Serge Valentin has been one of the few truly independent voices in the Scotch whisky world since the early 2000s. For two decades and counting, the Alsace-native has published his tasting notes and scores to an astoundingly large and loyal audience with his characteristically good humour and impartiality in what can be a deafening echo chamber.   Despite being one of the most well-respected authorities in the industry, Valentin has always written about whisky in his spare time, very much considering it a pastime that he dabbles in for fun. This is somewhat of a surprise, given the many people who part with thousands of pounds based on his views alone.  “Contrary to what many believe, I’ve never been a pro and have never actually worked in whisky,” the jaunty Valentin is quick to tell me. “It is all a kind of super-hobby to me and if you ever see me doing gigs, for example at whisky festivals, it is always for free, for fun and for friends.”   Valentin’s “proper work”, as he calls it, is in advertising and marketing, where he owns two agencies which employ around 2,000 people. These agencies, he says glibly, are “supposed to pay for my whiskies…luckily, they do”. It was a very different landscape when Valentin started writing about Scotch in 2002. Single malts had been marketed for 30-plus years but there wasn’t the seemingly insatiable demand and record-breaking prices that are commonplace today. It all began when Valentin, armed with bottles of his favourite Old Clynelish and Brora, sat down and shared his musings on his aptly named website WhiskyFun. This wasn’t a vanity project or a vehicle for freebies, this was a man writing about the whiskies he loved, just because he wanted to. From humble beginnings, WhiskyFun has become one of the most well-respected hubs for commentary on Scotch. Valentin follows a 100-point scoring system, like some of the great critics in the world of wine. For Valentin, however, 80/100 is a good score. His methodology is largely unchanged. He will spend an average of 30 minutes tasting a whisky (he does, on occasion, score rums and other spirits) – this can increase up to an hour if it’s a “good one” and take nearer 10 minutes if it is a “bad one”. He always compares several similar spirits, almost always from the same distillery, and never scores “out of the blue”. He tastes “alone, using the same parameters” (place, time of day, glassware, water etc.) and always writes as he tries, and then publishes once a day.  His write-ups are always short, honest, and unmistakably him. After all these years, it’s dumbfounding that he has the time or inclination to produce the near-constant stream of reviews that appear on his website.    It’s fascinating to see which liquids he scores – and, sometimes more intriguingly, the ones he doesn’t. “The choices rather depend on what I get and what I source, but my sample library is much larger than my tasting capacity,” he explains.   This all started as a passion project for Valentin and it’s abundantly clear that that fire burns just as bright today. He never takes himself too seriously and is evidently ill at ease with any comparison between himself and the greatly respected critics in the world of wine.    This is, in part, because the role of a critic in spirits is nowhere near as established as it is in wine. There are leading voices in the Scotch whisky world who undoubtedly carry considerable clout, but they aren’t critics in the traditional sense. While they might be prolific in their output and have seemingly healthy book retainers, they rarely score spirits and if they do, their tasting notes will be almost entirely positive (often because they are in a producer’s employ). The closest the spirits world has to a Robert Parker or Jancis Robinson MW is probably Valentin – although, he wouldn’t agree.   “I would say the roles are more and more the same in wine and spirits,” Valentin says, “even if there are fewer actual ‘critics’ in spirits. But it is coming in whisky.”  Valentin does feel there is a need for scores in collectable spirits, as – like wine – there isn’t always the opportunity for people to try before they buy. But the issue is not black and white, as is true of many things Valentin and I discuss.   “I see that scores [in whisky] become more like stock market recommendations these days,” he says.“I’m not too happy about that but that wouldn’t be the case if spirits, especially whisky, had remained a reasonably priced commodity,” he says, before adding: “But the cardinal sins are what they are.” It’s clear whisky drinkers respect Valentin’s voice, as they flock to his site in droves. What’s less clear, however – as an outsider looking in – is how producers feel about Valentin’s refusal to kowtow and sugar-coat his reviews.  “Producers have never quite known how to deal with independent voices,” he explains. “In general, they prefer influencers that they can pay and control, even if their audiences are smaller and less ‘on target’,” he adds, “for which I can’t blame them. Fortunately,” he continues, “not all distillers are the same. Some corporations are smarter than others and that often depends on the people within.”   When asked why he thinks people return to his site, which doesn’t have any of the bells and whistles you might expect from an ad man and is as no-frills today as it was two decades ago, Valentin says, as self-deprecatingly as ever: “I’m not really aware of everything that’s happening in the reviewing landscape, I have to say. If indeed people keep coming back to my assessment, that’s partly, I believe, because I started early and simply because they trust me. Trust is number one.”   In many ways, Valentin’s website is a collection. It’s a receptacle for his innermost thoughts and feelings about the things that matter most to him. Valentin has always been collector at heart. With an interest in stamps from childhood, he then graduated onto watches, wine and then whisky. The father of three has a broad and eclectic range of interests, including music (“all kinds”), advertising, motorcycling, wine, watches, food and travel which he has nurtured and indulged. Throughout the years, Valentin has had a front-row seat to the evolutions within these industries and the so-called art of collecting.   “Old-school collectors used to buy what they liked, never what was meant to see its value rise,” he says. “In the old days, you had to travel, to make phone calls, to go to festivals etc. Today,” he says somewhat ruefully, “you can buy anything, as long as you’ve got the money.” Valentin was ahead of the curve when he made the choice many years ago to buy as many different Old Clynelish and Brora single malts as he could, simply because they were his favourites. At the time, and up until 2005 to 2010, all whiskies – even the rarest – remained relatively cheap. After 2010, it was silly season and whiskies you could previously source were nigh on impossible to find or prohibitively expensive for some.  Valentin’s favourite whiskies have become some of the most desirable on the secondary market. Old Clynelish, produced before the distillery was rechristened Brora, have gained a huge following globally as people were charmed by the story and the characterful liquid the two distilleries produced. Now Brora is set to be re-opened, these single malts will only become more valuable. While his collection is no-doubt impressive – exact bottlings are not disclosed – there are some unicorns which still elude Valentin.   “Rather bizarrely and inexplicably, I prefer fatter spirits and fresher wines,” Valentin says, “in both cases with as little straight oak influence as possible. So, fat distillates, such as some coastal malts, some Jamaican rums etc. In wine, that would be the bright whites, Jura, Savoie, Rueda, Pacherenc, Irouleguy, Alsace, Wachau and Andalusia.”    “I know oak is crucial,” he adds, “you just shouldn’t feel it as such, according to my personal taste. But I insist, that’s personal.” Oak is a topic Valentin returns to several times. He feels it is the low-hanging fruit when it comes to innovation in the Scotch whisky industry.   “Sure, there are a few innovations around the casks,” he says, “but all makers use more or less the same.” The woods used are usually more active, which allows producers to sell much younger whisky for a good price while widening the ranges at the same time, he says.   “I’m not saying that’s bad,” he quickly adds, “but not many people are talking about the distilling regimes, the stills and so on, which was the number one topic 20 years ago.” He continues: “It is now all about wood. But, when we talk about wood that includes their flavouring with other spirits, wines, or even whiskies from other distilleries such as some peated ones, which is the latest trend, to peat single malts by doing some in-cask blending rather than bother with brewing and distilling some peated malt. “So, cutting corners for sure but on the other hand, I believe the average quality has risen pretty sharply. So, all remains good and well…”  This seems to be Valentin’s baseline. The whisky world might have changed but he believes it is the same at its core. There is an increase in branding and marketing (which is likely a source of joy and consternation for an ad man), there are more malts, and for the past five or six years, more distilleries from almost all countries.   “I’m not bored yet,” he says in his frank way, “and in general, whisky has got better on average, even if there are fewer utter glories and fewer total duds.”  If a man with Valentin’s reputation of no-holds-barred honesty is broadly happy, then we probably all should be too.   Browse all Scotch whisky  or  read more Editorial 

