The Thienponts reign over Bordeaux’s Right Bank. At Vieux Château Certan, Alexandre Thienpont – almost always dressed in his Barbour – rules, producing Pomerol of immaculate pedigree, as his family has for over a century now. Nearby, cousin Jacques Thienpont holds court at Le Pin, Pomerol’s original cult address. Nicolas Thienpont is another cousin whose domain stretches out from Saint-Emilion – from Pavie Macquin and Larcis Ducasse across to several estates in the Côte des Francs. And the dynasty continues to grow, as each thread of this complex family finds a new corner of the region to master.  The Flemish family has a long history in the world of wine, having traded French wine (especially Bordeaux) since 1842. Georges Thienpont – grandfather of Jacques, Alexandre and Nicolas) was the first to move into production, buying Ch. Troplong Mondot in 1921, then Vieux Château Certan in 1924. It wasn’t long before the Great Depression hit, however, and Georges Thienpont was forced to sell Troplong Mondot in 1934. Reportedly the only reason he kept Vieux Château Certan was that no one wanted to buy it – with vines holding little allure at the time. It was the château itself at Troplong Mondot, positioned at the highest point in the region and with a view across the village of Saint-Emilion, that allowed him to sell the Saint-Emilion estate. Georges continued to make wine through the Second World War and the devastating frost of 1956. Despite a challenging start, “VCC” (as it is affectionately known by wine-lovers) has become one of Bordeaux’s leading names.  It was Jacques Thienpont, however, who thrust the family firmly into the limelight. It was in 1979 that Jacques, then still a Belgian wine merchant, purchased a 1.6-hectare vineyard in Pomerol. The site had produced generic Pomerol, but Jacques started making tiny volumes of opulently styled wine, naming it after the lone pine tree (“le pin”) that stood on the property. The 1982 vintage was pivotal, receiving significant critical acclaim – especially from Robert Parker – and soon Le Pin became one of the world’s most desirable wines.  Just over 30 years after that first vineyard purchase, it seemed like fate when Jacques went to see a plot of land in Saint-Emilion right next to Troplong Mondot. Previously known as Ch. Haut-Plantey, the potential of the site was clear to Jacques and the symmetry of the Thienponts returning to where their family’s winemaking legacy began seemed fitting. He bought the property in 2010 and put Cyrille Thienpont (his cousin once removed) in charge of its daily running. In keeping with the arboreal theme, he named the Saint-Emilion venture L’If (the yew tree).  The first project the team undertook was a detailed soil map to get to grips with the site. The winery is in Saint-Laurent-des-Combes, just to the east of Troplong Mondot, with five hectares of vineyard around it and another two hectares of west-facing vines next to Saint-Hippolyte. The lower parcels are more eroded and sandier, but much of the vineyard sits on pure limestone and clay. They set about restructuring the vineyard – getting rid of the 5% Cabernet Sauvignon and increasing the portion of Cabernet Franc, with around 25% across the property today (any new plantings were with a massal selection from Pavie Macquin).  In 2013, Jacques bought another hectare or so of vines in Saint-Etienne-de-Lisse, right next to Ch. Puy-Blanquet. Despite the quality of the soils, Jacques was hesitant about buying such a “distant” plot, a whopping three kilometres as the crow flies – or a circa 10-minute drive. They pulled the vines out and replanted this additional parcel, harvesting its first fruit in 2018. Despite its youth, the fruit from the plot has made it into the final blend for every vintage of L’If since 2020 (“Worth the trip,” jokes Cyrille). Even with the significant replanting and this new plot, the average age of vines across the estate is around 40 – with the oldest over 60 years in age.  Work on a new winery finished just in time for the 2023 harvest, allowing greater precision and flexibility – with more space to work (and 16 concrete tanks for their eight hectares of vines). You might expect a flashy building, perhaps designed by a famous architect – but that’s not the Thienpont way. Understatement is everything for this family – and the winery is an almost exact replica of what stood there before, simply with more space inside, designed for simple functionality. In one corner stands an otherwise anonymous stainless-steel tank – the first one that Jacques bought for Le Pin back in 1979.  It was perhaps inevitable that L’If would sit in Le Pin’s shadow. But now, 15 years after Jacques Thienpont bought the estate, with a new winery and the significant work in the vineyards completed, L’If is building its own reputation.  Although the same team is largely involved in both estates, L’If is a totally different site and wine. The cool soils have better water-holding capacity, and budburst is around 10 days later than at Le Pin with its warm free-draining gravels – a gap that often widens as the growing season progresses, meaning harvest is significantly later here. Diana Berrouet Garcia – who acts as Managing Director for Domaines Jacques Thienpont, including both Le Pin and L’If – notes how at L’If the terroir seems to speak louder than the vintage and can better adapt to more challenging conditions, while the vines can struggle – especially in hot, dry years – at Le Pin. Where Le Pin is round, supple and exotic, L’If is linear, taut and mineral; one sensual and spherical, the other just on the right side of severe, with a crystalline quality. Even in the last few years, it’s amazing how the wine is evolving – nipping at Le Pin’s toes in terms of quality. Re-tasting the 2019, it’s amazingly approachable with a perfumed nose and juicy, pure fruit that complements the wine’s natural tension.   It's still comparatively early days for L’If –  and the team has invested significantly, focusing on shaping the vineyard and ensuring they have the tools in the winery to translate the work in the vines. For now, over half the vineyard is being used for the second wine, Les Collines d’If – something that will change in time, as they continue to replant parcels. As it happens, yews grow incredibly slowly – but are also some of the longest-living trees (Perthshire in Scotland is home to the Fortingall yew, thought to be 2,000-3,000 years old and one of the oldest trees in Europe). The Theinpont family is just settling in at L’If, but as they lay down roots, the potential is clear.   The Thienpont family: who does what?  Jacques Thienpont: Owns Le Pin, L’If and L’Hêtre (the latter with his sister Anne de Raeymaeker), but is also a co-owner of Vieux Château Certan. He oversees the family’s original Belgian wine merchant business, the Belgian Royal Warrant-holding Thienpont Wine, which is managed by his wife and award-winning wine writer Fiona Morrison MW.  Alexandre Thienpont: Co-owns and manages Vieux Château Certan with his son, Guillaume, as well as co-owning Le Pin with Jacques. Alexandre and Guillaume also farm the vines at Le Pin, L’If and L’Hêtre, as well as Vieux Château Certan.  Guillaume Thienpont: Manages Vieux Château Certan with his father, Alexandre, as well as making L’Etoile and Les Fillottes with his second cousin, François Thienpont. He also now manages Ch. Guillot-Clauzel, which is not owned by the family.  François Thienpont: Manages the family’s négociant business, Wings, as well as making L’Etoile and Les Fillottes with Guillaume Thienpont and is a co-owner of both Vieux Château Certan and Ch. Puygueraud.  Nicolas Thienpont: Owns and/or manages a group of estates with his son Cyrille: Pavie Macquin, Larcis Ducasse, La Prade, Laclaverie, Charmes Godard and Puygueraud.  Cyrille Thienpont: Owns and manages the Nicolas Thienpont group of properties with his father, as well as managing and making the wine at L’If.  There are many more members of the Thienpont family involved in wine, but these are the most prominent at the time of writing.   Explore all current listings of L’If or read more about Bordeaux 

