Xiao-Li Meng, Whipple V. N. Jones Professor of Statistics at Harvard and Founding Editor-in-Chief of Harvard Data Science Review, was inspired by a student to combine wine and statistics—leading to insights far beyond what they ever expected.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Seeking simplicity in statistics, complexity in wine, and everything else in fortune cookies 

Inside Burgundy – Jasper Morris MW  Côte de Beaune  Jasper Morris MW’s first assessment of Burgundy 2024 reveals a vintage of extreme adversity yet unexpected classical poise, particularly for whites. An “exceptionally wet year,” marked by poor flowering, mildew pressure, and limited sunshine, made 2024 one of the most challenging recent seasons. Conditions worsened moving north, with the Hill of Corton and northern Beaune hardest hit, while mid-slope vineyards benefited from better drainage and earlier flowering. Harvest was tightly compressed between 12–16 September.  Despite the difficulties, Morris calls 2024 “much more applicable” as a return to classic Burgundy than 2021, especially for whites, where quality is “relatively homogenous” and characterful. He found wines defined by citrus, fresh apple, and, at their best, “rapier-like acidity” and tension. These whites will be “accessible early,” though he warns buyers to avoid those lacking backbone and energy.  Reds are more mixed and occasionally fragile, yet the finest examples show charm and harmony. Morris highlights “aromatic pinots that could make you smile at first sniff,” with unusually refined tannins, aided by a return to a classical 100-day ripening cycle. Village wines and well-managed premiers crus represent the sweet spot of the vintage.  Chablis  Chablis faced the harshest conditions in 2024: floods, frost, hail, and relentless rain, with total rainfall reaching 634 mm and many organic producers harvesting below 10 hl/ha. Some, like Guillaume Vrignaud, “made hardly any wine and sold it off.” Morris expected “green… ugly and flawed” wines but found most were sound and “less fragile than their 2021 counterparts.” While few are truly great, many show classic Chablis character—crisp, defined, with “crushed oyster shell” notes. Best for short- to medium-term drinking, 2024 in Chablis demonstrates resilience and surprising drinkability after a punishing season.  Côte de Nuits  In the Côte de Nuits, Morris sees 2024 as a vintage of delicacy rather than power. Harvest ran 12–16 September, with Nuits-St-Georges hit hard by rain and further north affected by uneven conditions and hail. Losses came mostly from coulure rather than mildew, especially around Gevrey-Chambertin. Whole-bunch fermentation and reduced stem use were key, and while some wines need time to integrate, many show light, perfumed character. “If you like dark coloured powerful wines… there is nothing here for you,” notes Morris. Only 2% of wines achieve top accolades, making careful selection essential.  Explore Jasper Morris MW’s reports, notes and scores on his site (subscribers only)  Vinous – Neal Martin  Neal Martin portrays 2024 as a season of extremes, where relentless rain, frost, and mildew tested every winemaker. Flowering was uneven, yields sharply reduced (Pinot Noir suffered most) and frost damaged parcels from Marsannay to Clos de Vougeot. As one winemaker reflected, “Each day in the vineyard felt like a battle,” capturing the relentlessness of the season. Tiny harvests demanded meticulous vineyard work and careful vinification, with whole-bunch decisions critical: “2024 was not a vintage to play recklessly with stems.”  A sunny, warm August offered salvation, allowing grapes to reach phenolic ripeness. Martin notes it “enabled some to capture the brightness and freshness of vibrant red fruit where Pinot Noir reaches its apex” and lent Chardonnays “razor-sharp tension and delineation.” Whites show energy and mineral clarity, while reds are delicate, transparent, and expressive rather than powerful.  Despite the challenges, skill and perseverance triumphed. Careful vineyard management and thoughtful vinification produced wines of elegance, freshness, and charm. As Martin concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Neal Martin’s reports, notes and scores on the Vinous site (subscribers only)  Burghound – Allen Meadows  Allen Meadows’ Burghound report describes 2024 in the Côte de Nuits as a vintage of extreme difficulty and delicate character. Following “rain, rain, and yet more rain,” growers faced poor flowering, rampant mildew, and historically tiny yields, with clusters sometimes reduced to 15–20 berries. Meadows notes that “the variability in 2024 is that of 2023 squared,” making disease control, rigorous sorting, and careful vinification essential to preserving quality.  Despite the challenges, the best wines are “ultra-fresh, wonderfully energetic, impeccably well-balanced and the most transparent reds we’ve seen since 2010.” Alcohol levels are modest, around 12.5–13%, enhancing clarity and finesse rather than weight or power. Harvest ran from 16–21 September, slightly later than the traditional 100-day rule, allowing vines to achieve ripeness amid persistent rainfall.  Vinification emphasized restraint: light extraction, reduced stem use, and careful temperature control preserved purity and avoided harsh tannins. Minor faults, mostly reduction from copper or sulfur sprays or slight volatile acidity, rarely detract. Meadows notes some wines are “too skinny or too lean,” but the best display crystalline transparency that “puts the intrinsic terroir on parade.”  Most wines suit mid-term cellaring: villages and premiers crus are approachable in 4–8 years, while top grands crus can age 10–15. Stylistically, 2024 reds are elegant and energetic, rewarding careful selection in a year of extreme variability.  Explore Allen Meadows’ reports, notes and scores on the Burghound site (subscribers only) Jancis Robinson – Jancis Robinson Jancis Robinson MW sums up 2024 as “nightmare… misery… exhausting… unremittingly grim,” with “gruesome” final yields. Heavy rain and unusually low temperatures during flowering severely damaged Pinot Noir, particularly in the Côte d’Or, while Chardonnay fared slightly better. Many vignerons abandoned organic viticulture for systemic sprays to save their crops. Pierre-Yves Colin-Morey achieved “respectable, but most unusual for 2024” yields of 35–40 hl/ha only by switching early.  Losses were severe: reds down up to 80%, whites about 30%. Robinson notes that “the cool summer meant acidities were high, and successful reds could be described as pretty, but never concentrated,” with pale color and barely perceptible tannins. Late August brought some warmth, raising sugar levels, though many producers still had to chaptalise. She warns this is “a vintage to drink relatively early,” emphasizing elegance over opulence, fragility over power.  