Serge Valentin is one of the most well-respected people in the fine spirits world. For decades, whisky enthusiasts have parted with thousands of pounds based on his reviews alone. Holly Motion asks him how it all began – and how the industry has evolved since he started writing about whisky for fun

Serge Valentin on the art of collecting, the role of the critic, and the changes he’s witnessed in the Scotch whisky industry over the past 20 years

Serge Valentin – the Joker in the pack

Serge Valentin: the Joker in the pack

There’s been no shortage of hype about the 2021 vintage – a year that producers and pundits have been praising as one of the best in modern history, frequently comparing it to 2016 or 2019. But does it meet those very high expectations?  The preceding winter was key – mild and wet, replenishing water reserves in the soils, an essential resource for the vines to draw on later in the season. The growing season didn’t start too early, and although there was a drop in temperatures in early April (a risk to the early-budding Nebbiolo), frost damage was limited. Reports suggest that lower-altitude sites were hit hardest, but losses were only around 10% – and some producers considered it a form of natural green harvest.  After this early threat to the crop, late April and May were cool and wet, but then the weather was largely warm and dry until harvest. Temperatures weren’t excessive, apart from a brief heatwave in early August, but the water reserves were key to allowing the vines to survive in the dry conditions. Vietti winemaker Eugenio Palumbo explained that they received around 400mm rain across the season, versus the 600-700mm of a normal year.  Storms hit the region in early July, with some hail – although this was localised and impacted Roero, Monferrato and a handful of sites in Barolo. The dry conditions meant disease pressure was minimal. Come September, there was a little rain, helping the vines over the finish line, while the temperatures at night dropped – providing a high diurnal range that helped preserve aromatics and freshness while the fruit developed phenolic maturity.  Harvest got underway at the very end of September (Philine Isabelle Dienger was one of the first out on 29th), running through to the middle of October, with all the Nebbiolo in by the third week of the month.  Aldo Vacca of Produttori del Barbaresco and the Gaja team both compared the vintage to 2016 – emphasising its classic style. The long growing season allowed for structured wines with ripe tannins, yet the cool nights in the run-up to harvest preserved tension and aromatics.  Not everyone agrees on its classicism, however; for Dave Fletcher (Fletcher Wines) it is a vintage with amazing structure, depth and density, but it’s far from typical. Valentina Grasso at Ca’ del Baio explained how tight and dark-fruited the wines are in comparison to those of 2016, needing time to reveal their complexity.  Similarly, Nicola Oberto at Trediberri emphasised how – although many Monforte d’Alba producers thought it was a perfect vintage for the commune – the powerful style of the year didn’t necessarily fit them, preferring the purity of a year like 2022.  Philine Isabelle Dienger noted how the warm, dry conditions were a shock to the vines after 2018, 2019 and 2020, and the ferments were tricky to handle, sluggish. Some noted it was a difficult year to use native yeast, and more opted for cultured yeasts to ensure clean ferments. The Philine Isabelle wines were typically low in alcohol, at around 13.5% with their early-picking philosophy, but most tended to be around and above the 14.5% mark in 2021.  For Burlotto’s Fabio Alessandria, the dry, warm conditions provided just the right amount of stress for the plants and he’s very happy with the quality of the 2021 wines – structured with good density and concentration, yet maintaining balance, akin perhaps to 2019 Burgundy. The wines will undoubtedly need time, he says, but the vintage will reward those who wait.  Most critics are yet to offer their full thoughts on the vintage, although Kerin O’Keefe wrote in an early look at the year that, although it was “a difficult vintage”, the best wines are “stunning, age-worthy wines”, combining “the austerity of 2019 with the elegance of 2016”. Echoing Alessandria, she feels the wines will need a decade to drink at their best. Reporting for jancisrobinson.com, Walter Speller was initially cautious of the “enigmatic” year, wondering if it was as good as people suggested, however now feels it is “an excellent vintage”, offering “more heft and depth than the utterly beguiling and readily accessible 2019”.  Antonio Galloni (Vinous) has published his report and – although it doesn’t quite have “the stratospheric peaks of the most exceptional years”, there are “a bevy of outstanding wines”. The 2021s are “finessed, elegant wines that will delight Piedmont fans”, with “open aromatics, pliant fruit and finessed, ripe tannins” – and the best, he says, are “profoundly expressive”.  Keep your eyes peeled for additional reports on the vintage; we’ll add to this feature as and when we have more information. In the meantime, read more about Italy  Browse all current listings of 2021 Barolo 

Ever since the fruit came into the winery, the Piedmont’s producers have been talking about the 2021 vintage in hallowed terms. As the first Barolos from the year are released, we dive into the revered vintage, looking at what both producers and critics are saying about the year

Diving into the 2021 vintage in Piedmont – the growing season and wines from Barolo and Barbaresco according to producers and critics 