Le Pin is one of the world’s most famous wines – but it’s just one of the Thienpont family projects. We dissect the dynasty and explore the evolution of L’If, the Saint-Emilion estate that is emerging as one of the region’s most exciting names

Jacques Thienpont created cult Pomerol wine estate Le Pin in 1979, but now he’s got a new project in Saint-Emilion, Bordeaux: L’If 

Exploring L’If: Le Pin’s Saint-Emilion sibling 

It’s not every day that you get to taste wines made over half a century ago – but earlier this month I got to trace CVNE’s flagship Imperial Gran Reserva all the way back to the 1947 vintage. Victor Urrutia, the fifth generation of his family to take the helm of this legendary Rioja producer, put together a tasting of what he called “the dirty dozen” – lining up 12 vintages of Imperial. The wines were chosen to show how the wine speaks across a range of vintages – not just the most famous, but the hot, the cold, the mighty and the mediocre.  CVNE has been making wine in Rioja Alta since 1879, so – even going back to 1947 – this tasting offered just a snapshot of its history. Imperial was created in the early 20th century (1917 is the earliest vintage Urrutia himself has tasted), conceived as “super Rioja”, Urrutia explained. The idea was to make the best wine possible, regardless of its commercial potential, at a time when Rioja didn’t have the prestige of today. Around 50,000 bottles are produced, but – importantly – Imperial isn’t made in every vintage, with the quality of the fruit in some years not meeting CVNE’s stringent standards (there was no 2003, 2006 or 2013, for example, and there won’t be a 2023 either).  For Urrutia, the goal with Imperial now is to reflect each vintage, and fine-tune the wine rather than look for revolution. The early vintages are their benchmark and inspiration. Across the vintages, however, Urrutia points to a “churchy” nose – something he finds is distinctly Imperial and reminiscent of the winery.  It’s easy, perhaps, to forget how well Rioja ages – and not just over a decade or two, but over half a century. The oldest vintage in this tasting, the 1947, was undoubtedly the star – a wine that has retained its freshness, with delicate aromatics and a beautifully long, pure, resolved palate. The entire flight impressed – with the quality of Imperial shining through. Some of Rioja’s legendary vintages featured (the 1970 and 1959, which sit alongside the likes of 1982 and 1964 in the history books), but my personal favourites were the aforementioned 1947, the still compact 2004 (named Wine Spectator’s Wine of the Year in 2013), the brooding 2011 and pretty, elegant 2018.   The Imperial vineyards  The fruit for Imperial Gran Reserva comes from CVNE’s best vineyards, all over 40 years in age and almost all bush vines, yielding around 4,000kg/ha (equivalent to circa 25hl/ha or less than 1.5 tons/acre). The parcels all sit close to the Cantabrian mountains, at around 500-600 metres’ altitude, and on poor but cool soils (clay and limestone) – lending the wines great freshness, even in hot and dry years, explains longtime Technical Director María Larrea.  The village of Villalba de Rioja has been the backbone of the wine since its conception. This village was where the Real de Asúa brothers (who founded CVNE) first bought vineyards, four kilometres from Haro. The vineyards are steep and south-facing, exposed to the winds and some of the vines therefore have to be trellised (cordón Royat), but it brings acidity and freshness to the wine – something that is essential for its ageing potential. Parcels in the villages of Briones and Torremontalbo were added later, in the 1960s. Briones has richer soils, gentle slopes and a warmer climate, giving structure and body to the wine, while Torremontalbo has steep, stony slopes with calcareous soils and a significant diurnal shift, adding minerality and finesse to the blend.  The Imperial blend  The blend has shifted over the years, with the wine originally around 40% Garnacha and 40% Tempranillo, with the remaining 20% Graciano and Mazuelo. The old vineyards were field blends, with the varieties interplanted and harvested together, meaning mixed ripeness levels – something that arguably brought balance and complexity to the wines, even if some of the fruit wouldn’t have been ripe. Nowadays, each variety is planted separately at CVNE – allowing them more control and precision, harvesting each grape at the perfect moment and crafting a blend in the winery.  There was a move away from Garnacha in the 1970s, with more and more Tempranillo planted instead. Garnacha was less appreciated, seen as a workhorse, an impression that was only reenforced when lesser, high-yielding clones were planted in the 1980s and 1990s. As Larrea also noted, Garnacha is much more prone to coulure and millerandage (poor flowering and fruit-set), which may have been another factor in its decline. There was also a time, Urrutia explained, when Bordeaux was the reference point for fine wine, and they looked to imitate the region, favouring Tempranillo for its darker colour versus the more thin-skinned and therefore pale Grenache. Today, the blend is dominated by Tempranillo (with the 2017 and 2018 Imperial both 85% Tempranillo), but Grenache is undergoing a revival across Rioja and – provided they can have the right clonal material and/or older vineyards – it may contribute more to the blend in time.  The proportion of Graciano and Mazuelo has been reduced slightly, but Larrea emphasises how important the two grapes are in the face of climate change. Mazuelo (aka Carignan/Cariñena) provides structure and colour, while Graciano contributes acidity and aromatic complexity.  The winemaking  Although she joined CVNE in 1991, María Larrea took over the winemaking for Imperial with the 2005 vintage, following on from Basilio Izquierdo, who had been running things for over 30 years (since 1973). Before Izquierdo came Ezequiel García, known as “El Brujo” (“The Wizard”), winemaker for CVNE for over three decades (he returned briefly in 2014 to recreate their legendary white, Monopole).  Across the three winemakers and almost 70 years, surprisingly little has changed. The winemaking here remains extremely traditional, although technology has allowed the team to monitor the wines more closely, and for better winery hygiene, as in most regions. Fermentation remains indigenous, although it’s no longer spontaneous – the wines have been inoculated with a selected strain of their indigenous yeast since the early 2010s (with some experiments in the 1990s). Traditionally fermentation was in concrete tank, however this moved to oak in the 1990s, with one lone vintage (1994) fermented in stainless steel when the vats hadn’t arrived in time.  