to top their barrels, producing less oxidative, “ouillé” cuvées. This switch in style is arguably the most important recent development in the Jura. As these modern styles grew in popularity, the region started to attract a wider audience of fine wine drinkers.  Despite the similarities to Burgundy, the Chardonnay (sometimes blended with Savagnin) produced in the Jura brings its own elevated tautness and mouth-watering salinity and has acid-loving Chardonnay fans drooling. Burgundy producers themselves have even started to buy up land in the Jura; most famously Domaine Marquis d’Angerville set up Domaine du Pélican in 2012. Supposedly Guillaume d’Angerville was served a Chardonnay blind at Paris’s Taillevent restaurant and was convinced it was a top bottling of Burgundy. When he discovered it was from the Jura, he soon started exploring the region and before long had bought vineyards there. Fatter and richer in texture than Chablis, but more laser-like than the Côte d’Or – Jura whites have found a niche. What’s more, the vignerons’ knowledge of producing oxidative wines has given them the freedom to experiment with both reductive and oxidative characters (without going to the extremes of vin jaune), producing truly original wines. It is another distinct trait of the region that brings a lot of freedom to the winemaking and a lot of variety – even from just one producer. The Jura’s rise to prominence is also due to its association with low-intervention or natural wine – most notably the influence of Domaine Pierre Overnoy, based in the Jura hamlet of Pupillin. Overnoy is seen by many as the godfather of the natural wine movement – and his wines are today some of the most fiercely collected. The fanfare around this remarkable producer has been hugely influential on other producers in the region, at the same time raising the reputation of the region to an ever-widening audience. Other in-demand stars of Jura, who to one degree or another are classed as low-intervention producers and who make ouillé wines (though not exclusively) include Jean-François Ganevat and Stéphane Tissot. The difficulty today, at a time when Jura wines have never been more popular, is volume. Of all the regions in Europe, few have been hit as hard by spring frosts than the Jura. Successive vintages back to 2015 have seen production slashed. With rising demand, perhaps it’s time for the Jura appellation to expand once again and seek out sites that are less susceptible to frost. Domaine Pierre Overnoy aside, the top wines of Jura, for now, remain brilliant value – another reason fans of Burgundy are looking further afield. The white wine styles of the Jura Ouillé: Also described as modern or floral. In any other region, this is typically the “normal” style of any dry wine – in that the wine has no overt oxidative character. While traditionally barrels in the Jura might not have been topped up, allowing oxygen to influence the wine, for ouillé wines they are topped up to protect them from this. Sous voile: Also described as traditional or oxidative, these are the more traditional style of white wines from the region. Literally meaning “under the veil”, the wines are biologically aged with a film of yeast – like Manzanilla or Fino Sherry. Following fermentation, the wines are extensively aged in oak barrels that are not fully topped up. This encourages a film of yeast to form on the top of the wines, protecting them from oxidation and introducing yeast-influenced flavours. Depending on the winemaker, wines can be aged for one to 10 or more years using this method. The longer the wines are aged in barrel, the more oxidative flavours dominate the wine. Vin jaune is the most famous wine made in this style (see below). Vin jaune: A specific style of sous voile, with an official classification and made only with Savagnin. The wines have to spend over six years under flor before being bottled. Rich and complex, the most famous vin jaune is Château-Chalon. Vin jaune is also always bottled in a distinctive, squat 62cl clavelin bottle.