Piedmont 2021: vintage focus 

I’m sitting opposite Rino Fontana, an Italian wine collector that Antonio Galloni named his Wine Personality of the Year in 2023. Fontana looks unassuming – like any other septuagenarian that you might find, cigarette in hand, knocking back an espresso in a sunny piazza. Sunglasses hang on a string around his neck, and occasionally he rifles through scraps of paper that seem to operate as a calendar and/or journal. I’m not sure what I was expecting, but it was perhaps someone a little more, well, suave. Fontana has been collecting wine since the 1980s and is renowned for his cellar, a treasure trove of remarkable vintages from Piedmont’s top producers. Indeed, Galloni has dubbed him “Il Professore” for his extensive knowledge of Italian wine – despite never having worked in the industry. As Fontana scrolls through pictures on his phone, recalling recent dinners, he rolls off names and vintages that would leave any wine-lover speechless. He grew up in the Oltrepò Pavese, where his father was a stonemason, but would buy grapes and make a little wine for the family. Fontana was sent to school in Valenza, a town known for its gold industry – and he started working in a gold factory in his late teens. Aged 24, he and his best friend opened their own jewellery workshop. It was the owner of a local restaurant in nearby Mortara who introduced Fontana to the real pleasures of wine, and a bottle of Conterno’s Monfortino that made him fall head over heels for Nebbiolo – the 1958 vintage, in fact. Since that first taste, he’s opened over 150 bottles (yes, really) of the 1958 Monfortino. It was that wine that prompted Fontana to start visiting producers – an adventure in self-education. At the time, people weren’t buying wine, and Italy’s winemakers were far from fashionable. He became friends with the likes of Giuseppe Rinaldi, Bruno Giacosa and Gianfranco Soldera, rapidly securing significant allocations of their wines when few others were showing interest. Producers, in turn, suggested he had a gift – unique in his ability to understand wines in barrel and foretell their future. Today, he covers around 80,000km a year visiting producers – but the vast majority of that mileage is in Piedmont, for Fontana drinks – and collects – little other than Nebbiolo. This one grape represents around 95% of his consumption, he says, with Barolo and/or Barbaresco on the menu every day. He always has the latest releases on hand in the fridge – even some basic Langhe Nebbiolo, but at least twice a week he’ll uncork something special from the 1960s or ’80s with wine-loving friends or producers. While Nebbiolo is one of many grapes to be declared “the king of wines”, for Fontana it really does reign supreme. When I ask why, marvelling at how he could drink so much of just one variety, he shrugs: “Nebbiolo is Nebbiolo.” When I push him, he says he loves its ageability, structure and elegance – something he feels you can’t find in Pinot Noir. He recalls a recent dinner with Galloni at Il Centro in Priocca, sharing a bottle of Domaine de la Romanée-Conti’s 2004 La Tâche alongside a 1947 Borgogno Barolo and 1989 Vigna Rionda from Giacosa. Both the Barolos, he says, grew over the dinner – while the La Tâche faded slowly. For him, Burgundy (even the world’s most sought-after bottles) is no match for Nebbiolo. That’s a controversial opinion – but Fontana is not a man short of views. He dismisses the wines of Cappellano and Accomasso, while he has firm beliefs on how Nebbiolo should be made, favouring traditional winemaking with old oak – not wanting to feel the wood in the wine. He argues that too many young producers are going to Burgundy and trying to echo that style in their wines, losing their Piedmontese identity. The resulting wines are, he feels, too technical, too clean. “Great wine can’t be perfect,” he says – suggesting that those imperfections are partly what makes wine feel alive. While the most established and famous producers dominate his collection, he also likes the wines from newer names such as Trediberri, Crissante and Cascina Baricchi. Beyond Nebbiolo, he’ll dabble in certain labels of Sangiovese – Soldera, for example will pass muster, as well as SanCarlo (a producer he feels rivals the former). Montevertine’s Le Pergole Torte would previously have been a prime choice, but now he’d choose Le Boncie’s Le Trame instead. He likes Valentini and Emidio Pepe, and used to buy Gravner but feels the style changed in 2004 so stopped. He sold his jewellery business in 2000 – dedicating his time entirely to wine – visiting producers, building his collection and selling to select parties (of which FINE+RARE is lucky enough to be one). Fontana has around 9,000 bottles in his collection today. He shows us a video of his cellar – intriguingly with many of the wines stored upright. Anything post 1990 is kept on its side, but older wines stand proud in his cellar – something which he argues is better once they reach a certain age, with the cork and humidity of the cellar more important in their preservation. It’s a remarkable collection, with incredible verticals of many wines. His access seems unparalleled – receiving larger allocations than many importers, given his historical ties. He is the only individual, for example, to receive an allocation of Rinaldi’s Brunate Cru – a wine that is otherwise kept exclusively for the family. Some of his most prized bottles are Giacosa’s 1964 Santo Stefano and magnums of 1970 Monfortino (“amazing” – he says), while he has a soft spot for the youthful 2015 Soldera. Now aged 73, Fontana seems just as enchanted by wine as when he first tasted that 1958 Monfortino. I ask him if there’s a wine he is still desperate to taste, a unicorn that he’s still hunting: the answer is no. He’s been able to try every vintage from the producers he loves. It’s a rare answer for a wine lover – but “Il Professore” isn’t your average wine collector. – Photography of Rino Fontana at Il Centro by Dan Deibel Explore a selection of top verticals from Fontana’s cellar, all Italian listings or read more Editorial

Friends with Vinous founder and critic Antonio Galloni, and with a cellar that will turn you green with envy, Rino Fontana is Italy’s most famous wine collector. We sat down with the man himself to find out more about his journey into wine, incredible collection and obsession with one grape  

Antonio Galloni’s Wine Personality of the Year 2023, Rino Fontana is Italy’s most famous wine collector – we met the man to talk about his cellar