The wines used to be stored in barrel and only bottled when they were sold, so some older vintages of Imperial spent over a decade in barrel, while today the wine normally stays in barrel for between two and three years. (The bottling dates for each of the vintages is included below – the 1947 wasn’t bottled until 1960!) Originally the oak was all American, simply because that is what they had access to via their historic trade routes, and the barrels were kept for decades (Larrea remembers using 40-year-old barrels when she arrived in the 1990s). CVNE gradually started introducing French oak in the 1980s, with around 30% French oak used in the 1990s and around 60-70% today, with the remainder American.   The wines: tasting eight decades of CVNE Imperial  A note on the bottles themselves: older vintages are in green glass, however they moved to brown glass around 10-15 years ago.  2018 Imperial Gran Reserva: This was a real highlight of the vertical. It is very youthful still, fruit-forward, yet with amazing finesse and delicacy. The nose is precise with dainty aromatics of spice, graphite and florals alongside the crystalline fruit. The palate is juicy and lithe, pure, silken and fresh with savoury tobacco and dried red berries filling the mouth-watering finish. Beautiful and very open, even now. Fermented in oak, 14% alcohol and bottled July 2021.  2017 Imperial Gran Reserva: Frosts swept across much of Europe in late April in 2017, although the rest of the season was relatively warm, producing a tiny crop of concentrated fruit. It’s a drastically different wine to the 2018, yet still with great freshness and a floral lift alongside ripe, sweet red fruit. The palate is tight, much less approachable than the 2018, with compact tannins, a bite of crunchy acidity and a grip of firm tannins, while smoky tones that fill the finish. Decant to enjoy now, but this will be even better with a couple more years in bottle. Fermented in oak, 14% alcohol and bottled July 2020.  2015 Imperial Gran Reserva: The 2015 Imperial is dark and intense, layered with rich bramble fruit, cedar, tobacco, spice and something meaty – a hint of biltong, perhaps. The palate echoes the concentration of the nose, with chewy tannins and a line of acidity that cuts through its intensity. Powerful, almost stern, with more dried fruit coming out with air, the finish is long and savoury, with a touch of red miso. Fermented in oak, 14.5% alcohol and bottled June 2018.  2011 Imperial Gran Reserva: Another standout in the vertical, the 2011 Imperial offers a dark and pure nose, still surprisingly primary with black cherry and cassis fruit, lifted by sweet spicy perfume. The palate is silken and pure, still so youthful, flowing across the tongue, framed by firm but integrated tannins. It’s concentrated and long, with floral aromatics dancing on the juicy finish. Hard to resist with great balance. Fermented in oak, 13.5% alcohol and bottled July 2014.  2009 Imperial Gran Reserva: This is a very serious Imperial now at a lovely stage of maturity – with savoury undergrowth and spicy notes sitting alongside the vibrant dark berry fruit. The palate is intense yet with a softness to it, despite the chewy framework of tannins. It’s juicy and expressive, with smoky, spicy, tobacco notes playing on the finish, and just the slightest hint of leather starting to appear. Fermented in oak, 13.8% alcohol and bottled January 2013.  2004 Imperial Gran Reserva: From “a textbook vintage” in CVNE CEO Victor Urrutia’s words, the 2004 is shining. Pencil shavings and bacon complement ripe, dark fruit. The palate is tight and compact, yet with a juiciness that elongates the whole thing, with acidity that drives through to the long finish. The tannins are supple and soft, integrated with the fruit, but still offer a grip on the finish. Bright and effortlessly balanced. Fermented in oak, 13.8% alcohol and bottled October 2008.  1994 Imperial Gran Reserva: This is an intriguing vintage of Imperial, the only one ever to have been fermented in stainless steel as they were switching from cement to wood, but the new vats didn’t arrive in time for the vintage. It was also served at the wedding of Spain’s Crown Prince, who later became King Felipe VI. After the 2004, this marks a shift towards wines dominated by tertiary notes, although there’s still plenty of fruit here. The nose is spicy with mushroom and undergrowth alongside incense and leathery tones. The palate is laden with umami – with fresh leather and dried berry fruit – as well as dried strawberries, supple tannins and refreshing acidity. Fermented in stainless steel, 13.16% alcohol and bottled June 1998.  1980 Imperial Gran Reserva: As CEO Victor Urrutia said, 1980 was “a shit vintage” – and has always been in the shadow of 1981 and 1982. Tasting the wine today, that’s probably fair – however it’s still an impressive wine. The nose has a distinctly herbal, menthol edge to the sweet fruit – macerated strawberries, with a balsamic hint. The tannins still offer bite, while the fruit shifts to darker, more bramble tones towards the finish. Fermented in concrete, 13.4% alcohol and bottled May 1985.  1970 Imperial Gran Reserva: The 1970 vintage was hot and produced powerful wines – earning it a reputation as one of Rioja’s finest vintages. After over 50 years, the wine is intensely savoury – combining soy, marmite and barnyard tones with intense, dark fruit. With air, the wine offers layers of spice (almost reminiscent of paprika), bacon frazzles and smoked almonds, complementing the concentrated core of fruit. It’s intense yet balanced, with bright acidity that keeps everything fresh and fills the long finish. Fermented in concrete, 12.97% alcohol and bottled March 1975.  1968 Imperial Gran Reserva: From a more difficult vintage, the 1968 Imperial has a charming nose that seamlessly combines savoury and sweet – with earthy richness that sits alongside incense-inflected berry fruit and a pleasing herbal note. The palate is elegant and vibrant, with plenty of fruit still driving through its core, while more savoury, smoky notes dominate the finish. Fermented in concrete, 12.7% alcohol and bottled April 1974.  1959 Imperial Gran Reserva: The 1959 vintage is another of Rioja’s most lauded, although I suspect this bottle was not showing its best. There’s a plushness and intensity to the palate, with a sharp drive of acidity, while the nose is dominated by leather, black liquorice and barnyard. Fermented in concrete, 13% alcohol and bottled February 1968.  1947 Imperial Gran Reserva: An amazing wine to tasted, the 1947 CVNE Imperial has a reputation – one that this bottle more than lived up to. Coffee and tobacco notes with bright fruit – ripe red cherry and raspberry, as well as florals, incense, black tea and sage, alongside smoky perfume. It’s long and fresh on the palate, seamless and fully resolved but pure and persistent, with a Bovril edge to the finish which is vibrant and long. Gorgeous now – drink it while you have the chance. Fermented in concrete, 12.4% alcohol and bottled August 1960.  Explore all CVNE listings, including a range of back-vintages of Imperial Gran Reserva, or read more Editorial 