Macvin: This fortified Vin Doux Naturel is produced only in the Jura. It is made from the must of Savagnin which is then boiled – concentrating the must. It is then fortified with brandy to around 16% alcohol. Strictly this is not a wine since there is no fermentation process. Once fortified it is then aged for six years in oak. Vin de Paille: While not a style unique to Jura, it remains an important style of the region and with quite distinct rules under the appellation. Grapes (usually Chardonnay and Savagnin, and sometimes the red grape Poulsard and Trousseau) are typically picked early to retain acidity and then dried, concentrating the sugars. The wine is then fermented and must reach 14% alcohol. Depending on the grapes’ concentration, the residual sugar of the wine can vary from 60-130g/litre. The wine must be aged for a minimum three years (which includes 18 months in oak). The wines can be made in a fresh or oxidative style depending on the producer’s preference. The wines are always sold in half-bottles. Recommended wine producers in the Jura Domaine Pierre Overnoy: Since he was a boy, Pierre Overnoy was taught how to make wine by his father using traditional methods and without sulphur dioxide. Despite studying modern winemaking in Burgundy during the mid-1970s, he was disappointed by the results. Returning back to the Jura, he adapted his father’s traditional approach to produce wines to his liking – as well as making wines in a fresher non-oxidative style. In 1984, Overnoy stopped using sulphur during fermentation but continued to use a little at bottling. By 1986, he had stopped using SO2 at all. He has been hugely influential in the natural wine movement. In 2001, Pierre Overnoy retired at the age of 63, handing it over to his protégé Emmanuel Houillon, who worked alongside Overnoy from the age of 14. Overnoy’s almost evangelical following, along with miniscule levels of production, have made the wines highly sought-after. The release dates of the wines are not set, only released when Houillon deems them ready to drink, making it sometimes challenging for collectors. Houillon even bottles the same vintage of a wine at different dates – and only began to note bottling dates on the wine labels from 2018. Domaine Jean-François Ganevat: Ganevat is the 14th generation of his family to make wine in the Jura, with the family estate founded in 1650. Before joining the family estate in 1998, he worked with Jean-Marc Morey in Chassagne-Montrachet. Although the estate has just 8.5 hectares under vine, the domaine grows 45 different varieties – many of which are ancient, native varieties to the Jura, including two distinct red varieties Poulsard and Trousseau which are the most planted in the region along with Pinot Noir. His best wines however are his ouillé Savagnin and Chardonnay that can be outstanding. Benedicte & Stéphane Tissot: This is one of the largest and most important estates in the Jura today. Although the domaine name is officially still Domaine André & Mireille Tissot (named after Stéphane’s parents) the bottlings are labelled Benedicte & Stéphane Tissot. The domaine has 50 hectares under vine in both the Arbois appellation (where the winery is based) as well as the Côtes du Jura and Château-Chalon appellations. There is plenty of experimentation going on with the estate producing a wide array of cuvées from the traditional flor-aged Savagnin bottlings of place-designated vin jaunes of Château Chalon, La Vasée and Bruyères to their more modern ouillé single-vineyard Chardonnays. Tissot also produces a rosé made from a rare Chardonnay clone that has a natural pink tinge. Of the top cuvées, their single-vineyard Chardonnays from the Clos de la Tour de Curon, La Mailloche, Les Graviers and Les Bruyères vineyards are the most sought out. 
 Other top Jura producers to look out for: Domaine Rijckaert, Domaine Dugois, Domaine Pignier, Domaine Montbourgeau, Domaine de la Tournelle, Domaine Labet, Domaine des Miroirs, Domaine du Pélican, Domaine de la Touraize Browse all Jura listings or read more Editorial

With names like Overnoy, Ganevat and Tissot making it a must for collectors, the Jura's cool slopes are producing Chardonnay and Savagnin to rival Burgundy. Here’s everything you need to know about the region's whites – from the styles made to the producers to watch out for

Everything you need to know about the Jura wine region, its signature grapes Savagnin, Chardonnay and their styles Vin de Paille, Vin Jaune and Ouillé

A guide to the white wines of Jura

Your guide to the white wines of the Jura

Three of the five First Growths are situated in Pauillac. What is it that makes this appellation so special? As Chateau Lafite neighbours Saint-Estèphe does it share an affinity with both appellations?

We can only be very biased when making comments on the Pauillac appellation, having two Chateaux in the appellation (Chateau Lafite & Chateau Duhart Milon). We are Pauillac
lovers and defenders! It is deeply rooted. The capacity to combine density, complexity
and elegance is unique. The capacity to age the wines is remarkable, such is the potential to seduce wine lovers with captivating aromas. One phrase, not from us, that we feel symbolises Pauillac’s wine is “an iron fist in a velvet glove”. When it comes to Saint-Estèphe, we are also very biased as we have four hectares planted next door to Cos d’Estournel and Lafon-Rochet. Those four hectares produce remarkable Cabernet Sauvignon which goes into the Lafite Grand Vin nearly every year. It is part of the original estate of Chateau Lafite, which is one of the reasons why we have a specific authorisation to include it in our final blend. Ripeness, structure, capacity to seduce are really what makes our Saint-Estèphe grapes so special. In the past you have talked about how well the terroir of Lafite manages with warm vintages – why do you think that is?