Cellar work was complicated by tiny harvests. Half-full tanks increased the risk of oxidation or stuck fermentations. Oak use was moderated, though some grands crus required up to 50% new barrels to fill them. Extraction and whole-bunch fermentation were carefully managed, with co-fermentation across parcels common.  Despite the challenges, Robinson highlights successful producers including Bertrand Bachelet, Yvon Clerget, Comte Armand, Philippe Colin, Sérafin, and Joseph Drouhin. Regions south of the Côte d’Or fared better, producing more generous, sophisticated wines. She frames 2024 as “a triumph of resilience over nature,” rewarding careful selection and precision in the cellar.  Explore Jancis Robinson's reports, notes and scores on her site (subscribers only) Jancis Robinson – Matthew Hayes  Matthew Hayes describes 2024 as a vintage “all over the shop,” marked by extreme scarcity, mildew pressure, and uneven quality across the Côte d’Or. Some estates, like the newly launched Domaine Henri Rebourseau, produced nothing, while others managed only tiny parcels. Yet Hayes notes, “producers actually had some wine; the second relief was that these had turned out better than feared.” Quality varies by village, vineyard, and even row, making careful selection essential.  The season was relentlessly difficult. Pinot Noir struggled with coulure, millerandage, and mildew, while Chardonnay fared slightly better thanks to earlier flowering. Organic producers faced doubled labor and costs, with some switching to synthetic sprays to save their harvests. Final yields were punishingly low, with red grape losses up to 85%. Harvest began in mid-September, balancing ripeness with botrytis and powdery mildew risks.  Winemaking focused on tiny lots, cautious extraction, and moderate oak. Reds are elegant, medium-bodied, and dominated by red fruit, while whites show precise acidity and finesse. Hayes notes, “This is not the Pinot Noir we have recently come to expect.”  Scarcity keeps prices high, yet the best wines are balanced and surprisingly drinkable. As Hayes concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Matthew Haye’s reports, notes and scores on the Jancis Robinson site (subscribers only) Decanter – Charles Curtis MW Pommard & Volnay 2024: Early-drinking Pinot Noir   Charles Curtis MW highlights Pommard and Volnay as the standouts in 2024, a vintage where Pinot Noir struggled across Burgundy. The northern Côte de Beaune largely avoided the worst rain and mildew, producing wines with the lush, supple fruit the region is known for. Pommard ranges from firm and tannic to approachable, while Volnay shows silky, expressive character.  Yields were exceptionally low: Paul Zinetti of Comte Armand recorded just 15 hl/ha, and Paul Négrerie of Château de Pommard 14 hl/ha. Careful extraction was key to avoid green tannins, producing wines of elegance over ripeness. Frédéric Lafarge notes that Volnay’s 2024 shows purity and terroir expression, comparing it favorably to 2021: “2024 showed more finesse and complexity due to the longer vegetative cycle.” Overall, the vintage is lighter than usual, suited to earlier drinking, though the best wines from top producers can age five to ten years.  Best Value Burgundy 2024 Wines   Finding value in 2024 requires a selective approach, as low prices rarely coincide with scarce wines. Curtis recommends starting with regional appellations, particularly the Hautes-Côtes of Nuits and Beaune, where top performers include Bourgogne Hautes-Côtes de Nuits Les Dames Huguette (Dufouleur) and Bourgogne Hautes-Côtes de Beaune blanc (Guiton).  Further south, the Côte Chalonnaise offers excellent options, with Maison Chanzy (Bouzeron), Domaine Belleville (Rully), Château de Chamirey (Mercurey), and Domaine du Cellier aux Moines and Domaine Stéphane Aladame (Givry/Montagny) standing out. Curtis also praises the Mâconnais for Chardonnay, noting “bright acidity, fresh fruit, and solid structure,” with Pouilly-Fuissé in particular shining.  In short, 2024 may be small in volume, but careful exploration of Pommard, Volnay, the Hautes-Côtes, southern Burgundy, and the Mâconnais reveals wines that combine quality, typicity, and attractive drinking windows.  Explore Charles Curtis MW’s reports, notes and scores on the Decanter site (subscribers only) Wine Advocate – Kristaps Karklins
 Kristaps Karklins portrays 2024 in Chablis as a season of extreme attrition, marked by frost, hail and what he calls “historic mildew pressure—among the highest ever recorded.” Yields dropped by “60% to 70% on average,” with some estates losing entire crus, including Dauvissat’s Séchet, Montée de Tonnerre and Les Clos. By late August, rainfall had reached “around 600 millimeters, compared with the average 380,” making healthy fruit scarce and rigorous sorting decisive. Growers who waited to harvest were rewarded with “greater texture and mid-palate amplitude,” while early picking risked under-ripeness and dilution.  Despite the hardships, barrel tastings reveal notable successes. The finest 2024s are “classical Chablis,” defined by tension, clarity and site transparency, and approachable earlier than most vintages. While they cannot rival the concentration of 2023 or 2022, Karklins suggests they may delight purists more than a random selection of riper years. “No one would call 2024 a historic vintage,” he concludes, yet among the best producers the wines are “unmistakably, even nostalgically Chablisien,” rewarding careful selection with freshness, character and authenticity.  Explore Kristaps Karklins reports on the Wine Advocate site (subscribers only) Wine Advocate – William Kelley In a shorter spotlight on Verget and Domaine Guffens-Heynen, William Kelley describes 2024 as wetter and more overcast season following the warmth of 2022 and 2023, though mercifully spared the frost damage that scarred 2021 and 2016. Volumes are reduced, but quality is “solid,” and some wines “transcend the vintage,” reaching levels of maturity that are unusual for such a challenging year. Jean-Marie Guffens likens the domaine’s 2024s to 1998, a vintage that performed better in the Mâconnais than in the Côte de Beaune.  The true stars for Domaine Guffens-Heynen, however, are the bottled 2023s. Kelley ranks 2023 alongside 2020 as one of the finest vintages for domaine in the last 10 to 15 years and among the best of Guffens’s career. If the 2020s are “almost neoclassical” in style, the 2023s are more flamboyant, setting up a compelling contrast between two outstanding expressions of the domaine that will invite comparison for decades to come.  Explore William Kelley’s reports, notes and scores on the Wine Advocate site (subscribers only) Discover and shop the releases from this year's vintage or read the rest of our coverage of Burgundy 2024 here