Earlier this month, CVNE hosted a once-in-a-lifetime tasting of their Imperial Gran Reserva. Sophie Thorpe explores what makes the wine so special and how it has evolved over eight decades 

Exploring CVNE’s flagship Gran Reserva Rioja, Imperial, back to 1947 at a once-in-a-lifetime tasting with CEO Victor Urrutia 

Tasting CVNE’s Imperial Gran Reserva Rioja 2018-1947 

An icon through the ages: CVNE’s Imperial Gran Reserva 

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

Ch. Ausone: the Vauthier Vision Our 2023 events line-up started with a bang at one of London’s most exciting and newest culinary establishments, Alex Dilling at Hotel Café Royal.  On a typically British February evening, our guests gathered at Hotel Café Royal for a Champagne reception and exceptional five-course meal celebrating one of Bordeaux’s most respected estates, Ch. Ausone. Each course was expertly designed to complement the nine remarkable Saint-Emilion vintages we tasted throughout the night.  The magical evening began with an exploration of the Vauthier family’s other wines in Saint-Emilion: Chx Haut-Simard, de Fonbel, Moulin Saint-Georges, La Clotte and Chapelle d’Ausone. These wines were the perfect introduction to the Vauthiers’ style of Bordeaux – wines of extraordinary precision and finesse. We then moved on to the main event – a vertical of Ch. Ausone stretching from 2003 to 2018, exploring the beauty of this property and how its style has developed under the Vauthiers. Edouard Vauthier – son of proprietor Alain Vauthier and brother to winemaker Pauline Vauthier – joined us to share the property’s fascinating history, guiding us through its distinct terroir and how they work in the vineyard and winery. This wonderful evening and comprehensive tasting provided the ultimate insight into this very special property – and was the perfect introduction to 12 months’ worth of wonderful gatherings with excellent food, wine and conversation. Full line-up: Champagne Henri Giraud, MV10  2016 Ch. Haut-Simard, Saint-Emilion 2015 Ch. Moulin Saint-Georges, Saint-Emilion  2015 Ch. la Clotte, Saint-Emilion  2016, 2011 Chapelle d’Ausone, Saint-Emilion  2018, 2017, 2016, 2009, 2008, 2007, 2006, 2005, 2003 Ch. Ausone, Saint-Emilion  Read more about the evening.  Le Pin from the beginning, with Jacques Thienpont The second event of the year, held at Claridge’s L’Epicerie, was a magnificent celebration of one of the most famous names in wine, Le Pin. With a mere 600 to 700 cases produced annually – a truly minuscule quantity that is dwarfed in comparison to fellow top estates of Pomerol and Saint-Emilion – few people ever get to taste these wines. Those fortunate enough to do so almost certainly wouldn’t have tasted the vintages on show back-to-back in February. Over the course of the evening, guests were treated to 15 incredible wines –  three from acclaimed vigneron Jacques Thienpont’s special Saint-Emilion operation L'If and 12 spellbinding wines from the iconic Pomerol es­tate, concluding with the 1990, 1983 and first-ever Le Pin vintage, 1979. Thienpont and Diana Berrouet Garcia (MD of Domaines Jacques Thienpont) joined us for the evening, sharing remarkable stories about one of the world’s most renowned and mythical producers. During this truly immersive experience, we were able to gain unprecedented insight into the style, philosophy and history of the incredible estate that produces one of the world’s rarest and most in-de­mand wines for collectors. Such was the quality of the wines on show that the world-class food served by the expert L’Epicerie team was almost reduced to a footnote. Seven exquisite dishes were prepared in Claridges’ iconic kitchens – each one designed to complement the remarkable wines that filled our guests’ glasses. Truly exceptional. Full line-up:  2015, 2013, 2012 L’If, Saint-Emilion  2010, 2009, 2008, 2007, 2006, 2005, 2001, 2000, 1991, 1990, 1983,1979 Le Pin, Pomerol Read more about the event.  Schrader Exploration with Jason Smith MS One of Napa’s cult names, Schrader Cellars, was the focus of our third event of the year. During an intimate dinner at Michelin-starred Muse by Tom Aikens in Belgravia, London, guests were treated to a vertical of the greatest-ever vintages (2005-2019) of Schrader’s top cuvée, Old Sparky, which all received perfect scores. These 100-point wines – all from magnum – were expertly paired by one of the UK’s most talented chefs.  Esteemed Master Sommelier Jason Smith expertly guided us through Schrader’s best vineyards and terroirs before enthralling us with tales of six vintages that have become some of the estate’s most coveted and rarest wines. While tasting these exceptional vintages at the gorgeous two-storey Belgravia townhouse, Aikens hand-served and enthralled guests with the seven courses he had prepared for the evening. This was an exploration of one of the world’s most decorated and mythical wines which showcased Napa Cabernet at its very best. Full line-up: Champagne Henri Giraud, Fût de Chêne MV10 (in magnum) 2019 Robert Mondavi, To Kalon Vineyard Fumé Blanc Reserve 2019, 2018, 2013, 2012, 2007, 2005 Schrader Cellars, Old Sparky, Beckstoffer To Kalon Vineyard, Cabernet Sauvignon The Pernots of Puligny  In April, two young Puligny-Montrachet visionaries, Alvina Pernot and Philippe Abadie, took centre stage at hallowed London culinary establishment, The Connaught. During a remarkable five-course meal, prepared by Hélène Darroze’s three-Michelin-star team to complement the 23 wines on show, guests enjoyed a mini vertical tasting of La Rue aux Vaches, followed by a selection of Premiers and Grands Crus from Alvina’s grandfather’s estate Domaine Paul Pernot and her own eponymous fledgling property. Following a tasting flight (2021-2018) of Alvina Pernot’s Rue aux Vaches vineyard – bottled exclusively in magnum – guests were then served five mini verticals of Domaine Paul Pernot’s Folatières, and Grand Crus Bienvenues-Bâtard and Bâtard-Montrachet from the family’s cool cellars in Puligny. The supremely talented husband-and-wife winemaking duo joined us on the night to offer insight into these special vineyards and wines, and the contrasting styles of the two properties. It was a true exploration of Pernot, a key and treasured partner for FINE+RARE, across many of their greatest wines.  