The Lafite terroir is extraordinary, it is such a privilege for us to work on this very particular piece of land. The density and depth of gravel, the capacity to restrain water, the quality
of the vegetative material, the high proportion of Cabernet Sauvignon… all those elements combined are certainly part of the answer. Cabernet Sauvignon is a fascinating grape in that regard, the resistance and capacity of never becoming too extreme is very fortunate. But Lafite is not only one terroir. People think about the hill of Lafite of course, but we have Anseillan which is a very interesting territory to explore, we have Bel Air on the South West not far from Duhart-Milon which is a bit more arid, we have the Plateau des Carruades –  a playground for Grands Vins for a century, and we also have the Caillava in the Saint-Estèphe appellation which makes us a bit unique in that regards. Our fortune is to be able to play
with this diversity in the final blend, always challenging ourselves every year. Tell us more about the five defining terroirs of Chateau Lafite: Plateau de Lafite: Located just outside the Chateau from our cellar up to the hill of Lafite down south on one side, and up to the villages of Milon and Loubeyres going west on another side. This plateau, from the quaternary period is a mix of very deep Clayey gravel on top of the hill, sandy-gravel closer to the Chateau on the western part, and some parcels planted on aeolian sandy soil. All is mainly planted with old Cabernet Sauvignon. This is the backbone of Lafite Grand Vin nearly every year. It gives fruit elegance, texture, and exceptional density. The magical playground for us. Plateau des Carruades:  The iconic and historic terroir des Carruades nestled between the south of Duhart-Milon and Mouton, is one of the most extraordinary pieces of deep clayey gravel soil from the
quaternary period. This plateau is planted with great Cabernet Sauvignon but also with the best Merlot of Lafite. It is today a terroir of experimentation for us where we conduct most of our biodynamical analysis. As for the Plateau de Lafite, it is a core component of our Grand Vin blend nearly every year bringing structure. Le Caillava: Le Caillava is unique and is one of the reasons why we believe Lafite has something special. Le Caillava is located in Saint-Estèphe between Cos d’Estournel and Lafon-Rochet. A wonderful terroir of deep clayey-gravel soil from the Quaternary period. Planted in 1927, Cabernet Sauvignon on this terroir gives spicy, ripe and structured grapes entering every year in the final blend of Lafite Grand Vin. Bel Air, Passe-Temps, Berret:  Our most southern and arid terroir is located south of Duhart-Milon vineyards, next door to our cooperage. Most of the terroir is gravel soil from the quaternary period, with some
blocks mixed with more sandy soil. Grapes from those two terroirs are very expressive, generous, and sometimes more hard than other plateau, but always useful in blends. Our plot of Cabernet Franc is also planted in this part. 
Anseillan:  Located on the eastern side of the estate, the closest to the riverside, on the other side of the road from Pauillac to Saint-Estèphe. Some terroir of clayey gravel soil on top of Anseillan
surrounding the village. On the lower part of Anseillan down the road and up north closer to the Saint-Estèphe border the terroir is alluvial-clay-limestone from the tertiary period. It is relatively evenly planted in Cab Sauv and Merlot, and with our parcel of Petit Verdot. It is a new terroir of exploration for Carruades that looks very promising. An even more precise “laser-cut approach” towards parcel management enabling us to pick lovely grapes bringing us joy and confidence for the future of this terroir that we better master. 
Making a wine for such a historical estate, do you feel the pressure to maintain the status quo? Making wine and working in such a historical estate is a privilege, first of all. And because it is such a privilege, we have a moral duty of not maintaining status quo and always challenging ourselves. What can we do better? How is Bordeaux evolving? What is
driving wine lovers’ appetites today?...  Great companies and chateaux are led with an entrepreneurial spirit. We work for the long term, to prepare the estates for the next generation, the decisions we take when it comes to
investment or vineyard management are really long-term. This is strongly rooted in values of Lafite and the Rothschild family. 
How do you balance this with your own desires as a winemaker to make an impression on the wine? It’s a very good question! It was a little bit difficult at the beginning for a young agronomist/oenologist arriving at Lafite. At this age, you always think that you will be able to start the revolution and change everything and have a huge effect on the wine. But, rapidly, you understand that Lafite is not yours and belongs to the family of course, but also to the World, to the great clients, and to the history. Thus, when that is understood, your action is only focused on increasing the quality step by step, but with respect to all those who are waiting for Lafite. 