Rino Fontana – the wine collector like no other

Rino Fontana: a collector like no other

There are myriad fascinating twists and turns in Scotch whisky’s long and storied past. From dizzying boom times to disastrous downturns, the distilling landscape – and the major players within it – has been redrawn countless times. 
There's one era, however, that is legendary – whisky's "golden age". Between the 1950s and '80s, some of the industry's most nuanced single malts were crafted. These are now widely regarded as the greatest ever released, which is reflected in the eyewatering secondary market prices – should they ever appear on the auction block. 
These perfectly imperfect, characterful and wonderfully unique liquids, produced at distilleries that no longer exist, or exist in a very different way today, will never be bottled again – making them real unicorns for whisky collectors. 
To understand what makes them so special, it is important to first appreciate just how little liquid exists from this time. The single malt whisky market was unfathomably small before and during this period and entirely dwarfed by blends. A mere fraction of a distiller’s finest liquid would be bottled as a single malt. These minuscule quantities were also made via practices that are now lost in the annals of history, making them more desirable for collectors. 
For context, Scotch whisky was largely made as it always had been until the 1950s, drawing on traditional methods that had been passed down for centuries. Distillers would use their sight, smell and taste to determine when a liquid was ready to cask, and later, bottle. Whisky-making took mastery and patience – something producers could ill afford when demands on the industry intensified and there was a concerted push to produce more for less during the 1970s. While many producers made these changes around the same time, they didn’t all happen at once, creating a wonderfully varied time capsule of whiskies. 
The 1960s – when some of these great bottlings were produced – was sandwiched in between two vastly different decades. Production in the ‘50s was steady but small. By the 1970s, however, distillers – both large and small – were forced to increase their output by almost double, and names that had fallen silent were reawakened once more as global demand for Scotch whisky grew. 
Sadly, by the mid-1970s, the tide started to turn. The bountiful supply of whisky was not met by demand, resulting in a devastating whisky loch in the 1980s and some of the most difficult years the Scotch whisky industry has ever endured. Swathes of distilleries were forced to close, including the now-legendary Port Ellen and Brora – both of which shut their doors in 1983. This depression continued well into the 1990s with a further 20 casualties (of these, only three ever reopened), before the pendulum finally swung back in the early 2000s when the seemingly unquenchable thirst for single malt whiskies, that is still in full force today, began. 
From the 1950s onwards, holders of the increasingly frayed purse strings sought to reduce inefficiencies in the traditional, labour-intensive practice of whisky-making – which defined the golden age. With the introduction of modern, more mechanised, safer processes, it was a new dawn for Scotch whisky.  During this period in history, every single stage of whisky production was “streamlined”. The money men closed floor maltings, introduced distillers’ yeast, reduced fermentation times, installed semi-lauter tuns, made the switch to indirect-fired stills, replaced worm tubs with shell-and-tube condensers, and introduced ex-Bourbon barrels. By the end of the 1970s, you could almost count on one hand the number of distillers who retained traditional methods. 
It’s important to remember that tweaking one of these processes can alter the entire flavour profile of a whisky – just ask Glenfarclas who reverted back to direct-firing their stills after their new-make spirit lost its characteristically heavy and oily profile during their ill-fated flirtation with steam in 1981. And yet, in many instances, producers permanently changed many of these processes. Traditional practices and know-how that varied slightly at every distillery began to be outsourced as they turned to professional maltsters and installed modern, industrial-scale equipment that increased efficiencies and consistency but in some cases compromised the craft and character of the final spirit profile. 
“Every distillery has its own story and evolution of style,” whisky authority Serge Valentin explains, “their own ups and its downs.” 
Valentin was ahead of his time when he started collecting single malt Scotch, almost exclusively from Old Clynelish and Brora. He couldn’t possibly have predicted what his passion project of buying as many different bottlings as he could “simply because they were [his] favourites”  would become. 
Both Clynelish and Brora – as it would be known – produced heavily peated malt during the late 1960s and early ’70s. Bottlings from this time until 1983, when Brora became a victim of the whisky loch and fell silent, have become highly collectable in recent years. Old Clynelish bottlings, (Valentin’s favourites), which are robustly distinctive with aromas of scented wax and heather, are astonishingly rare and modern collectors clamber over one another to get their hands on these golden-age gems for many times the price Valentin would have paid. 
Stephen Rankin has been fortunate to sample whiskies from one of the most remarkable single malt libraries in the world at Gordon & MacPhail. His team is able to pull out liquids from what he calls “pre-evolutions within distilleries” thanks to his family’s foresight to buy barrels from cash-strapped producers who were selling their stocks for survival. The Elgin-based independent bottler had the luxury and fortitude to bide their time and store casks that would otherwise have been bottled young or blended. He has a particular affection for single malts from what was Milton Distillery, known since 1951 as Strathisla, which he describes as a “great example of a whisky that has the flavours of this past era.” 
Independent bottlers like Gordon & MacPhail played a vital role in bringing many of these now-legendary whiskies into the world. One man in particular, Silvano Samaroli, was responsible for bottling single malts that are now widely regarded as some of the greatest ever released.  
Rome-based Samaroli released his first Scotch whisky series in 1968 in the form of the now-iconic, dumpy Cadenhead bottlings – making him the first independent Scotch whisky bottler outside the United Kingdom. Today, Samaroli’s Bowmore, Glen Garioch, and  Springbank releases are held in especially high regard and his  Laphroaig single malts from 1967 and 1970 are in a league of their own. 
“The late 1960s to the ’80s is definitely one of the most remarkable periods,” Samaroli’s Daniele Liberati says, “largely due to the appearance of certain expressions for the first time.”  
“We started to propose different bottlings, moving away from the classic blends and official distillery releases,” Liberati adds. These included single-cask expressions, numbered bottlings and cask-strength releases, all of which are commonplace today but were revolutionary at the time.
 
In recent years, a handful of new distillers have turned to old whisky-making practices in an attempt to recapture some of its magic. Fledgling Speyside distiller Dunphail, for instance, has faithfully – and at great cost – installed traditional floor maltings, direct-fired stills and wooden, open washbacks where fermentation times are considerably longer than the industry average, to produce a fruit-forward, oily, medium-bodied Speyside whisky. Today, however, these traditional methods are always adopted in conjunction with modern practices in order to achieve all the desirable characteristics of yore in a more efficient way.   While there is the temptation to look back on this era with a rose-tinted view, as there are undeniably some exceptional bottlings from this time, it is wrong to believe that all whisky produced in the golden age was of the same standard. Whisky-making 40 to 50 years ago was imperfect, there was very little consistency in quality and for one good cask, a distiller would likely have 10 or 20 bad ones that never saw the light of day.  It’s also important to appreciate that many of these modernisations were vital to guarantee the safety of distillery workers as several stages in production were unstable. These advancements have also resulted in unprecedented consistency. While nuance and singularity might have been sacrificed, it’s now incredibly hard to find a bad dram.   As times evolve – as they inevitably do – it’s highly unlikely whisky from Scotland’s golden age will ever not be considered precious.    Browse all Scotch whisky or read more Editorial

Some of the most exceptional single malts ever released were produced in an era affectionately known as “the golden age”. Bottlings from this time are painfully scarce and have gained near-mythic status among whisky enthusiasts. Holly Motion explores why whiskies from this age are so precious

Exploring the golden age of malt whisky and its most coveted bottlings that are widely considered some of the greatest single malts ever released.

The golden age of malt whisky

The golden age of whisky

This week saw the latest iteration of Saint-Emilion’s controversial classification unveiled. The classification has been caught up in legal battles, with many of the region’s leading properties deciding to abandon the system altogether. In fact, three of the four top estates previously classified as Premier Grand Cru Classé A – Ch. Ausone, Ch. Cheval Blanc and Ch. Angélus – all jumped ship, with La Gaffelière (a Premier Grand Cru Classé B estate) also leaving.  The 2022 classification has been much anticipated and it’s brilliant news for Ch. Figeac – who were the only estate promoted to the top rank of Premier Grand Cru Classé A, joining Ch. Pavie. This estate has long been one of the top performers in the appellation, with recent vintages consistently impressing consumers and critics alike. They’ve long been tipped for promotion, and it’s great to see the quality of their wines officially recognised.  Several estates were promoted to Grand Cru Classé, with a new total of 71 estates earning the honour, including FINE+RARE favourite Ch. Tour Saint Christophe. Other promoted estates include: Ch. Badette, Ch. Boutisse, Ch. Corbin Michotte, Ch. Croix de Labrie, Ch. Guadet, Ch.l a Confession, Ch.la Croizille, Ch. Mangot, Ch. Montlabert, Ch. Montlisse, Ch. Rol Valentin, Ch.Tour Baladoz, Clos Badon Thunevin, Clos Dubreuil, Clos Saint-Julien and Lassegue  Find the full list of the Premier Grand Cru Classé estates as classified in 2022 below.  The new 2022 Saint-Emilion classification  Premier Grand Cru Classé A  Ch. Pavie Ch. Figeac Premier Grand Cru Classé B  Ch. Beau-Séjour Bécot Ch. Beauséjour Duffau-Lagarrosse Ch. Bélair-Monange Ch. Canon Ch. Canon-la-Gaffelière Ch. Larcis Ducasse Ch. Pavie Macquin Ch. Troplong Mondot Ch. TrotteVieille Ch. Valandraud Clos Fourtet La Mondotte Read more about the Saint-Emilion classification or browse all Bordeaux listings 