Full line-up:  2021, 2020, 2019, 2018 Puligny-Montrachet, La Rue aux Vaches, Alvina Pernot (in magnum) 2020 Bâtard-Montrachet, Grand Cru, Alvina Pernot 2020 Puligny-Montrachet, Premier Cru, Clos des Folatières, Alvina Pernot 2018 Puligny-Montrachet, Premier Cru, Les Folatières, Alvina Pernot (in magnum) 2017, 2016, 2012, 2009 Puligny-Montrachet, Premier Cru, Clos des Folatières, Domaine Paul Pernot 2006, 2001, 1999, 1996 Puligny-Montrachet, Premier Cru, Folatières, Domaine Paul Pernot 2017, 2013, 2011, 1996 Bienvenue-Bâtard-Montrachet, Grand Cru, Domaine Paul Pernot 2017, 2010, 1999, 1988 Bâtard-Montrachet, Grand Cru, Domaine Paul Pernot Ch. Lafite Rothschild through the ages A landmark event of the year, Ch. Lafite Rothschild through the ages was the first experience we held in UK held outside London. Waddesdon Manor in Aylesbury was the natural choice for the occasion because of its iconic grandeur – and connection with the Rothschild family. Following a Champagne reception in Waddesdon Manor’s private gardens on a balmy summer evening, guests sat down to an enviable six-course dinner accompanied by an incredible flight of ex-château back vintages of Ch. Lafite Rothschild, from 1960 to 2010, and two beautifully mature magnums from Lafite’s sibling estate, Ch. Duhart-Milon. Domaines Barons de Rothschild International Director Jean-Sébastien Philippe joined us for this remarkable journey exploring one of Bordeaux’s most renowned First Growth châteaux before we retreated to the charming, characterful Five Arrows Hotel located a stone’s throw from Waddesdon Manor. Full line-up: 2019 Ch. Rieussec 2010, 2005, 1990, 1982, 1960 Ch. Lafite Rothschild 1990, 1976 Ch. Duhart-Milon (in magnum) Exploring Ch. d’Yquem and Ch. Cheval Blanc In June, we held our first event that included a magnificent overnight stay outside the UK in the historic wine-producing region of Bordeaux. Over the course of two wonderful days, guests walked among the vines and cellars of two iconic estates – Ch. d'Yquem and Cheval Blanc. Two of the region’s most respected winemakers, Pierre Lurton and Pierre-Olivier de Clouet, joined us as we explored these highly coveted estates through private vineyard and cellar tours, incredible culinary experiences at both properties and superlative flights of ex-château vintages.  Following a lunch and tasting at Ch. d’Yquem – including magical vintages dating back to 1939 – and a 14-flight Cheval Blanc dinner, guests settled into the breathtakingly beautiful five-star Château Hôtel Grand Barrail for the night, located a short distance from the neighbouring medieval town of Saint-Emilion and some of the world’s most coveted fine wine producers. The wines, company and setting were truly magnificent and we all walked away from the experience with a greater appreciation for the two wine estates. Full line-up: 2016 "Y" de Ch. d'Yquem 2020, 2009, 2005, 1990, 1961, 1959, 1939 Ch. d’Yquem 2020 Le Petit Cheval Blanc 2020 Le Petit Cheval  2015, 2011, 2010, 2009, 2000, 1998, 1990, 1982, 1966, 1964, 1961 and 1939 Ch. Cheval Blanc Ch. Belle-Brise: discovering the walled garden of Pomerol Our penultimate event of 2023 was a first for our experiences programme – a dinner in the United States hosted by our US arm, Vinfolio.  In November, an intimate group of guests gathered at three-Michelin-star SingleThread in Healdsburg (Sonoma County, California), to celebrate FINE+RARE favourite Ch. Belle-Brise.  Over the course of the evening, the small group were fortunate enough to taste a 23-vintage flight of Belle-Brise dating all the way back to the first commercial release in 1993. All those in attendance were gifted the rare opportunity to unravel the golden thread that connects each vintage from this special Pomerol estate. As Scott Turnbull MS – Vinfolio Director of Private Clients – explains in his Editorial piece about the night, elegance and finesse were the common themes at one of the largest Ch. Belle-Brise retrospective tastings ever held.  Host for the evening, Turnbull, shared stories from the estate’s short but mighty history, including the château’s ability to overcome adversity in its first few commercially released vintages to produce what is, for many, a desert-island wine. Special thanks to the supremely talented SingleThread team for preparing an exquisite kaiseki-influenced Japanese menu that gave the little-known, yet much-loved Pomerol property an incredible stage to demonstrate its silken and opulent wine’s almost weightless power.  Full line-up: Champagne Robert Moncuit, Les Grands Blancs, Blanc de Blancs 2002-2020, 2000, 1999, 1995, 1994 and 1993 Ch. Belle-Brise, Pomerol 1982 Bas Armagnac, La Fontaine de Coincy (45%) Read more about the event. Two decades of Roumier’s Bonnes-Mares with William Kelley Our 2023 events calendar drew to a close in spectacular fashion with a superlative showcase of 20 vintages of one of the most legendary bottlings on the fine wine landscape, Domaine Georges Roumier’s Bonnes-Mares. An international group of collectors and wine enthusiasts from the Czech Republic, Mallorca, Geneva, San Francisco, London and Burgundy (in the form of the evening’s compère, acclaimed Burgundy authority Wine Advocate’s William Kelley) gathered on an autumnal night at London’s prestigious Connaught Hotel for an exploration like no other.  Following a Champagne reception, five incredible courses prepared by Hélène Darroze’s expert culinary team were served. Each one was designed to complement the stunning wines from two remarkable decades (2000)-2020) in the estate’s history. Throughout the evening, Kelley provided fascinating insight on each flight and vintage, bringing the wines to life for all those present. It was a truly memorable occasion, gathering to taste a flight of wines we are unlikely to have the opportunity to encounter again any time soon. Full line-up:  Champagne Henri Giraud, MV10 2000-2020 Bonnes Mares, Domaine Georges Roumier Find out more about our events and experiences or register interest in future events