The critics are starting to declare their verdict on the 2024 vintage. Here’s your crib-sheet to what the leading names, including Jasper Morris MW, Neal Martin, Allen Meadows, Jancis Robinson, William Kelley and more are saying about the latest Burgundy vintage.

Discover expert insights on Burgundy’s 2024 vintage from the top industry critics. Your essential guide to the latest vintage verdicts.

Burgundy 2024 – what the critics are saying

Burgundy 2024: the critics’ verdict

A vintage earned the hard way The growing season: Pressure without pause The wines: Classical, transparent, terroir-driven Producers who rose to the challenge Positioning Burgundy 2024 A vintage to buy thoughtfully and early A vintage earned the hard way Burgundy 2024 will be remembered as one of the most testing growing seasons of the last decade. Relentless spring rain, unyielding mildew pressure, episodes of localised hail and deeply uneven flowering pushed growers to their limits. Yields collapsed across large parts of the Côte, often by 50–80%, with some domaines barely reaching 10 hl/ha. In villages such as Vosne-Romanée, Nuits-Saint-Georges, Chambolle-Musigny, Gevrey-Chambertin and Savigny-lès-Beaune, the losses were devastating. And yet, against all expectations, the wines themselves tell a different story. 2024 is not a vintage of excess or easy charm. It is a classical year, one defined by purity, freshness and an almost stubborn transparency of terroir. Many vignerons, reflecting on the wines in barrel, have drawn comparisons to 2010, 2012, 2014 and even 2016, not because the conditions were similar, but because the results are finely structured, saline, precise wines, shaped by restraint and experience rather than power. This is Burgundy at its most honest. The growing season: Pressure without pause The difficulties began early. From April through June, rainfall was almost continuous, creating ideal conditions for mildew. Even the most diligent growers were pushed to extremes. Treatment schedules doubled or even tripled: 17 passes at Georges Lignier, 22 at Charles Audoin (against a norm of 12), 17 at Pavelot, 17 again at Faiveley. Organic viticulture, in particular, was placed under immense strain. Some domaines made the painful decision to abandon organic certification mid-season in order to preserve what fruit remained. Others refused. Audoin persisted with organic practices despite catastrophic losses, sacrificing yield in favour of principle. At Domaine Lamarche, Nicole Lamarche chose to stop treatments altogether once the damage was done, preferring to let the vines recover naturally rather than force a compromised crop – a decision that may yet prove prescient for future vintages. Flowering was irregular and prolonged, leading to widespread coulure and millerandage. Localised hail compounded the damage: Audoin’s Clos du Roy in Marsannay was effectively wiped out. By early summer, it was clear that 2024 would be a year of scarcity. Then, finally, the season turned. From August onwards, conditions stabilised. Nights remained cool, days were warm but not excessive, and crucially the weather stayed dry. Harvests began between the 14th and 21st of September, slightly later for whites and Aligoté. Thanks to rigorous sorting, sanitary conditions were generally good, and what little fruit remained ripened cleanly. Alcohols settled modestly, typically between 12% and 13%. Many domaines opted for small chaptalisations to bring balance rather than richness. Acidity remained healthy, pH levels often between 3.2 and 3.6, though some, like Lignier, intervened gently to avoid excessively high pH. It was, in every sense, a vintage that had to be earned. The wines: Classical, transparent, terroir-driven Reds: Precision over power Across both the Côte de Nuits and Côte de Beaune, the reds of 2024 speak quietly but clearly. Red fruit dominates: cherry, raspberry, wild strawberry, framed by saline notes and fine, linear tannins. There is freshness rather than weight, definition rather than density. Alcohol levels rarely exceed 13%, and the balance between fruit, acidity and structure is striking. Several producers have likened the vintage to 2012 for its texture, to 2010 for its precision, or to 2016 for its harmony, though with a distinctly modern clarity. Despite the concentration imposed by low yields, these are not massive wines. Many will drink earlier than expected, yet the underlying structure suggests graceful ageing, particularly from well-sited Premier and Grand Cru vineyards. Whites: One of the vintage’s great successes If there is a consensus emerging, it is this: white Burgundy lovers should pay close attention to 2024. With pH levels often between 3.2 and 3.35 and alcohols in the 12–13% range, the whites are taut, mineral and saline, with a cut reminiscent of 2014. There is energy here, wines that feel built for the cellar rather than the tasting bench. For collectors who prize tension, definition