With the 2019 vintage what do you feel are the most important elements behind the vintage? 
The vintage started beautifully with a dry and mild winter. Fine weather continued in early spring with an early vegetative cycle. Cold came between March and May and we crossed our fingers/held our breath 6 times fearing that frost might hit us badly. Careful vigilance from the team was key, so was the use of candles. The first flowers appeared in Pauillac around 28th May. This flower was unfortunately capricious due to important rains arriving during the second part of flowering, leading to small amount of “coulure” and “millerandage”. Early summer was the warmest recorded since 2003, fortunately relatively short, and the vineyards showed beautiful resistance. Rain miraculously arrived on 26th July with 45mm in Pauillac  – ideal for “veraison” to start. August was then fine, with average temperatures and some rain. Early September was dry, enabling us to start the harvest on 19th September in Pauillac, 13th September at L’Evangile and 8th October in Rieussec. As always at Lafite we follow our philosophy and DNA of wine with freshness, tension and beautiful ageing capability. We have a viticulturist approach to winemaking, 80% of a great wine comes from the quality of the fruit and the investment we put in the vineyards. What have been some positive surprises of the vintage? This year we had lovely surprises from “outsider vineyards” producing pure and elegant wines that have been replacing some typical vineyards in the final blend – as always testing is key, such as the capacity to always question ourselves. This is particularly true for the Merlots planted on more gravely-clay terroirs showing beautiful tension this year. For Carruades (the second wine of Chateau Lafite), the very important work done over the last year of precision and exploration of our Anseillan terroir is really paying off. The Merlots of Anseillan and our Cabernet Franc are giving a lovely density and elegance to the pure Lafite DNA. Overall for Lafite, this is a vintage that we call “modern-classic”. In the pure Lafite style, very Cabernet led, very pure, very precise, with some ripeness. This is reflected in the final blends that is 94% Cabernet Sauvignon, 5% Merlot, 1% Petit Verdot for Chateau Lafite Grand Vin, and 68% Cabernet Sauvignon, 27% Merlot, 5% Cabernet Franc for Carruades. Our gut feel is that just as there will always be a discussion between 2009 and 2010, we will have the same between 2018 and 2019. 2018 being closer to 2009, and 2019 being closer to 2010. What are the most important factors in regard to Chateau Lafite’s winemaking philosophy? 
When it comes to winemaking, we have a very traditional and, we could say, “hands-off” approach to preserve the quality of the fruit and reflect the vintage conditions. As an example, we always use a high proportion of press wine as we don’t go for “maceration pre-fermentaire à froid” or even “maceration post-fermentaire à chaud”. We don’t do “delestage”, we have always been very gentle on vinification at Lafite.  We don’t push on the dregs/marc - we are always very soft and traditional. This explains why we then have super high quality press wine that we can include in the final blend, this year up to 15% of the blend comes from the press wine! Normally this is closer to 10-12%. 
Have you made any changes at Lafite due to global warming? We are already very well equipped at Lafite in the context of global warning. The extraordinary terroir we mentioned previously, our strong Carbernet Sauvignon planting, the quality of vegetative materials are strong assets.  Nevertheless, we try to anticipate these changes. We have an internal research and development team running some tests with different plantings, with grass development (enherbement) in vineyards, with canopy management.  We are not sure that the future will be the introduction of new grape varietals, given the Cabernet Sauvignon is already a very resistant grape. The topic of density of plantation is more important, and we are working on a slow decreasing of it. The main change in Bordeaux is the succession of extraordinary vintages. In the past, once every 5 years we had a great vintage and every 10 years an exceptional vintage. Now nearly every year the vintage conditions are such that we can produce very good wines.  How we can sustain beautiful vintages year on year in the markets is one of the big questions for the future. But it is a great challenge to have – we prefer to have amazing wine every year, it will always be drunk at some point! It is our duty as owners and producers to create the moment for wine lovers to open our bottles. Something that Bordeaux Chateaux have not been particularly active on in the past. 