As we’re putting the finishing touches on this year’s events calendar, we look back at 2023’s dinners and tastings – with highlights including verticals of Roumier, Le Pin, Ausone and more

A round-up of some of the best events we hosted in 2023 – including verticals of Roumier, Le Pin, Ausone and more

Looking back at our 2023 events

The Scotch whisky world is a fickle beast. In its 500-year history, the number of distilleries in Scotland has swelled and contracted many times. There have been myriad casualties, and very few have lived through these downturns without shedding stills and stocks to stay afloat.  The less fortunate were shuttered temporarily, mothballed for inordinately long periods of time, or were ghosted with no hopes of revival. In many cases, everything – lock, stock and, quite literally, barrel – was sold to pay off debtors, and the site was razed to the ground. In the years that have followed, these silent or so-called ghost distilleries have taken on an almost mythical new name: lost distilleries. While these producers were invariably unknown while in active production, the allure of what is no more has made them astoundingly popular, sending prices into the tens, and in many cases, hundreds of thousands. In the 40-plus years since the last whisky loch, when a devastating number of distilleries were forced to close, some producers have languished in relative obscurity, with only the most devout knowing of their existence and diligently sourcing their precious nectar. Others have developed a cult-like status and become exceptionally collectable as a consequence. So collectable, in fact, that their owners have moved heaven and earth to bring them back to life. The most famous are those considered the “Holy Trinity” of lost distilleries: Port Ellen, Brora and Rosebank. “They are the lost history of Scotland’s distilling and whisky heritage,” Stephen Rankin, Director of Prestige at independent bottler Gordon & MacPhail, says wistfully. “They are from a time when whisky was made slightly differently from today. It’s a lost character. We cannot go back and make these whiskies like they were originally made. They reflect both the time as well as the people and place in our history,” he adds. When the vast majority of these distilleries were in production, huge quantities of their output was destined for blends. Their young single malts simply were not available, or more accurately, were not widely available, as distillery bottlings. If it hadn’t been for independent bottlers like Gordon & MacPhail, who prudently bought stock and squirreled it away, when distilleries were closing down in their droves, then these whiskies would almost certainly have been consigned to the very dusty history books. “I think the popularity has a lot to do with the mystery of times gone by and what older whiskies used to be,” the newly appointed Rosebank Distillery Manager Malcolm Rennie tells me. “There’s a certain element of the misty-eyed past being better in some way,” he muses. “Not always the case in my opinion – the exception being Rosebank, of course,” Rennie quips. For James Mackay, Head of Rare & Exceptional Spirits at Diageo, which owns Port Ellen, Brora (and Rosebank until 2017), it’s all about the experience. “Due to the very nature of ghost distilleries and their finite stocks, these are whiskies we will never be able to taste again. When you share a whisky from a ghost distillery with a friend, they’ll know that they're being treated to something completely irreplaceable and there is something very special about that.” This special experience is a costly one. Collectors – and flippers – have driven the price of lost distillery bottlings to exorbitant highs. Questions have been raised about what the reawakening of these lost distilleries will do to the prices of existing bottlings and where these new-old whiskies from the likes of Port Ellen, Brora and Rosebank will sit in terms of price and taste profile. On this last point, Mackay says: “This is the big question we’re all asking ourselves.” He continues: “We are confident that the new Brora and Port Ellen whiskies will sit amongst the best in the world, however we’ll have to wait two or three decades before we know for sure!” In terms of taste profile, Rennie says the new Rosebank will be a “very accessible” whisky “on the lighter end of the scale with a typical fresh, fruity smooth character but with an additional dimension of distillery character giving some depth also”. On the question of price, he says “I couldn’t comment.” Adding: “It would depend on age, I’m sure. Safe to say Rosebank will be viewed as a premium whisky.” In many ways, Rosebank was the least likely lost distillery revival, as Diageo offloaded the distillery site to British Waterways in 2002, and the original three pot stills and mash tun were stolen by thieves in 2008. Rennie says it has been a real honour to be entrusted with resurrecting the distillery, which was mothballed in 1993. When we speak, three new copper pot stills are being delivered to the site – a landmark moment in any distillery’s history, old or new. A new distillery team is being assembled and the goal is clear: emulate the original, heavy and oily triple-distilled style of Rosebank spirit. The new Distillery Manager says no expense has been spared on equipment and operating systems to give the team as much control as possible. He acknowledges there will be a lot of trial and error to get the spirit character to where they all want it to be, but he is confident the finished article will be “as good as, if not better, than the original”. “It may take a few goes but we will get it,” Rennie adds determinedly. When asked why he thinks the Lowland distillery has become such an icon, Rennie says: “I think the fact that Rosebank was always a sought-after whisky way back in time says a lot. It was in demand 100 years ago by blenders, so the spirit was always special. It didn’t become special only because it closed, not like some other lost distilleries. “Rosebank has always been seen as the ultimate Lowland whisky and deservedly so. When it was closed in 1993 that reputation was only going to be enhanced and [it was] a real loss to the local area and overall whisky industry.” Rosebank’s location on the banks of the Forth & Clyde Union Canal was integral to its prosperity and eventual closure. In many ways the distillery’s fate was sealed when the canal which connected Scotland’s two main cities, Edinburgh and Glasgow, closed in 1963. When the whisky industry spluttered and stalled in the 1990s, the then-owners made what many believe to be the wrong decision to officially mothball the distillery. To great surprise and delight, Ian Macleod Distillers announced in 2017 that Rosebank would be revived having secured the site from Scottish Canals – a former division of British Waterways – and acquired the remaining stock from Diageo in preparation for the £10 million project to bring Rosebank back to life. The decision to restore Brora and Port Ellen was also made in 2017, 34 years after their closure. Mackay says this was partly a response to the demands from whisky enthusiasts but also as a result of the strong growth in single malt Scotch and the opportunity to create a new generation of whisky consumers. He says the £35 million restoration process – which started at the same time for Brora and Port Ellen – has required enormous support from local communities, teams of highly skilled engineers, whisky noses and the Diageo archives. Brora, in the Highlands, took little under four years to bring back to life and opened in May 2021. Port Ellen on the isle of Islay has taken slightly longer and should begin distilling in spring 2023.
 With an eye to the future, many speculate which ghost distilleries could be earmarked for revival next – Diageo alone owns another 15 of them. Rankin believes there are very few left that could come back, but when pushed suggests there could be one or two, depending on the condition of the buildings, their current broader environment and land use around them, and the financing structure in place of those doing the resurrection. He remains tight-lipped on which. Regardless, there has arguably never been a more exciting time in Scotch whisky, with lost distilleries being brought back to former glory, a glut of new distillery builds and collectability at an all-time high. “It is a unique time for whisky lovers,” Rankin agrees. “Scotland shall be seen as the home of single malt and blended whisky. Those overseas are starting with a blank canvas and are making their own history, while those new in Scotland have the legacy of a 500-year-old industry to build upon. “Even if the whisky that draws them in is one distilled in Japan or the USA, India or Switzerland, they will find their way to Scotland and in turn to past bottlings from our history, as well as to new expressions from long-established brands, resurrected ones, or brand new ones. “As my grandfather said: ‘The future is shaped by what you do today, while today reveals what we did in the past.’” As the past and present meet, there will be a keen eye on these formerly lost distilleries and what their resurrection means for those fortunate enough to own bottlings from a bygone era. Five of our favourite lost distilleries Glenury Royal Highland whisky distillery Glenury Royal has a rather ill-fated history. Severe fire, a distillery worker death in a boiler-incident and ultimate closure in 1985 have all befallen the distillery which once stood near Stonehaven in Aberdeenshire. Despite all this, the Glenury Royal name has survived, and very aged bottlings are increasingly scarce and collectable. Diageo has released some remarkable aged Glenury Royal bottlings (including a 50-year-old) as part of its highly sought-after Cask of Distinction series. Gordon & MacPhail has also bottled some rare Glenury Royal single malts. Littlemill Littlemill is the oldest licensed whisky distillery in Scotland. Whisky from the Lowland producer is incredibly rare and is no longer being produced after the distillery was closed, demolished and consumed by fire. Some independent bottlings and very rare own labels have been released. To date, Testament – a 44-year-old limited expression distilled in 1976 – is the oldest single malt from Scotland’s first distillery. Celestial Edition (40 years), Private Cellar (25-, 27- and 29-year-old) and a 1991 vintage have all been released in extremely limited quantities. Port Ellen The  Port Ellen distillery on the south coast of the Hebridean island of Islay is responsible for some of the rarest peated single malts on the market. The distillery, founded in 1825, was a victim of the whisky downturn and eventually shuttered for good in 1983. As stocks decreased, secondary market demand for Port Ellen intensified and bottlings regularly fetched five-figure sums. The distillery is being brought back to life with two copper pot stills that are faithful replicas of the originals, and two smaller stills which will produce more experimental and innovative spirit.  Brora Brora distillery – or Clynelish as it was originally known – was established in 1819 by the Marquis of Stafford, later the Duke of Sutherland. Sadly, Brora was a casualty of the 1980s whisky loch and closed its doors in 1983. In the years that followed, Brora has become one of the most highly sought-after Scotch whiskies. Some of the most expensive bottles ever sold have included the 40-year-old Brora bottlings from 1972 which have sold for upwards of £26,000. Many believe bottlings from the late 1960s and early ‘70s to be the most exciting in Brora’s distilling history. There are some remarkable official and independent bottlings from the early 1970s as part of the Rare Malts series and Douglas Laing & Co’s whiskies. Rosebank Rosebank is a highly sought-after and respected Lowland producer, famed for its triple-distilled whisky, that was mothballed in 1993. In the years that followed, Rosebank joined Port Ellen in Islay and Brora in the Highlands as one of the hallowed, and highly collectable, trinity of lost distilleries. The so-called “King of the Lowlands” developed a cult following for its triple-distilled whisky – a practice that is highly irregular in Scotland as most double distil. With new whisky from the distillery unlikely to appear until 2030, there will be heightened interest in and demand for the last remaining bottles from the original distillery. Browse all Scotch whisky listings or read more Editorial 

Some of the most collectable whiskies are those from distilleries that no longer exist. These ghost or lost distilleries hold a unique allure – but as attempts to revive Scotland’s so-called “Holy Trinity” get underway, Holly Motion explores whether it’s really possible to turn back the clock

We explore how Scotland’s most coveted and iconic distilleries have come back to life, including the Holy Trinity of Brora, Port Ellen and Rosebank. 