and longevity over richness, 2024 will be a compelling proposition. Producers who rose to the challenge The defining characteristic of 2024 is not uniformity, but differentiation. This is a vintage that rewards decisiveness, experience and clarity of philosophy. At Georges Lignier in Morey-St-Denis, repeated rainfall washed away organic treatments, forcing the domaine into laborious hand-spraying. A decisive early intervention ultimately preserved yields of 24 hl/ha, dramatically higher than neighbouring vineyards at 8 hl/ha. The Clos de la Roche stands out for its generosity and classical breadth. Charles Audoin endured one of the hardest seasons in Marsannay, remaining organic through 22 treatments and losing Clos du Roy entirely to hail. The wines evoke 2010 in their purity and structure, with Les Favières emerging as a highlight. Louis Jadot, facing heavy losses and a demanding season, spoke of “fighting to keep Burgundy affordable” yet produced precise, harmonious wines – including St Aubin En Remilly, one of our favourite plots and a FINE+RARE exclusive which we are proud to secure each year, bottled only in magnum. At Hudelot-Noëllat and Fourrier, volumes are heartbreakingly small but the wines are clear, fragrant and unmistakably from their place. Paul Pernot’s whites show vibrant freshness and deep acidity, with Puligny-Montrachet Les Folatières standing out for its tension and grace.  The 2024s from Alvina Pernot combine the freshness of 2017 with the accessibility of 2021, yet offer greater depth and poise.  At A-F Gros, frost proved more damaging than mildew, reducing yields by 70%. The increasing use of Clayver amphora (now close to 50%) has brought a vivid, electric quality to the wines, particularly the Richebourg. Olivier Bernstein produced just two to four barrels per cuvée, yet the wines combine the charm of 2016 with the lift of 2017. Bonnes-Mares is especially compelling, and the domaine remains focused on deepening consumer understanding through tastings and back-vintage context. In the Côte de Beaune, Guillaume Lafon marks his first vintage fully at the helm. With almost no new oak and a preference for demi-muids, the wines prioritise purity and line. The Bourgogne Blanc is a standout, carrying a clear Lafon signature. At Domaine des Lambrays, Jacques Devauges described 2024 as “a difficult vintage with a happy end.” Yields fell sharply (16 hl/ha for Clos des Lambrays) yet the wines, made with 80% whole bunch, possess remarkable poise. His claim that “2024 Lambrays will age 100 years” may sound bold, but the structure supports the ambition. Meanwhile, Nicole Lamarche endured losses of up to 90%, producing just one barrel of Vosne Village and four of Échézeaux. As ever, the wines are spiritual and precise, and her decision to step back in the vineyard may well strengthen future vintages. Across Marsannay, Savigny and Gevrey, domaines such as Bouvier, Pavelot, Chézeaux and Hérestzyn-Mazzini all delivered wines of striking purity, often from minuscule quantities, proof that old vines, careful sorting and restraint paid dividends. Positioning Burgundy 2024 This is not a vintage built for hype. It does not trade on power or immediate seduction. Instead, its strength lies in substance. Scarcity is real, many domaines report their smallest crops in decades, but speculation misses the point. The true narrative of 2024 is integrity: who stayed the course, who adapted intelligently, and who resisted the temptation to force a result. Collectors will recognise this instinctively. The wines speak a language that Burgundy lovers understand: freshness, salinity, site expression and balance. Whites, in particular, will attract those who cherish the great classical years. Above all, 2024 stands out as a perfectly transitional vintage. While waiting for more structured years such as 2020, 2022 and 2023 to open, 2024, like 2021, offers wines that are approachable in their youth. Following the generosity of 2017, the now fully open 2019 and the fruit-forward 2021, it takes its place among vintages defined by immediate pleasure, allowing richer years the time to settle in the cellar. A vintage to buy thoughtfully and early Burgundy 2024 is a year where experience mattered more than weather, and philosophy mattered more than yield. Production is painfully low, but quality is consistent among serious growers. For collectors, the focus should be clear: Domaines with rigorous viticulture and judgement under pressure Producers refining and clarifying their stylistic identity Grand Crus from houses that embraced restraint High-performing villages such as Marsannay, Savigny and Santenay, where value remains This is a vintage whose story deserves to be told with clarity and conviction, an instructive vintage for newcomers and new buyers fortunate enough to secure a bottle, but also one that offers immediate pleasure for collectors. Read more or browse all available Burgundy 2024 en primeur. 