How do you feel Bordeaux’s reputation has changed in the world of fine wine in the last 20 years? 20 years ago Bordeaux was by far the leading region in the world of fine wine, maybe followed by Napa and Piemont. Then Burgundy and Northern Rhone were under the spotlight. Today we have seen the rise of other regions like Tuscany… Cabernet Sauvignon was the acclaimed varietal also, now Pinot Noir is trendy - of course from Burgundy but also from Central Otago in New Zealand, and from Oregon State. The world is more open, wine lovers are maybe more curious, the loyalty to big names in the world of fine wine (as in other categories) is also weaker. This can explain why today younger generations may enter the world of fine wines through other regions, when in the past Bordeaux was the point of entry. What is also striking is how Bordeaux is modernising itself with more professionalism in many Chateaux, more willingness to travel and meet wine lovers, more open to welcome people at the property, a better understanding of the world of fine wine. With the quality of the wines produced, with more willingness to travel and understand consumers, with greater attention on crafting experiences and creating occasions for people to open bottles, there is no reason to doubt that Bordeaux will continue to shine and seduce the younger generations of wine lovers that today might not consider Bordeaux as a preferred choice. What is Bordeaux's greatest asset? We don’t see many regions in the world like Bordeaux that have the capacity to produce extraordinary wines year on year with significant volume to create a very capillary distribution. The investments that are made both in the vineyards and in the cellar are absolutely impressive in Bordeaux. Bordeaux is one of the greatest and most dynamic cities in France today, very well reachable from Paris, London, Amsterdam, Geneva…, with many things to do for a week or weekend in the region. Many Chateaux have invested in great hospitality experiences to provide customers with a memorable experience. Bordeaux has everything in its hands to really stand out and continue to seduce wine lovers from around the world, we just need to communicate it! 
What is Bordeaux’s biggest challenge? Its lack of capacity to communicate the assets discussed previously. There is no other region in France and in the world that is experiencing so much “bashing” over the last few years. Are all the criticisms unfair? Certainly not, but everything is exaggerated, and Bordeaux is not able to speak with one voice on some big topics, to have a consensus, to unite forces to make people realise how Bordeaux has changed, how modern and open to world things are now, on top of the extraordinary quality of the wines produced! How have you been affected by Coronavirus? We have been observing the evolution of this terrible pandemic for several weeks, and we have been taking immediate measures in line with the authorities. Our first priority is the safety and well-being of our people in our Chateaux, in our Bordeaux and Paris offices, in our Domaine of Aussière, but also in our properties in China, Chile and Argentina. The second priority has been to maintain minimal staff in the properties for mandatory activities – we are right in the middle of harvest in South America, we were planning the bottling of Duhart-Milon 2018, we were finishing the blending of vintage 2019 in our
Bordeaux Chateaux… We hope strongly that this terrible situation will pass very soon for everyone. 
With En Primeur tastings postponed how will this affect the release of Chateau Lafite 2019? You know that we are very strong believers in the en-primeur system as it is a unique platform for Bordeaux wines enabling the Chateaux to have the best reach and international spread possible. However, as with every system it needs to be fine-tuned, recreating a
sense of magic to maintain desirability, and needs to provide a customer incentive to purchase en-primeurs. So yes, postponing the en-primeurs is not a decision taken easily, but given the circumstances it is a choice that had to be made. It is almost impossible to have a clear view of when this terrible crisis will end and thus when we would be able to reorganize the en-primeurs. One thing is for sure, as soon as the conditions are in place for people to travel safely, which we all hope to be in June/July, we will be delighted to meet them for tastings (either in Bordeaux or around the world) to share the wines of the 2019 vintage, and share our passion and dedication to produce some of the best wines in the world! Explore all current Ch. Lafite listings or browse more Editorial 