After a long wait and much controversy, the new 2022 Saint-Emilion classification has been unveiled


The new order for the Right Bank appellation is revealed: with one estate promoted to the top rank of Premier Grand Cru Classé A

The new 2022 Saint-Emilion classification

The 2022 Saint-Emilion classification

From a backwater in southern Catalonia, Priorat took its rightful place on the world wine map in the early 1990s. Its meteoric rise to fame was propelled by low-yielding, old Cariñena and Garnacha vines clinging to precipitous and ancient slate slopes. The best producers including Mas Doix, Alvaro Palacios and René Barbier were making wines that were turbo-charged: rich, ripe and powerful yet zinging with vibrant acidity.  But its rapid ascent to fame created growing pains: the region has struggled to define what makes Priorat Priorat, while overzealous winemaking and the inclusion of international
varieties has led to a regional identity crisis. Fortunately, Priorat has nature on its side: its distinctive llicorella slate soil limits yields and provides these Mediterranean-climate wines with a distinct mineral freshness. Combine this with the extreme fluctuations in temperature between day and night and, an extremely dry, sunny climate, and you have the potential to produce rich yet vibrant reds.  Priorat: troubled times The timing of Priorat's emergence as a fine wine producer could be the source of some of its nascent troubles. Its renaissance coincided with the heyday of Robert Parker and a global demand for reds with masses of new oak, super-ripe grapes and intense extraction to
maximise colour and tannin. It wasn't just the winemaking trends of the '90s that saw Priorat become the most intense, powerful and overbearing wine in Spain. Valentí Llagostera, founder of Mas Doix, explains that it had long been a supplier of bulk wine and a blending partner to bolster weaker wines from cooler climates – adding concentration, power and alcohol.  Lacking a tradition of fine winemaking, the idea of what a Priorat wine should be was fluid. Consequently, it became a region producing many different styles, leaving the wine drinker confused. Llagostera adds that the region had a real inferiority complex, with many growers
believing if the wine wasn’t big, powerful and as intense as possible, it wasn’t Priorat. This mentality also led to the incursion of international varieties: Cabernet Sauvignon, Merlot and Syrah were planted, in a bid to emulate the success of Bordeaux and the Rhône.  From the industrial to artisan Industrial-like estates, predominantly based in Rioja, have not been interested in reflecting a specific place but rather more focused on producing a homogenised house style with grapes sourced from as far as 300km away going into the same wine. This approach is therefore completely at odds with the concept of terroir. It is common for older vines to be uprooted to maintain high production levels and wines to undergo lengthy ageing in oak barrels to create greater homogeneity. "Spanish wines made in this way are more about a process than a place," according to Luis Gutiérrez, The Wine Advocate's critic for Spain.  Of course this homogenised style proves incredibly popular: Rioja remains one of the most
successful wine exporters thanks to its reliability and high volumes, offering value for money. However, wine lovers have become increasingly discerning; there is more demand for wines with a sense of place, whether they hail from a plot of old vines or from an indigenous variety. Priorat’s move towards a fresher, more elegant style is part of a wider movement in Spain. There's a revolution underway, with a younger generation of vignerons who have actively rejected the larger estates' approach, instead they're focusing on crafting unique wines with a strong sense of place, whether it be the saline-rich, volcanic soils of Tenerife to the high-altitude mountain-vine Garnacha from the Gredos Mountains, or the incredibly vibrant, taut perfumed wines of Ribeira Sacra.   The intensely concentrated yet mineral wines of Priorat should fit into this more terroir-driven movement. The unique slate soil, Priorat's mountainous landscape and old vines meant that it
was not possible for the region to become a Rioja lookalike. The trend toward fresher, more mineral wines aligned with a rediscovery of the region's indigenous varietals (Cariñena and Garnacha) has allowed Priorat to experience a second coming. Could Priorat be on the verge of discovering its true self? Will the real Priorat please stand up? Llagostera feels there is plenty of room for experimentation in search of Priorat's true identity. The team at Mas Doix is carrying out many trials, including ageing wines in amphora, maturing Garnacha in larger barrels to avoid oxidation, and fermenting in wooden vats to
achieve greater textural sophistication. There are also more radical approaches: German native Dominik Huber of Terroir-Al-Limit doesn't destem his reds, instead practising whole-bunch fermentation, leading to an intensely fresh style. Huber believes it required a generational change before Priorat could find its new identity. Despite the varied stylistic interpretations, the goal is to better understand Priorat's voice not disguise its raw beauty. Explore all Mas Doix listings or read more Editorial 

We talk to Mais Doix’s founder Valentí Llagostera about Priorat’s identity crisis and how a new generation of Spanish winemakers is putting the focus firmly on terroir

Mais Doix’s founder Valentí Llagostera on Priorat’s identity crisis and how a new generation of Spanish winemakers is putting the focus firmly on terroir