There are vintages that arrive fully formed, almost generously so. And then there are vintages like 2024 – years that must be wrestled from the elements, where judgement, discipline and philosophy matter as much as sunshine.

There are vintages that arrive fully formed, almost generously so. And then there are vintages like 2024. 

Burgundy 2024: vintage overview

“It’s been an absolute pig of a year,” says Mark Gaskain. It’s September 2024 and we’re reaching the end of what has been a trying growing season across most of Europe – with seemingly never-ending rain. Fortunately, Gaskain knows that such challenges are just part of the job. He’s a farmer, born and bred, now at the helm of his family business, and responsible for growing 70 million apples a year. But in the last decade, he’s added a new strand to the business – after selling a swathe of land to none other than Champagne Taittinger in 2015. That land is now the home of Domaine Evremond – one of the most exciting English wine projects to date.  The story began almost a decade ago. Patrick McGrath – founder and CEO of Hatch Mansfield, which represents Champagne Taittinger in the UK – had been looking at adding an English sparkling wine to the company’s portfolio. It was the early 2010s, and he spied an opportunity with the burgeoning category – but Pierre-Emmanuel Taittinger suggested that, rather than taking on an existing estate, McGrath should create his own, working with Taittinger. Taittinger had embarked on a similar venture in California, creating Domaine Carneros with their US agent, Kobrand, under Pierre-Emmanuel’s uncle, Claude. Together, they decided to take the plunge.  They charged leading English wine specialist Stephen Skelton with helping them find the perfect site – determined to have chalk soils, south/southwest-facing slopes (for maximum sun exposure) at altitudes below 100 metres (with temperatures reducing by 1°C per 100m, anything above this would simply be too cold in England’s marginal climate). Kent – with easy access across to Champagne – was decided on, but it took them 18 months to find the right site. At the same time, the Gaskains were looking at selling some of their land (a foray into soft fruit had proven challenging, and were looking to get back to their core business of apples). The timing was fortuitous and the orchards at Stone Stile Farm – around the village of Chilham, southwest of Canterbury – were perfect. As Alexandre Ponnavoy (Chef de Cave for both Taittinger and Evremond) told me, if a site can grow good fruit – it’s a good indicator for its viticultural potential.  In 2015, the deal was signed and the project launched with great fanfare at Westminster Abbey. Domaine Evremond takes its name from Charles de Saint-Evremond (1614-1703), a Frenchman, essayist and early ambassador for the wines of Champagne – bringing them to the court of Charles II – who is buried in Poets’ Corner. Although Didier Pierson – a grower in Champagne – had made English wine under the Meon Hill label, Taittinger was one of the first major Champagne Houses to invest in England (Pommery had bought vineyards in Hampshire in 2014). Unsurprisingly, press coverage was extensive: the Champenois were coming to make sparkling wine on our home turf – the French naysayers set to eat their hats as the world started facing up to fine English fizz.  Evremond’s first vines went in the ground in 2017, with more added in 2020 (the team set up at the local Premier Inn to tackle the work mid-pandemic) and in 2024. The land here has a layer of alluvial clay over its chalk subsoil which is part of the Paris basin, shared with much of northern France (including Champagne). Around Canterbury, however, there’s more flint in the soil – something that Ponnavoy feels shines through in the wine, giving it a mineral, reductive character. There’s also a definite maritime influence – moderating temperatures, but also bringing ocean breezes from Whitstable, which is just six miles away. For Ponnavoy, it’s the combination of the site’s chalky soils, maritime softness and sea winds – a “contrasting climatology” – that defines the Evremond wines.   Gaskain is deeply involved in the project – his in-depth knowledge of the land an invaluable resource, knowing where potential frost pockets lie, for example, or where the soil might be overly rich for vines. He and his team manage the site day-to-day, guided by Christelle Rinvelle (Taittinger’s Vineyard Director). Currently, they have 62 hectares of vines, split between 45% Chardonnay, 45% Pinot Noir and 10% Meunier. They planted Chardonnay on areas with the thinnest topsoil, allowing its roots almost direct access to the chalky bedrock, while the Pinot Noir and Meunier sit on the more clay/gravel-rich plots.  