Chateau Lafite Rothschild Technical Director Eric Kohler and Commercial Director Jean-Sebastien Philippe of Domaines Barons de Rothschild on Bordeaux’s continued relevance in an ever-expanding and competitive global fine wine market

Interview with one of the most prestigious and world-renowned wine estates, Chateau Lafite Rothschild

Interview with Chateau Lafite Rothschild

Exclusive interview with Chateau Lafite Rothschild 

I am too disorganised to call myself a collector, but I often find myself thinking about the multiple meanings of collecting. I have a room full of books left unread from one year to the next, whose mute reproach I feel every time I am in their presence. I have half a dozen radios, from Marco Zanuso and Richard Sapper’s folding Brionvega TS502 to a Danish-made Beolit 707 from Bang & Olufsen, with its slide rule tuning device. I have a manual typewriter.  Most of us accumulate such random clutter. These were never possessions that were primarily about being useful – the Brionvega and the Beolit have long since been supplanted by a bluetooth speaker and a smartphone. They represent my membership of the design tribe.  The books carry other layers of meaning. My five years at university are on one shelf. The traces of the eight years I have spent writing a just-completed biography of Boris Iofan – Josef Stalin’s preferred architect – are spelled out in the titles of the books on another shelf. The typewriter was inherited from my father and it serves to remind me of childhood. The closest that I come to having a collection that a serious collector might acknowledge is in my chairs: a Rover chair that Ron Arad salvaged from a car, a Gio Ponti Superlegera, an Eames Lounger, a Harry Bertoia, George Sowden’s Palace chair from the 1983 Memphis collection and a deconstructed armchair designed by Rei Kawakubo. On a larger or smaller scale, humans develop complex relationships with their possessions that can go from the professionalism of full-blown collecting, to the casual significance of a row of junk shop finds on a mantlepiece. They can tell us a lot about ourselves. Marina Warner’s guide to the house in Hampstead, now run as a museum, in which Sigmund Freud spent the last year of his life, offers an arresting insight into the significance that collecting had for him. She describes the ranks of ancient bronze, ceramic and marble figures parading across the desk that Freud brought with him to London from Vienna where he no longer felt safe due to Nazi occupation in 1938. Certainly, they are beautiful, and mostly they are precious. Thanks to their association with Freud, even the few that have been established as 20th-century forgeries will have become valuable. Some are almost 4,000 years old and reflect the religious and political practices of the distant past. Others, such as Freud’s art deco cigar case, come less freighted with history. But as Warner says, “they were also tools of thought, the kitchen utensils of his imagination”.   The batterie de cuisine of psychoanalysis included Egyptian coffin masks from the Roman period, Chinese jade and gold brooches, Roman glass, a 2,500-year-old sphinx, sarcophagus lids, Babylonian cylinder seals and Egyptian heart scarabs, as well as a 19th-century neck rest from New Guinea, modern metal porcupines, and Balinese figures. The pieces in pride of place on his desk, placed in apparently random order, were his special favourites, a tiny fraction of his collection that had become permanent fixtures. From time to time, Freud made space for a few new acquisitions to get a look in. “A collection to which there are no new additions is really dead,” he told his biographer Ernest Jones. After a short interval, most of the new things would be moved into the glass-fronted cabinets positioned around his study, where they were placed in more organised groups than those standing on his desk. Greek sculptures went on a shelf together. A cluster of representations of the Egyptian god Horus were grouped on another.  In Freud’s lifetime, the collection was continually changing. Before his move to London, he toured Vienna’s antiquities dealers almost every week on the look-out for new finds. He was ready to exchange pieces for items he could not afford to buy, and was generous in gifting pieces to friends and pupils he thought would appreciate them. Freud also had no qualms about buying items that came on the market in questionable circumstances, in particular, from the unofficial excavations (sometime after 1906) at a Roman fort in Hungary.   Despite the important part it played in his life, Freud wrote very little about collecting. The nearest that he came to spelling out what drove his interest in fragments of ancient sculpture, was when he compared his own exploration of the unconscious minds of his patients to an archaeological excavation of an ancient city. “The psychoanalyst, like the archaeologist, must uncover layer after layer of the patient’s psyche before coming to the deepest, most valuable treasures.”  Freud was known to share his dining table with choice specimens to act as companions during a meal. “I must always have an object to love”, he confessed to his colleague and rival Carl Jung. When he was writing his book The Interpretation of Dreams in 1895, Freud spent the summer at Schloss Bellevue outside Vienna. He took a selection of what he called “my old grubby gods who take part in the works as paperweights for the manuscripts” with him.  Before Freud left Austria for England in 1938, his desk, his consulting room, and his study at Berggasse 19 were photographed by Edmund Engelman. Engelman’s 150 images helped Freud’s architect son Ernst to transpose the desk and its contents from a dark back room in a Viennese apartment to a sunlit Hampstead villa.  Like most collectors, Freud could never limit himself to a single field. Ronald Lauder the former MoMA chairman, for example, is known for the collection of Viennese modernism that forms the basis for his own museum, the Neue Galerie in New York. He also collects (in depth) in 15 other fields with little apparent connection between them. Lauder is fascinated by the work of the Japanese designer Shiro Kuramata. He has a collection of arms and armour going back to The Crusades, and another of World War Two memorabilia. He owns some of Egon Schiele’s finest works, as well as various 18th-century French artworks. Fellow collector Rolf Fehlbaum (head of Vitra) has one of the largest collections of modern chairs in the world, and gave Frank Gehry his first European commission to design a gallery for it, but he is equally fascinated by toy robots manufactured in Japan since 1937. He calls them tiny kinetic sculptures. Where possible, he acquires their original packaging too. Perhaps the best way to understand the psychology of collecting is to see it as a spectrum. At one end, it is about order and control. In a messy and uncontrollable universe, a collection offers at least a semblance of certainty. A collection of this kind is based on provenance, completeness and authenticity. An over-restored vintage Bugatti is less desirable to a collector than one in original condition.  