A new Priorat dawn

Priorat: a new dawn

Closed Japanese whisky distillery Karuizawa is a phenomenon. For its entire operational life, it was barely known inside of Japan, let alone internationally. Yet today, its whiskies are recognised globally as amongst the finest and most age-worthy ever bottled and today is one of the most sought-after labels in the burgeoning rare whisky investment market. Bottles of Karuizawa continue to break all the records. Just last month a bottle of Karuizawa 52YO (1960) Cask #5627 became the most expensive Japanese whisky ever sold at auction, a single 70cl bottle selling for £366,000. So, what is it that drives the demand and what qualities do bottles of Karuizawa possess which others don’t?  Like most whisky distilleries, its origins are humble, and the astonishing demand is relatively new, closely paralleling the upward trajectory of the rare whisky market over the past ten years.  Limited production  By Scottish whisky distillery standards, Karuizawa had a short lifespan. Established in 1955 it was operational for only 46 years before being closed in 2001, a consequence of an economic slump domestically which impacted an industry with limited exports at the time.  Although now synonymous with single malts, the first spirit to leave the still in 1956 was destined for blending and this continued until a switch in focus and the release of its first single malt in 1976. At the time Karuizawa was said to be Japan’s smallest distillery and so the relatively short years it was active, coupled with a relatively low capacity to produce single malt, led to an always limited amount of whisky on the market. Moreover, after lying dormant for well over a decade, Karuizawa was eventually demolished in 2016 by its then-owners Kirin
Brewing Co, dashing any hopes of a revival. Karuizawa's unique character  Fitting for such an extraordinary distillery was its extraordinary location on the southern slopes of one of Japan’s most active (category A) volcanoes – Mount Asama. Named after the town in which it was based, Karuizawa is under two hours by train northwest of Tokyo and at the time of writing is the only town to have hosted both summer and winter Olympic Games
events.  The cold snowy winters, summers with up to 80% humidity and cool average annual temperature of eight degrees, creates specific atmospheric conditions ideal for whisky maturation. These conditions have been credited with creating the unique characteristics of Karuizawa single malt – the ability to age gracefully for many decades, whist retaining an abnormally high alcoholic strength and concentrated complex flavour. In terms of raw materials, it is rumoured that The Macallan may have been the inspiration. It is certain
that they sourced the same grain and wood having imported Golden Promise barley
from Britain and Sherry casks from Spain. Distribution  Had it not been for the formation of specialist Japanese whisky distributor Number One Drinks Co. in 2006, it is quite possible Karuizawa would have never entered whisky enthusiasts’ consciousness on the scale it has today. Founded by Marcin Miller and David Croll, it was after a cask sampling session in 2009 and after learning production had ceased, that they bid to purchase the distillery. The bid was rejected but a counterbid to
purchase the inventory was accepted after protracted negotiations making Number
One Drinks Co both owner and distributor of Karuizawa whisky.    Export markets beckoned and soon London-based retailer The Whisky Exchange and Parisian-based retailer La Maison Du Whisky would be blown away by what was presented to them and began bottling casks for an initially sceptical European market. Quality cannot be ignored however and a joint bottling in 2009 by the aforementioned retailers was compared with some legendary Scotch whisky bottlings when reviewed by respected whisky blogger Serge Valentin describing the Karuizawa 42YO (1967) Cask #6426 as “a Japanese masterpiece… once again, this baby reminds me of some old Springbanks. Say of the best sherried ‘Local Barleys’, if that rings a bell to you.” 95 points. Karuizawa-mania ensued, fuelled also by the success Japanese whisky was experiencing as a category on the international stage, most notably Hibiki and Yamazaki scooping numerous ‘World’s Best’ awards and receiving critical acclaim including the famous Jim Murray Whisky Bible award for Yamazaki Sherry Cask 2013 Edition, reported in the mainstream media as ‘Japan beats Scotland’.  The finite supply, increasing demand and sheer quality of the whisky meant Number One Drinks Co had an increasingly valuable commodity. Ever the purist, Marcin is reported to have soon tired of the spiralling secondary market prices and decided to sell off what remained of the reported 364 casks they originally owned and went on to found Japan’s first-ever gin distillery (Kyoto Distillery) trailblazing within a new category with Ki-No-Bi gin.    Presentation You’d be forgiven for being a little underwhelmed by the presentation of some early releases of Karuizawa. A case in point is the previously mentioned Karuizawa 42YO (1967) Cask #6426, which at the time was the oldest Japanese whisky. Now retailing for £20,000 inc VAT, it consists of little more than a glass bottle, white sticker label and thin cardboard box. At
the time of release however there was no precedent for the returns Karuizawa would achieve on the secondary market and at a release price of £250, considered expensive at the time, most were indeed opened and drunk.  Today, the most high-profile releases of Karuizawa are collected and displayed like works of art. The Karuizawa Pearl Geisha’s by Elixir Distillers are a stunning example of how the presentation can entice collectors and send secondary markets into a frenzy. They were a 2019 release exclusive to FINE+RARE and consisted of just 71 bottles of a 37YO Karuizawa and 172 bottles of a 38YO. When these two bottles are placed side by side, the
labels form a mirrored image of a Geisha visually as impressive as the whisky itself.  These were the fourth release in the series so not only were collectors desperate to get their hands on these two but also the previous editions and any future ones.  The future of Karuizawa No one knows exactly how many ‘new’ Karuizawa releases there will be. The remaining casks Number One Drinks sold are said to have gone to three buyers who control the market and have been releasing intermittently since. What we can be sure of is there is very little left to be bottled and we are witnessing the final years of releases after which the number of bottles in the market will only decrease year on year.  The story of Karuizawa is already legendary and it is one which cannot be repeated. For future generations of whisky enthusiasts all that will be left is the ever-decreasing supply and the chapter of Karuizawa in the history of Japanese whisky. In addition to the final releases however, there will be whisky for future generations which is intrinsically linked to Karuizawa.  Although the distillery site was completely demolished, the pot stills that created the unique ‘new make’ were rescued and are already producing spirit which is being laid down at Shizuoka Distillery. There was also one final run in the old distillery site in 2006 by Ichiro Akuto of Chichibu Distillery fame. A 2006 distilled Karuizawa crafted by Ichiro Akuto is something that we hope to one day see.   Browse all available Karuizawa or read more Editorial 

Bottles of Karuizawa continue to break all the records. Just last month a bottle of Karuizawa 52YO (1960) Cask #5627 became the most expensive Japanese whisky ever sold at auction when a 70cl bottle sold for £366,000. So, what is it that drives this demand? We investigate

Closed Japanese whisky distillery Karuizawa is a phenomenon. Find out about the distillery that has produced some of the world's finest bottlings