The vines are widely spaced (5,000 vines per hectare – half the vine density Taittinger uses in Champagne) and trained higher than across the Channel, allowing for better airflow (helping manage disease pressure) and a larger canopy (to aid ripening). While herbicides have never been used on the site and there’s a concerted effort to be sustainable, Gaskain is clear on the limitations of viticulture in Kent: “Organics is madness in this climate,” he tells me – as, perhaps, 2024 proved. While the team has vine-specific sprayers, Gaskain can also draw on his team’s orchard equipment too – a boon when conditions are challenging – and spray the entire site in one (rather long) day.  They harvested tiny quantities of fruit in 2018 and 2019, with the first commercial-sized vintage coming from 2020 (conveniently the grape harvest falls neatly between that of Galas and Braeburns). Early wines were made at nearby Simpsons, and from 2020, they set up in an old concrete barn on the site – with the entire operation run on a generator. In June 2022, they broke ground on a new winery (“We were over budget four weeks after starting,” says McGrath, with a weary smile). The same company that worked on the Channel Tunnel dug out 83,000 tons of chalk (around 2,000 lorry loads) to make way for the three-storey building that stretches 20 metres below ground. Designed by Reims-based architect Giovanni Pace, the idea is for the winery to blend into the landscape – rather than stand on it. It has the capacity to cellar 1.5 million bottles – all without expending any additional energy on cooling, thanks to its natural subterranean chill.   Works were finished in time for the 2024 harvest – a relief undoubtedly for the team. There is something charmingly British, slightly ramshackle and underdog about the operation – despite the very serious money behind it (£17 million invested so far, reportedly). “Everybody’s had to muck in,” says McGrath. He might be Hatch’s CEO and one of the Evremond founders, but he’s also the first to pull on his wellies to help with harvest – and has spent more weekends in the vineyard than anyone else. Vitalie Taittinger has taken over from her father as President of Taittinger, and McGrath’s daughter India is running the commercial side of Evremond – meaning the operation really is a family business, even if it comes with some luxury, Champenois-esque swagger.  With the Taittinger association, of course, expectations are incredibly high – something McGrath is painfully aware of. Talking to Ponnavoy – who is in charge of the winemaking at both Taittinger and Evremond – there’s been something very exciting about creating a project from scratch, even if it has come with some challenges too. He argued to keep the small 2018 harvest for the property only, allowing them to follow the wines in tank over several years, and get to know the site. It was a huge cost, and delayed the first release, but something he felt was crucial.  “It was really important not to do a copy of another sparkling wine, not to produce a… ‘style’,” he says. Their goal, instead, was: “To identify the terroir, to identify the soil, to identify the climate, and reproduce all that in the bottle. To find the Evremond identity.” Inevitably, there’s a temptation to draw comparisons between Taittinger and Evremond, but the team is clear that they are totally separate projects with very different DNA.  Working with English fruit, Ponnavoy felt it was key to manage the potentially biting acidity (and the wine sees full malolactic as a result), but – for him – the greatest challenge was to avoid a bitterness that he finds common in some English wines. Managing the phenolics to avoid this was, for him, therefore essential, while he also focused particularly on the bubble texture – working to get a very fine mousse, something that he believes sets the wine apart from the competition.  In time, Evremond hopes to make 400,000 bottles a year, although there are only 120,000 of its first release. There are plans to add a vintage and rosé cuvée once the vines have matured and they’ve gotten to know the site, but for now they’re only producing the non-vintage Classic Cuvée. Now, a decade after they bought the land, Edition 1 of the Classic Cuvée is set to be released. For a début, it’s an incredible result – perhaps not surprising given the pedigree of the operation. Incredibly fine, taut and layered with oyster-shell, iodine and flint, it’s a wine full of the promise of what Evremond can do.  Domaine Evremond’s Classic Cuvée Edition 1 will be released on Thursday 3rd April: contact your Account Manager to register interest or sign up to be notified here 