Every previous owner, every detail of its making forms part of its record. A red Olivetti typewriter designed by Ettore Sottsass that once belonged to David Bowie was sold at Sotheby’s for US$65,000. You can buy one (that hasn’t been owned by Bowie) for US$750, which is still a lot of money for a piece of obsolete technology. Some collectors attempt to make patterns from the things that they acquire or, like jigsaw puzzlers, set out to complete a picture by locating every piece of a set. Some try to document the evolution of a species whether the subject of their interest is biscuit tins or the eggs of a particular type of bird. Some forms of collecting require the active engagement of the collector. Wildflowers need to be picked and dried quickly before they are pressed into a book. Butterfly collectors used macabre methods such as poison jars, or squeezing the thorax, to dispatch their prey without causing so much distress that they risk damaging delicate wings. At the other end of the spectrum, the accumulation of stuff by people who die alone in homes overwhelmed by stacks of ancient newspapers and tins of cat food, is a kind of sickness. It’s a condition that can overwhelm even the most celebrated of artists. In the last 17 years of his life, Andy Warhol filled a succession of cardboard boxes with a seemingly random accumulation of objects: taxi receipts, a vinyl Ramones single signed by Joey Ramone, a piece of an ancient, mummified foot, pastel-coloured corsets and a selection of metal dentures. Every time he had a full box, it was sealed and shipped off to storage in a warehouse in New Jersey. A typical box has 400 objects in it, some have as many as 1,200. Items in them include a piece of Caroline Kennedy’s wedding cake – Warhol seems to have been a regular guest at Kennedy weddings. He showed up 20 minutes after the wedding ceremony for Maria Shriver and Arnold Schwarzenegger had started, in the company of Grace Jones. He was in black leather, and wearing two wigs; she had on a huge green fur hat.   Warhol’s boxes are a collection of the uncollectable and the uncontrollable, which, thanks to the resources of the Andy Warhol Foundation, has been tamed after six years of work by a dedicated group of archivists and cataloguers. The Andy Warhol Museum in Pittsburgh has aestheticised the cardboard boxes. They sit on back-lit shelves in the museum to suggest that this is not a random collection of trash that Warhol never looked at, but, in the view of the museum, is in fact a time-based art piece, comprising at least 500,000 objects that took 30 years to complete. It presents a considerably less impressive sight than British Regency period architect Sir John Soane’s museum. The architect of the Bank of England put as much effort into adapting his Lincoln’s Inn Fields house (and subsequently the two adjoining houses) to display his Hogarth paintings, a sarcophagus and his architectural models, as he did to accumulating the collection itself. The Nobel prize-winning Turkish writer Orhan Pamuk’s novel, The Museum of Innocence is an eloquent exploration of the hoarding end of the collecting spectrum. What initially appears to be an account of a doomed love affair, quickly reveals itself as an exploration of the meaning of collecting. The story’s main protagonist Kemal starts acquiring things when his relationship with his lover Füsun is going well. When she drops an earring, he finds it and puts it to one side. As Füsun falls out of love with him, Kemal begins an increasingly desperate accumulation of objects that record their relationship. He picks up each of the cigarettes that she smokes. When she has stopped seeing him altogether, Kemal starts hanging around at her parents’ house and stealing pieces of cutlery that she might have used.  What makes Pamuk’s book particularly remarkable is that he acquired a house in Istanbul’s Beyoğlu district that had belonged to a Greek merchant in the Ottoman era, and transformed it into a physical Museum of Innocence. It is, of course, very far from innocent; everything inside it is a lovingly created fiction. The first thing that you see once you get inside, is a wall covered with 4,213 cigarette ends, each of them carefully annotated in Pamuk’s neat handwriting, with imaginary details of the time and place they were smoked. The rest of the house is full of equally carefully fabricated objects from cosmetics to movie posters that reflect Pamuk’s vision of the modernising Turkey of the 1970s. “I think getting attached to objects happens in traumatic times and love is a trauma,” Pamuk once said. “Perhaps when they are in trouble, people hoard things.”  When Pamuk gave me a tour of his museum, he told me about meeting Warhol’s archivist, and expressed his reservations about the significance of the boxes in Pittsburgh. “Hoarding objects reaches the level of collecting only when there is a story that unites them,” he said. But that is a novelist criticising another, less narrative art form. While Freud’s desk in Hampstead was always useable, if overcrowded, the desk in fashion designer Paul Smith’s office in Covent Garden is completely overwhelmed with a snowdrift of collected objects that sweeps over an office chair, down onto the floor, and back up to the shelves that line every wall. There are stacks of books and magazines, cameras and mountains of vintage cycling jerseys. There is an i-Mac computer, a gift from Jony Ive that Smith has never used. Computers aren’t Smith’s thing. In any case, it’s too late now, short of purging half the contents of the room: there is no way to get near it. There are toy tin cars, collections of bottles from Moroccan markets, a pink bicycle and a lot of rabbits. “I once said in an interview that seeing a rabbit brings me luck, and they haven’t stopped pouring in ever since,” explains Smith. Collecting began, as did so many things in Smith’s career, with his early enthusiasm for cycling. Growing up in Nottingham in the 1950s, there was a newsagent which occasionally had a copy of L’Equipe, which would portray the heroes of the Tour de France in their yellow jerseys in colour on the cover, but in sepia inside. He bought the magazine, fascinated by the images, even if he couldn’t read it. “I can remember once saying, ‘I really like Jacques Anquetil’ to my father, which baffled him, since none of our family had ever been abroad. I saved my pocket money so that I could upgrade the gears on my bike from Simplex to Campagnolo. The box it came in was as important to me as the gear itself.”  