Haunting the present: ghost whisky distilleries

Haunting the present: ghost distilleries

Colin Scott should be one year into his retirement. After 47 years at Chivas Brothers, 31 of which were spent as the Master Blender, he should be enjoying a well-earned rest. Instead, the ebullient Scott is lighting up the screens of the FINE+RARE team as he talks about a certain 50-year-old blended whisky he has created for remarkable spirits curators The Last Drop Distillers.   “It’s just fantastic to come to The Last Drop and find these nuggets of gold and all these wonderful casks of very precious liquid that have phenomenal complexity and flavour,” Scott says with unabashed glee.   Despite his near-50 years in the whisky industry, this is only the second 50-year-old blend Scott has had a hand in producing. Well-aged whisky was, until relatively recently, only a small part of Chivas’ business.   “By the time we’d filled a cask and it had matured to 12 years, most of that went into Chivas 12. Once it reached 21 years old, we put it all into Royal Salute. So, there was very little maturing. But of course, as time goes on, the stocks have been held back and the super-premium part of the inventory has grown.”   Scott joined Chivas Brothers in 1973 and became their fifth Master Blender in 1989. But he would have to wait a further 13 years before a 50-year-old whisky project presented itself. The result was The Royal Salute 50 Year Old, released in 2002 – a dual commemorative bottling for Queen Elizabeth II’s coronation and Royal Salute’s 50th anniversary.   Today he’s talking about his latest 50-year-old creation, The Last Drop’s 22nd release and first in-house whisky: a 50-year-old blended Scotch. After a whole three months as a man of leisure, the “retiree” joined the Sazerac-owned company as their first Master Blender in autumn 2020.   “When I joined in September last year, it was really the beginning of finding out what all these nuggets were within the inventory. Sorting through the very special and remarkable casks and finding out a little bit about what they were and what they did and how we could bring them together.”  Scott explains that everything in the blend started out as either a single malt or a single grain whisky, distilled at different distilleries around Scotland over 50 years ago. “At various stages along the way, blends have been made but then of course the balance has been put into cask and stored away for further maturation. So, what we have is a mixture of some of these malts and grains, all with their own unique characters and flavours, that we bring together at the last moment.”   Tasting the blended whisky alongside Scott is like being escorted on a journey back through time – to an age when a lot of distilleries were doing their own maltings and adding peat to the kiln to get a little smoky flavour.   “To me, blending is all about taking the flavours and then balancing them,” he says. “What you have here on the nose is a tsunami of flavour. But, when you taste it, nothing actually lingers and stays on top.”   Scott encourages tasters to add water to remove the aggression of the alcohol and maximise the release of the aromas and characters. When he is tasting more than 50 samples around a nosing table, this trick is vital to reduce all the whiskies to 20% alcohol and allow the flavours to present themselves.   In the case of The Last Drop 50 Year Old, its mellowness, richness and depth means you don’t necessarily need to cut the 48% dram.    “When we blend, we don’t add something, sniff it and then add a bit more of that. What we do is actually write down the whole formula in its entirety. We then pilot blend it. When we add the last addition, it will change the balance of everything you have already. So, you don’t know the final answer until you add that last part of the formula. And then once you’ve got them all together you can evaluate what you have actually created.”  For Scott, the act of blending and evaluating is an entirely personal thing. “All whisky – grains, blends – are fantastic. They are all different and they all bring their own song to the party. The only reason one is better than other is your own personal experience.”   Scott, for instance, isn’t “a fan” of the smoky Islays. “I don’t think they’re bad,” he adds. “It’s all about personal taste. There’s not a bad whisky in the world.”  The Master Blender talks at length about whiskies having different personality traits that require nurturing and, ultimately, respect.   “If you take a single malt as distillate at birth – that has a flavour package. It’s like you when you’re born – you have a character. If you put that new distillate into a cask, over the years this distillate will react with the oak in the cask and take influences and nuances which will then promote other flavours in the new spirit.  “So as time goes on, the volume actually goes down, the strength goes down, but that flavour package actually intensifies and intensifies and multiplies and multiplies.”   When it comes to age, there is some debate about how old you can go. For Scott, the 50-year-old is undoubtedly a rare beast, but he doesn’t see any reason why you can’t go older and rarer if the whisky has been sufficiently nurtured.   “If the angels didn’t interfere, in a quality cask, you could take it to 60-, 70-, 80 years,” he says. “If you’ve got quality casks, you don’t get that wood influence. You get a little touch of the oak but what you have at the end of the day is this small amount of highly intense, complex flavoured whisky that started as the new distillate and just grew with all the different influences from the oak and the cask whether it is Sherry or Bourbon.”  While there have been scientific advancements during Scott’s career, he says there are still a great many unknowns about the maturation and flavour process, and you get the impression this only adds to the allure for him.   “Because it’s nature, we don’t actually know what’s going on,” he adds. “It’s massively complex and the technical people still don’t know the number of components in Scotch whisky. I think they’re up to about 800 now. When I started there were about 200.”   Regardless, you sense Scott will continue to do what he does best: respect, nurture and blend remarkable liquids – retirement be damned.   Browse all Last Drop listings or read more Editorial 

As he approaches his 50th year in the industry, Colin Scott tells Holly Motion about the allure of well-aged whisky and plundering The Last Drop’s remarkable spirits inventory 

The Last Drop Distiller's Colin Scott on the allure of well-aged whisky and his new role plundering the independent bottler's archives.

Bewitching blended whisky

The bewitching blend

Louis XIII has been adored by dignitaries, royalty and the glitterati throughout its near 150-year history. Everything about it, from the grapes to the glass, is of the highest quality. It has been present at some of the most momentous occasions in modern history – served at European royal courts, poured on the maiden voyage of the SS Normandie and Concorde, and quaffed by Agatha Christie on the Orient Express. It has been a favourite of Prime Ministers and dabbed on the wrists of fashion icon Coco Chanel. So what is it about this Cognac that has captured the hearts and minds of so many influential people throughout history? Working from the outside in, Louis XIII is housed in an instantly recognisable Baccarat crystal decanter. Each one is crafted by hand and no two are the same. It comes in a number of formats, from the miniature 5cl to the six-litre Mathusalem. Few bottles look as exquisite or capture the light like the spiked vessel that wouldn’t look out of place in a gallery. The decanter is fashioned after a carafe that was unearthed on a 16th century battleground. Rémy Martin founder Paul-Emile Rémy Martin decided to model his Cognac bottle on the one that was exhumed because he was so taken with the design. This was quite a radical move at the time as Cognac was historically sold by the barrel. The decision paid off as the decanter has since become an international standard for quality and many have attempted to mimic its design. There are numerous nods to history and Louis XIII’s royal namesake on the handblown decanter, including the 20-carat gold neck and handmade fleur-de-lis stopper. It takes a minimum two weeks’ craftmanship to produce a single decanter. This, however, is a mere fraction of the time it takes to produce the remarkable liquid within. Only the finest grapes from the Grande Champagne region are selected to one day become Louis XIII. Each decanter contains approximately 1,200 eaux de vie, distilled on lees, and aged for up to 100 years in traditional Limousin oak casks called tierçons that are over one century old. It’s no exaggeration to say Louis XIII is the work of a Cellar Master’s lifetime. Baptiste Loiseau became only the seventh person to hold the role – and the youngest in the Cognac house’s history – when he took up the mantle in 2014, at just 34 years of age. Despite all the advancements that have occurred throughout Rémy Martin’s history, it is no easier today than it was all those centuries ago for the Cellar Master to know if the decisions he or she makes will affect Louis XIII’s end taste profile. It is Loiseau’s role to ensure these aromas are the same in a century’s time – something that is becoming ever-more difficult in a changing climate with tools that are disappearing before his very eyes. The tierçons, named as such because Rémy Martin’s Cognac used to be transported in barrels of three on a horse-drawn carriage, are crucial to the history and taste profile of Louis XIII. There are tierçons in the depths of the Rémy Martin cellar that date back to 1744 – 20 years after Martin started producing Cognac under his own name. For a long time, the art of coopering these 550-litre tierçons was lost to the ages, as none was produced after 1917. This has become increasingly problematic over the past 20 years as the number of tierçons started to dwindle as one is sacrificed when another needs repairing. In 2012, then Cellar Master Pierrette Trichet made the bold decision to start this age-old tierçon coopering practice again, for fear there might not be any left for generations to come. This project to resurrect the art and safeguard the future of Louis XIII took years to master. The Rémy Martin team enlisted the help of various experts in their field to recreate a tierçon that was faithful to the ones produced in the 18th century. A tierçon must be made from a Limousin oak tree that is up to 180 years old. Once felled, the oak needs to be split and air-dried for a minimum of three years. The new tierçon is then filled with new eaux de vie to mature before it is ready to be filled with the eaux de vie that is one day destined to become Louis XIII. Even after creating countless prototypes, it’s impossible to know exactly how the resulting liquid will taste when it’s ready to bottle in almost a century’s time. From the grapes, to the maturation vessels, and decanter, everything about Louis XIII is rich in history and savoir faire. The world around might change, but there is some comfort in knowing that the "king of Cognacs" in your decanter – or better yet, rocks glass – is as fine as the liquid dabbed on the wrists of Coco Chanel and imbibed by the statesmen and dignitaries of their respective times. Browse all Cognac listings or read more Editorial 