A decade ago, Champagne Taittinger did something unexpected: they bought land in Kent. On the eve of the release of the project’s first wine, Sophie Thorpe caught up with the team behind Domaine Evremond about the challenges and triumphs of their English adventure 

Champagne Taittinger bought land in Kent 10 years ago. As the first wine from the project is released, we talk to the team behind Domaine Evremond

Diving into Domaine Evremond – Taittinger’s new English wine

Unearthing Evremond: Taittinger’s new English wine project 

It’s not often words fail me. But finding the right words to describe Dr Bill Lumsden to those who haven’t had the great fortune of meeting him has rendered me a little dumbstruck. Many have dubbed him the “Willy Wonka of the whisky world” for his creativity, jaunty style and flair. His latest project, a purpose-built home for innovation named the Lighthouse, where Lumsden can innovate to his heart’s content and create all manner of whacky and category-bending whiskies, somewhat perpetuates this narrative of the eccentric whisky-maker. But, I’d argue, the good doctor is far more than this. He is, first and foremost, an incredibly accomplished scientist. His work at Glenmorangie and Ardbeg over the past 26 years – maintaining the iconic distillery characters and launching innumerable products for each – is nothing short of sensational. He is a workhorse, as well as, it would seem, a bit of a clothes horse. “I’m a bit of a shopaholic,” he tells me with glee. “I love buying clothes.” This isn’t the sort of confession I expected when sitting down with the Director of Distilling, Whisky Creation & Whisky Stocks in November last year. “If something’s in fashion, I wouldn’t be caught dead in it because other people are wearing it,” Lumsden continues. “So I tend to wear things which have been out of fashion for many years or are yet to be in fashion – and it’s just a little facet of my personality, unfortunately.” This, while slightly unexpected, actually makes a great deal of sense when you cast an eye over his professional life. Lumsden has always been the trendsetter rather than the disciple. And he’s quick to assert that his avant-garde attitude extends beyond apparel. “I have absolutely no interest whatsoever in what’s in fashion and what’s not in fashion [in the whisky industry]”, he says. “When I’m doing something it really is all to do with will I like the taste at the end of the day? Will it complement that character of the Glenmorangie or the Ardbeg spirit?”. Since joining Glenmorangie in 1995, Lumsden has been charged with “maintaining and hopefully slightly improving the spirit character” and innovating. While once his role was divided equally between these two tasks, new product development and innovation now take up the majority of his time. “It’s got to the stage now where the demand for new products is almost impossible to keep up with,” he says matter-of-factly. While this might be fatigue-inducing for some, this constant pressure to innovate exhilarates the inquisitive doctor. “I’m a scientist by training,” he explains. “It’s in my blood to experiment, and I’ve always been a curious individual who gets bored very easily and likes to try new experiences, in every aspect of my life. So the move to Glenmorangie was heaven-sent for me from that perspective,” he says with unfettered glee. The decision to build Lumsden’s Wonka-esque Lighthouse was driven to a certain extent by necessity, he tells me. “The Ardbeg and particularly Glenmorangie distilleries have been running absolutely flat-out for the last 12-15 years,” he says. “For me to interrupt the production cycle to get access to the distillery for three to four weeks of a year, where I wanted to try some radically different things was proving increasingly difficult. And also some of the things I wanted to do, I just simply hadn’t been able to do that with the existing distillery plant. “So the Lighthouse has been established to allow me to experiment but while maintaining the volumes that are required for future bottlings and also to try things that I simply can’t do in the main distillery.” These things range from the smallest alteration in primary production to radical innovations, and everything in between. “Some of the time it can be a very, very simple change,” Lumsden tells me. “It can be something as simple as offering one of your expressions in a natural, cask-strength form, for example, and other times it can be something dramatically different, where you’re actually using completely new materials. I am continuing to experiment with just about anything you can think of.” For the past 10 years, this experimentation has largely focused on different aspects of production. “We’re about to see some products coming out for both the Glenmorangie and the Ardbeg brand where I’ve been playing around more with primary production – it’s been great fun,” he teases. The challenge with this approach, he says, is two-fold. “You’ve got a very long lead time until your product comes to market,” he explains. “Sometimes you’re talking 10 years’ maturation.” At the very least. If you’re experimenting with barley varieties, or looking at fermentation profiles, you have an even lengthier wait. Secondly, by the very nature of these experiments, the difference between spirits is most emphasised in the new-make. “For example, using the barley varieties, it’s not giving you black and white differences,” Lumsden explains. “It’s more shades of grey, and you really pick that up in the new spirit. “But after many years of maturation, you risk losing these differences. So you have to choose your cask type accordingly to try and make sure that you still have the point of difference coming through.” Lumsden says Glenmorangie is launching a product in 2022 that is an experiment he’s always wanted to carry out. “I did this many, many years ago. I can’t say any more about it at this stage, but I will probably bottle this [whisky] slightly younger than my original target, which was 12 years, because I don’t want to continue to minimise the difference in character, if that makes sense?”  In addition to maintaining the two distillery’s very distinct characteristics, and inventing all manner of whiskies, Lumsden sits on a number of prestigious judging panels. In this capacity, he tastes hundreds upon hundreds of whiskies and sees first-hand the changes in the industry and trends that are being adopted – good and bad. He says there has been a “real divergence” in recent years. “Some of the whiskies I taste have become much more characterful and I’m delighted to see whiskies that are non-chill filtered,” he says hopefully. On the controversial subject of chill filtration, the process whereby distillers remove esters and fatty acids to prevent the liquid clouding at low temperatures, Lumsden ardently believes less is more. He does, however, acknowledge its place in markets where drinkers might not understand that cloudiness is caused by oils coming out of suspension rather than a fault. But, he believes, producers are taking its use to the extreme. If Ardbeg and Glenmorangie whiskies are chill-filtered, it is only ever done so “very gently”, because Lumsden feels that lipids – fatty acids from the base barley that would otherwise be removed by full chill filtration – add texture and character to the spirit. Sadly, he rues, this is not true for others who are “very brutally” applying this technique to hasten up processes, and character is lost as a consequence. Corner-cutting exercises like this, speeding up distillation methods and reusing barrels too many times are becoming all too common, he says. When it comes to producing or judging a perfect whisky, Lumsden says he’s after complex harmony. “I’m looking for the flavours to be nicely integrated together and not having any one aspect dominate,” he says. “That’s what I think good quality whisky, particularly Scotch whisky, should be". “The final thing I’ll look for is the length and character of the aftertaste of the whisky,” he explains. “Because I really don’t like to see a whisky just completely fade – it shouldn’t do that. It’s a richly flavoured product and it should linger on the palate for a while.” Whether he’s sitting on a judging panel or looking out from his monstrously tall Roald Dahl-esque Lighthouse, Lumsden’s vantage point, you sense, will always be forward-facing and progressive. It is for others to catch up or catch onto the trend. Browse Ardbeg and Glenmorangie whiskies or read more Editorial 

Glenmorangie and Ardbeg are two Scotch whisky brands famed for quality and innovation. Behind every bottle is the heart and mind of one man: Dr Bill Lumsden. He talks to Holly Motion about what it takes to be at the distilling vanguard for decades

Dr Bill Lumsden, the man behind some of Glenmorangie and Ardbeg’s greatest single malts, talks about consistency and creativity in Scotch whisky