Karuizawa, Japan's most expensive whisky

Karuizawa: Japan's most expensive whisky

Arvine: Switzerland’s hidden treasure Berry colour: white
 Arvine, pearl of the Alps The ultimate Swiss grape variety, Arvine can produce captivating, complex wines of international stature, from dry to sweet. It is native to the Valais, southern Switzerland, where it was mentioned for the first time in 1602. Since the late 19th century, it has often been called Petite Arvine to distinguish it from Grosse Arvine, a completely different and rare local variety. I have not so far been able to uncover Arvine’s parents by DNA testing. It is often said that Arvine was introduced to Switzerland by the Romans. Its name allegedly derived from helvola, a grape variety mentioned by Cato the Elder. I refute this claim for two very simple reasons: firstly, it is impossible to establish botanical identity between the vague descriptions of Latin authors and modern varieties, and secondly, helvola grapes were black-berried. I think instead that its name comes from the local dialect arvena, itself probably derived from the Latin advena, meaning ‘just arrived’. This name could have been given to the variety shortly after its birth (or arrival?) in the Valais. It is a late-ripening variety, with small berries and compact, small bunches. It is quite productive, but prone to wind damage and susceptible to fungal diseases. Arvine covers 218 hectares (539 acres), almost exclusively in the Valais, representing only 1.48% of the country’s vine-bearing area. It produces complex, lively wines that can age well, with aromas of citrus and rhubarb, and a firm structure, as well as a characteristic salinity on the finish. Champions of Arvine In the Valais, several outstanding producers make excellent varietal Arvine wines. For dry wines, I would recommend Cave Benoît Dorsaz in Fully, Valentina Andrei in Saillon, Didier Joris in Chamoson, Cave de l’Orpailleur in Uvrier and Domaine des Muses in Granges, among many others. For the sweet wines, produced from grapes that are naturally left to shrivel on the vine, the undisputed champion is Marie-Thérèse Chappaz in Fully. From her biodynamic vineyards, this icon of Swiss winegrowers crafts some of the best sweet wines in the world, especially from Arvine. Her Petite Arvine Grain Noble is highly sought after, and her otherworldly Arvine Grain par Grain, made exclusively from botrytised berries harvested by hand, berry by berry, is almost impossible to find. Arvine has rarely been planted outside Switzerland. In Italy, it was introduced to the neighbouring Aosta Valley in 1970. In 1992, Angelo Gaja, one of Italy’s most famous wine producers, planted 0.36 hectares in Serralunga (Piedmonte). The result was a disaster, in his words, mainly because of problems with coulure and wind damage. In France, some vine parcels exist in the Languedoc and in the Rhône Valley, where charismatic winemaker Michel Chapoutier planted half a hectare in Tain-l’Hermitage, but he was not convinced by the results and has now abandoned the experiment. Outside Europe, it is produced only in Mendocino, California, by one adventurous producer, Ernest Vineyards, which makes a varietal wine under the Edaphos label.

Dr José Vouillamoz
 
Areni: Armenia’s national treasure Berry colour: BLACK 
History in a bottle Areni is the most important red variety in Armenia. It most likely comes from the village of Areni in Vayots Dzor, at the southeastern end of the county, where the world’s oldest cellar (4000 BC) was discovered in a cave in 2011. Interestingly, the grape remains found at the bottom of the old karas (the traditional clay jars) buried in the cave look very similar to the pips of the modern Areni variety. DNA profiling has failed to identify Areni’s parents, making it an orphan Armenian variety, but it has shown that at least two distinct varieties share the name Areni: Areni Sev (sev means black), the ‘true’ one that has historically been grown in Vayots Dzor, and Areni Seyrak (seyrak means loose, referring to the bunches), sporadically found among Areni Sev vines in old mixed vineyards. Areni Sev is a late-ripening variety with oblong, sometimes ovate, thick-skinned berries. The bunches are medium-sized and dense. It shows good resistance to frost, which means it can be cultivated at high elevations (up to 1,600 metres in Armenia). It is moderately resistant to powdery mildew and susceptible to downy mildew. Areni is exclusively cultivated in Armenia, where it has traditionally been used to make high-quality, age-worthy wines with complex aromas of violets, wisteria, cherries and blackberries, silky tannins and refreshing acidity. Champions of Areni After my first visit to Areni village in 2003, and despite the rudimentary winemaking at the only local winery (Areni Winery, now Hin Winery), I was convinced that Areni was among the most promising grape varieties in the world. In 2012, I met Zorik Gharibian in Izmir (Turkey) at the European Wine Bloggers’ Conference. I was much impressed by his 2010 Karasi Areni Noir, Zorah Wines’ very first vintage after 10 years of trial and error. We became friends and I selfishly helped him find an importer in Switzerland, in order to secure my own supply of his wines, including the mind-blowing high-end cuvée Yeraz. Since then, Zorik and his wife Yeraz have relentlessly promoted Armenian wines all over the world, and Zorah Wines has become one of Armenia’s most respected flagships. Their wines, sourced from ungrafted vineyards between 1,300 and 1,600 metres altitude are partly made in karas, traditional clay jars partly buried underground, ‘cousins’ of the Georgian qvevri. The sad thing is that Armenian-born Eduardo Eurnekian, one of the wealthiest people in Argentina and owner of several airports, including that of Yerevan in Armenia, has founded a winery named Karas Wines, despite not using any karas in the winemaking process. In 2018, judges granted him the exclusive usage of the name Karas, disregarding 6,000 years of shared tradition. Zorik Gharibian has been determinedly fighting against this unfair judgement and he plans to appeal to the country’s Supreme Court. I strongly support him. And I predict that Armenia may well be the ‘next big thing’ in the wine world. Dr José Vouillamoz
 Kydonitsa: Rebirth of an extremely rare grape variety Berry colour: WHITE Rescued in the nick of time Kydonitsa is a survivor, an almost forgotten variety from Lakonía (Laconia) in the southern Pelopónnisos (Peloponnese) in Greece. According to local belief, it was widely cultivated in the medieval period when Lakonía formed part of the Byzantine Empire. It then flourished under brief periods of Venetian rule, before it was threatened with extinction under Ottoman rule, as a result of the bans on alcohol consumption. It had almost disappeared when it was saved from extinction by Yiannis Vatistas and Yorgos Tsimbidi (Monemvasia Winery) in the late 1990s. DNA profiling has not revealed any match or parentage with any other variety, making it a Greek orphan. The medium-sized bunches are relatively loose and elongated. The berries are small and turn golden yellow when ripe. In Greek, the word kυδωνίτσα (kydonitsa) means ‘little quince’, referring to the aroma of both the berry and the wine. The wine also shows notes of lemon, grapefruit, bergamot and mirabelle plum, as well as aromatic herbs. It is elegant, creamy, with crisp acidity and a slightly bitter, orange-peel finish, with a hint of iodine. Kydonitsa is grown exclusively in Lakonía, on the east coast of the Pelopónnisos, near the island of Monemvasia. Champions of Kydonitsa Yorgos Tsimbidi is a visionary. In 1997, while most wineries in the Pelopónnisos were busy planting so-called international grape varieties, he founded Monemvasia Winery in order to revive the historical Malvasia wine in its birthplace. The name Malvasia has been given to a wide range of genetically distinct white-, pink-, grey- and black-skinned varieties which are all particularly well suited to the production of sweet wines. The name is purported to be a corruption of Monemvasia, which means ‘single entrance’ and is the name of a small port situated on a rocky spur in Lakonía. It has been famous since ancient times for its sweet wine made from sun-dried grapes. The earliest mention of the sweet wines of Monemvasia dates back to 1214 in Éfesos (Ephesus, today in Turkey), and in 1278 the Venetians were already importing vinum de Malvasias. The exact identities of the grape varieties making up this sweet wine are still unknown, but Kydonitsa and the appropriately named Monemvasia were probably part of the blend. This is what drove Yorgos Tsimbidi to put all his time and energy into rescuing them, carrying out countless on-farm trials since 1997. He now produces dry varietal wines, as well as the sweet ‘Monemvasia – Malvasia’, a blend of Monemvasia, Kydonitsa, Assyrtiko and Asproudi grapes, dried for approximately two weeks under the sun, in order to revive the ancient tradition. Today, Yorgos runs the winery with his wife Elli and their daughters Marialena, Anastasia and Artemis. I was able to taste a mini-vertical of Kydonitsa during my visit in 2016, which convinced me of the exceptional quality and ageing potential of this resurrected variety. And the rest of the portfolio convinced me that Monemvasia Winery is one of the best in mainland Greece. Dr José Vouillamoz