What attracted Smith to the Campagnolo box, along with stamps and matchboxes which he has in large numbers – not just in his office but at his Nottingham HQ where he has an archivist trying to make sense of it all – is the way that designers can say so much in such a tiny space. He showed me a Japanese book of matches produced for a Tokyo nightclub in the 1970s. “It so clearly says it’s ‘contemporary’. You can hear the jazz already.”  Despite the huge assortment of assembled objects, Smith is reluctant to describe himself as a collector. “I just have a large quantity of the same things,” he says, matter of factly. “In my head, a collector is someone who selects an item or a subject. They collect them because they know a lot about them. Maybe I have a little knowledge about cycling jerseys.  In the early 1980s, on my first trips to Japan and India, I just got a bit carried away. I bought lots of Japanese furniture. In India, for some reason, I bought 15 wardrobes, and a piece of furniture that doubled as a staircase with drawers.” Smith had them all sent home on the Trans-Siberian Express.  He suggests that his is a collection that has found him. “Things collect me,” he says. “For some reason I started to be sent things, and they still keep coming.” There is an individual who regularly sends Smith artefacts that come unwrapped but covered in postage stamps. Others send him letters, toys, books and even ancient packets of razor blades. One visitor took careful photographs of his office, and later sent him a precisely detailed model of his office, complete with its chaotic contents. Smith’s London home, where he lives with his wife Pauline, is much calmer. “The house is hers. I do have one room for my stuff, but it’s mostly at the office that I get to look at things.” In 1996, patron of the arts and barrister Jill Ritblat gave the V&A Museum the largest single donation of clothes in its history, more than 1,000 items. There are ski outfits in postmodern pastel shades from the 1980s, and challenging Japanese experiments from Yohji Yamamoto and Issey Miyake, as well as couture from Dior and Saint Laurent. There is work by Alexander McQueen, Biba, Mary Quant, and Christian Lacroix, Emanuel Ungaro and Victor Edelstein, and an evening outfit produced by a dressmaker based on an idea of Ritblat’s own design.  The early days of British fashion from the 1960s are represented by Foale and Tuffin, and Zandra Rhodes, and from the 1980s by Margaret Howell and Katharine Hamnett. There is tailoring from Tommy Nutter and work by Giorgio Armani. It is by no means a complete account of contemporary fashion, but it is certainly extensive, and like the personal wardrobe that it is, combines some very special pieces made for family occasions, with more everyday wear. The connecting thread of Ritblat’s collection is Ritblat herself. These were all pieces that she had bought to wear. They were not chosen like stamps, or old masters, or celadon vases to make a self-conscious collection, but were the result of a continuing sequence of choices over time. Taken together they are a reflection of her life as an English woman of a certain background, at a particular time in the country’s history. “I never saw it as a collection, it was more like my diary, though I have never had time to write a diary. Each piece brings back memories of when I wore it,” says Ritblat. She made her first donation to the V&A at the end of 1996, but kept back the things that she wanted to be able to go on using, and they formed the core of a donation to the Design Museum of another 400 items in 2013. Ritblat is ambivalent about fashion. As a child she was somewhat self-conscious about being dressed by her mother, who had studied fashion herself. She was relieved to be able to assume the camouflage of the complex uniform rituals of an English public school for girls in the 1950s. “I loved my school uniform at Roedean; we were expected to change our clothes four times a day, as chic as anything. Scratchy afternoon dresses, regulation school loafers, very nice blazers and pleated skirts.” As a student barrister, she found herself adopting the formal uniform of the legal profession, but then as a married woman began to build a wardrobe that reflected the life that she was leading. Later, when she was making her own choices, she was early to discover Miuccia Prada. “What you pick out is based on whether it suits you and on the zeitgeist,” she explains. Smith, Heseltine and Ritblat represent three very different approaches to collecting. For Smith, the unruly mountain of things in his office, is, like the collection on Sigmund Freud’s desk, part of the tools of his imagination, a source of imagery and ideas for his work as a designer. It’s also a means of establishing his personality. Heseltine’s garden is an investment of time, resources and creativity in the remaking of a place that speaks to the future using living organisms that will outlive us all. Ritblat’s clothes are a record of the full life of an individual. All of these collections provide insights into unique people, their lives and times. In their different ways all three reflect on the nature of collecting, and its ability to be a creative activity in itself. In a world in which technology threatens to abolish the material world altogether, objects have not lost their allure. Their physical condition marks the passing of time in ways that pixels and code cannot do. Collecting is the means all of us have to create histories of our times, and even more, of ourselves. This article was originally published in FONDATA, Issue Two. 

In order to explore the mindset of the collector, Deyan Sudjic shines a light on the collected objects of Sigmund Freud and Andy Warhol, and speaks to three British collectors to better understand what it is that makes collecting such a vital part of the human experience.

Exploring the mindset of the collector and why the act is a vital part of the human experience, with a focus on Sigmund Freud and Andy Warhol

FONDATA: Exploring the art of collecting 

 I Collect, Therefore I Am

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