Louis XIII is one of those spirits that almost transcends its own category – and rightly so. It has everything: the history, the provenance and exceptional quality. Holly Motion explores the fascinating history of the "king of Cognacs"

Learn the incredible story of Louis XIII, the king of Cognacs. A liquid of uncompromising quality, adored by dignitaries, royalty and the glitterati.

The history of Louis XIII, the king of Cognacs

Louis XIII: the making of an icon

In the conversation about terroir in spirits, rum arguably has a stronger position than most. There are numerous cane-to-bottle rums and many more with a credible claim to the dictionary definition of the term typically associated with wine. However, as is often true in the rum world, this isn’t an open and shut case. “Wherever unique spirits are found I think there is an opportunity to discuss the influence of terroir on the liquid,” Mitch Wilson, Black Tot Global Brand Ambassador, says. “How people interpret terroir in wine versus spirits is often different – wine terroir focuses on transmission of flavour from the land and the region into the final product. Spirits can be a much broader interpretation of terroir – here we often look at local ‘method’ and ’savoir-faire’ or know-how – how the local traditions together with production choices of the distiller and blender help to create a sense of identity in the final spirit.” Foursquare Master Distiller Richard Seale picks up the point: “Terroir is an interesting question in rum and you will get a different answer in different rum producing countries.” At the Barbados distillery, Seale ferments with added cultured yeasts in one section and pure cane juice natural fermentations in another. When it comes to the latter, Seale says “terroir in the traditional sense of the word is everything”. “The rum depends on the year of harvest, the time of harvest and the field from where it is harvested. It is 100% natural input. [There’s] not even a cultured yeast to give us some consistency or predictability,” he adds. Daniele Bondi, Export Manager at Hampden Estate's global distributor La Maison & Velier, is a staunch believer that terroir exists in rum and is perplexed by any arguments to the contrary. “I never understand when people think that spirits don’t preserve the characteristics of the fermented wash,” Bondi says. “Obviously, the terroir is respected and expressed only if the whole process of production is carefully preserved.” Wilson says sugarcane juice-based rums are undoubtedly the best examples of terroir in its “classical interpretation”. “Their flavour is almost entirely dependent on the local raw material used, and helps illustrate the vast array of differences between different genus of sugarcanes,” he explains. “Sugarcane juice is not easily transportable – when cane is crushed, the natural yeast on the outside of the cane is immediately brought into contact with the fermentable sugars in the juice, meaning fermentation happens spontaneously within a short period of time. This tends to encourage much more local distillation, often on the same estate where the cane is produced, allowing us to more easily focus on environmental terroir in these specific regions.” He says the fact rhum agricole, as well as their sugarcane-spirit cousins clairin and cachaça, are often found unaged means they are excellent examples of terroir. The purity of the raw material is preserved all the way through to distillation and ultimately glass. The climate of ageing has an enormous impact on terroir, according to Seale. He points to the fact a rum will age very differently in Martinique, which is approximately 140 miles away from his distillery in Barbados. Bondi says this crucial stage can negate terroir entirely. “If a product is aged far from the rest of the production, terroir doesn’t exist anymore.” This is something Dictador has played with in its 2 Masters series. Creative Director Ken Grier says rum, arguably, has a more diverse terroir influence than any other spirit category and this is about the influence of culture rather than soil. “Simplistically, the role of the original colonists has the biggest influence on rum production,” he explains. “The rhum agricole style found in ex-French colonies is derived from the juice of the sugarcane. In former British colonies like Jamaica the predominant style has been pot still, drawn from molasses. Ex-Spanish colonies have been more about column stills and finally Cuba is a tapestry of styles. Of any spirit, rum really reflects the history of the place where it is produced.” Sugarcane honey is used as the spirit base for Dictador. A blend of column and pot still rums are matured in oak casks on the coast by the Caribbean Sea. Grier says these factors all contribute to a particularly elegant, well-aged and complex rum. For the 2 Masters series, Dictador laid down between 10 and 20 casks with prestigious partners from the spirits and wine world. The rum was transported for maturation in the partners’ warehouses to benefit from their terroir, according to Grier. From there, the partners have the creative freedom to choose, in conversation with Dictador Master Blender Hernan Parra, which age and style of rum to use and what to do with it. These partners have included the likes of Glenfarclas, Royal Tokaji and Niepoort. The Royal Tokaji project, for example, took a 1977 rum and matured it in 12-year-old 300-litre Zemplen barrels for seven months in Hungary. These barrels had previously been used to age the producer’s 2016 Tokaji Aszu 6 Puttonyos.
 While there is a general consensus about ageing and sugarcane-juice rums, there is less accord when it comes to the role of molasses in the terroir conversation. “Molasses tends to be a fairly homogenous product,” Seale explains. “When discussing the contrasting styles of molasses rum from Barbados and Jamaica, the terroir element is more about the process and the know-how and less about the agricultural input. Much like a lot of Scotch whisky in that sense,” he explains. The decline of sugar production in many regions has understandably presented a problem when it comes to supply and demand. For this reason, many distilleries have resorted to importing their molasses. The same is true of grain in Scotch whisky production, which is often where the wheels come off in the debate around terroir in whisky. “It might be tempting to consider molasses-based rums as lacking a sense terroir (certainly in the wine sense), but this would be unfair,” Wilson says. “I’d be tempted to bet that given the opportunity to taste a line-up of single origin molasses from around the world that there would be enough variety to contribute to the idea of local terroir.” Ultimately, he says, it’s down to the producer at each stage of the production process to decide to what extent to allow the terroir to influence the final liquid. And, lest we forget: their savoir-faire. Explore all rum or read more Editorial 

The concept of terroir in spirits is a comparatively new one. And, in the case of rum, takes on a very different meaning to wine. Holly Motion explores

Exploring the comparatively new concept of terroir in spirits via the lens of rum – and how it takes on a very different meaning to wine. 

Exploring what terroir means in the rum world

Rum: the raw deal

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