 Baga: Northern Portuguese red with a simple name and a complex character Berry colour: black 
The rehabilitation of Baga The meaning of Baga may be simple (berry) but the variety is far from it. When it is good, it is breathtakingly beautiful and capable of long ageing. When it is abused, it is acid, mean and lean, with tough tannins. It requires commitment from growers and wine lovers. While it may have originated in Portugal's Dão region, it has found its home in neighbouring Bairrada, where it is the dominant red variety. In 2017 there were 8,258 hectares (20,406 acres), 4% of Portugal’s vineyard area. It’s found mainly in Bairrada but also in Dão, although there it is not authorised in DOP wines. Baga vines are also planted, though far less numerously, in Lisboa, the Tejo and the Douro. The cool, wet, Atlantic-influenced climate of Bairrada is particularly inconvenient for a late-ripening variety with thin skins and prone to botrytis. If its vigour and productivity are not controlled by careful viticulture or the natural balance achieved by older vines in poor soils, there is increased risk of under-ripeness or rot when the September rains arrive. Despite all this, those whose hearts have been captured by the variety have shown it to be as bewitching as Pinot Noir, and as hauntingly complex and long-lived as Nebbiolo. Champions of Baga The variety allows itself to be made in many styles, influenced strongly by the soil (limestone-clay and granite are both prized), the age of the vines and, not least, by the personalities of the winegrowers and their choices in the winery. The most restlessly experimental and determined is Luís Pato, who was prominent among a small group of quality-minded winegrowers who dragged Baga into the spotlight for fine wine after it had languished for so long as a source of bulk reds churned out by the state-controlled co-ops and négociants for much of the 20th century. While there are today, thankfully, too many good winegrowers to mention by name, the Baga Friends display the variety’s wonderful diversity: from the powerful styles aged in oak that become increasingly complex and perfumed with age that are produced by, for example, Luís Pato, Mário Sérgio Alves Nuno at Quinta das Bageiras, François Chasans at Quinta da Vacariça and Paulo Sousa at Sidónio de Sousa; to the lightly stepping, red-fruited, fresh and scented beauties of Filipa Pato and Douro incomer Dirk Niepoort at Quinta de Baixo. Baga can also make very good sparkling wines. Bussaco Palace Hotel has an astonishing collection of very old vintages, blending Baga from Bairrada with Touriga Nacional from Dão. Julia Harding MW 
Kisi: Recently resurrected and scented Georgian white Berry colour: WHITE The resurrection of Kisi Maybe it’s because thin-skinned Kisi is difficult to grow and sensitive to the climate that it was on the verge of extinction at the end of the 20th century, when David Maisuradze made a wine that put the variety firmly back in the spotlight. The highly respected winemaker, then with Telavi Wine Cellar, managed to find just four tonnes of the variety to make a wine, fermented in a stainless-steel tank, that stunned wine lovers with its pure, floral aromas and deep fruit flavours of citrus and pear, richly fruited but dry. This variety didn’t stand much chance in the Soviet era when only a very limited number of varieties were permitted in the interests of volume rather than quality. Kisi was not among them and it survived in family vineyards in just three villages in its homeland of Kakheti, in the Alazani Valley in eastern Georgia in the shadow of the Caucasus Mountains: mainly in Maghraani but also in Argokhi and Pichkhovani. There are currently about 500 hectares (1,235 acres) of Kisi in Georgia, all still in this region. There is currently no DNA evidence to reveal the variety’s parentage but it is not related to Mtsvane Kakhuri or Rkatsiteli, the latter a Soviet favourite. Champions of Kisi In Georgia, ‘classic’ white wines are made in a way familiar to most 21st-century wine drinkers – fermented without the skins, typically in temperature-controlled tanks, occasionally fermented or aged in oak. By contrast, so-called qvevri white wines, sometimes referred to as amber wines because of their typically deep colour, are those vinified in traditional Georgian qvevri, large clay vessels ranging from 700 to 2,000 litres, buried underground so that just the opening is visible. The lightly crushed whole berries, including the skins and seeds, and sometimes even the stems, are fermented together in a qvevri, thus producing a wine with firm, even chewy, tannic texture and a wonderful panoply of flavours derived both from the variety and the winemaking, often ranging from apricots to chamomile. Soon after the appearance of Maisuradze’s revelatory wine, Gogi Dakishvili, a master of these qvevri wines, was able to buy a small amount of Kisi and make a wine in this second style. The cat was out of the bag and growers, including Dakishvili, started to replant when they saw the potential.  Kisi made under both the Dakishvili Family and the Orgo labels reveal all the textural and aromatic complexity of scented varieties made in this way. They are utterly pure, full-bodied wines with intense aromas and flavours that have sufficient structure to be very versatile with food. Qvevri winemaking was recognised as a UNESCO intangible heritage in 2013. While this is the style I particularly enjoy, for anyone who is not a fan of amber wines, there are fine examples that reveal even more of Kisi’s aromatic potential and deep but fresh fruit intensity. These include those from Winiveria and Khareba, and a particularly good off-dry style from Koncho & Co. One of the finest, in this case with light oak influence, is made by Danieli Winery, from vines near Argokhi, one of the three villages which were key to Kisi’s renaissance. Julia Harding MW
 This article was originally published in FONDATA, Issue One.  Illustration by Sarah Jane Humphrey.

Wine Grapes co-authors, Julia Harding MW and Dr José Vouillamoz, champion five lesser-known grape varieties from the book – and the winemakers that are using them to notable effect.

Wine Grapes co-authors Julia Harding MW and Dr José Vouillamoz champion five lesser-known grape varieties – and the winemakers using them to notable effect

FONDATA: Raisins d'être

Raisins d'être

Deyrem-Valentin

Margaux

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You can arranged collection from our warehouse STI INTERNAZIONALE SPA, on Viale del Lavoro, 57, 37051 Bovolone, Verona.
Pick-up hours are between 8:30 AM to 12:30 PM and 1:30 PM to 5:30 PM, Monday to Friday. We are closed on public holidays.

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This item is at FINE+RARE, available for storage, transfer or delivery.
 Most UK deliveries can be made within 3-5 working days, with next day delivery for London;
 an exact date will be available when arranging delivery.
 International deliveries have longer lead-times, please contact us for details.

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Your wine will then be stored by FINE+RARE in a bonded warehouse until you decide to take delivery.

We will source this item from our network of suppliers and arrange shipment to FINE+RARE.
 The lead-time depends on many variables, but 6-12 weeks is an average estimate.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

Deyrem-Valentin

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