Dr Bill Lumsden talks about whisky innovation 

Dr Bill Lumsden: the eternal inventor

Our team spent several weeks exploring the 2023 vintage in Burgundy – visiting, tasting and talking to a range of producers up and down the Côte d’Or. Here, we offer a run-down of the year by producer, from north to south, reporting on how each fared and our pick of their range this year

A run-down of the Burgundy 2023 vintage wines en primeur by producer: from Fourrier to Lafon via Bernstein, Lamarche, Lambrays, Duroche and Hudelot-Noellat 

Burgundy 2023 vintage by producer 

Burgundy 2023: by producer

When it comes to whisky, the conversation has long been dominated by maturation – on how long the liquid spends slumbering in which cask, on how big the cask is and what it held before, whether a Sherry butt, wine barrique, first-fill Bourbon barrel or the fashionable mizunara. Recently, there’s been an increased focus on the base product, with producers such as Waterford’s Mark Reynier championing single-site, single-barley, terroir-driven whiskies (and rums, with his Renegade project). But, somehow, there’s a tendency to skip on by the magic that happens in between: distillation.  While grain whisky is column distilled, malt whisky is almost exclusively distilled in copper pot stills – indeed, it’s a legal requisite for Scotch whisky. Crafting these copper beauties is an art – and one that depends on a handful of specialists. Kentucky has Vendome, Germany has Kothe and CARL, Italy has Frilli and Scotland has Forsyths. The equipment these coppersmiths produce lays the foundation the DNA of its new-make.  To the untrained eye, these onion-shaped pieces of kit look almost identical, but the size and shape is distinct to each distillery – defining its style. As distilleries expand and increase production, they don’t buy a bigger still – but commission exact replicas of their existing still(s), with every dent and dimple carefully recreated. Macallan, famously, replaced all its stills when building its new state-of-the-art distillery in 2018, asking Forsyths to create 36 stills that were identical to those it had previously used.  Although there have been attempts to use other metals, copper has long been favoured for distilling – originally for its pliability, making it easy to work and shape. But by the early 20th century, it was apparent that copper had other benefits – stripping the spirit of impurities. As the vapour rises through the still, it reacts with the copper, capturing sulphur, cyanides, carbonates and acids, meaning the liquid that is eventually collected is purer. Coppersmiths play on this purifying effect to create a range of stills, for the longer the vapour spends in contact with the copper, the lighter the spirit you’ll produce. Take Glenmorangie’s tall, 17-feet-high stills which produce a very light spirit, and compare them to the small, squat stills and typically heavy spirit of the Macallan. Of course it’s not quite as simple as that. As well as the ratio of copper to liquid, the speed of distillation, the shape of the still, the size of the neck, the level of reflux, the angle of the lyne arm and venting of stills all have an impact.  Rothes-based Forsyths has been hammering copper into shape for Scotland’s leading distillers for over 150 years. Richard Forsyth OBE (who has now passed management of the business to his son, Richard Jr) was the third generation of his family to run the coppersmiths. The frank, self-effacing Scot remembers working in his father’s workshop aged 15, “I knew this is what I wanted to do… I found it fascinating.” And after 55 years, his eye still twinkles when he talks about the arch of a still’s swan neck, the art of wielding a planishing hammer and the characters that make the industry so interesting.   He joined the family business in 1967 – at what happened to be a pivotal moment for the industry. During the Second World War, the whisky business ground to a halt – and with it the need for stills. In the 1950s and ’60s, however, the industry grew rapidly – too rapidly, it turned out. What was a golden era turned into a whisky lake, with many distilleries soon mothballed. Forsyths – for whom 99% of its business was servicing the whisky industry – had to find something else to pay the bills, and it was up to Richard to find that something else. They branched out first into paper, then stainless steel and – by the late 1990s – oil and gas. Although coppersmithing remained the foundation and heart of the business, these other disciplines became the main money-makers until the early 2010s, when whisky’s current boomtime set in. Today, Forsyths maintains over half of the pot stills in Scotland. For a wash still (distilleries that double-distil have wash and spirits stills, first distilling the wash into “low wines” and then distilling the “low wines” into new-make spirit), the head, neck and condenser wears out in eight to 10 years, while the pot itself may last 25. Add to that developing new stills for the thriving industry – as well as their expansion into rum, Bourbon and tequila – and the company’s not short of work.   Although there is clear resistance to change with an industry that is entrenched in tradition, things have shifted, slowly but surely, over the years. And there have been two significant changes over the last century that have transformed the Scotch whisky world: the firing of stills and the nature of condensers.  When shell-and-tube condensers were invented in the 1880s, as an alternative to old-fashioned worm tubs, it took time for producers to be persuaded. Although shell-and-tube condensers are significantly more efficient and take up much less space, they are completely different – with the copper surface area at least 20 times larger, something which has a key impact on the spirit. To this day some producers (15 to be exact – including Craigellachie, Mortlach, Glen Elgin and Springbank, the latter only for their wash still) retain their worm tubs, valuing the heavier, richer, more complex (and in some instances, even meaty, savoury) spirit character.   Traditionally stills were direct-fired – heated by flames fed by peat, coal or gas. “It’s dirty, messy, difficult to handle – and to control,” Forsyth tells me. A push for safety and efficiency saw producers switch to using steam in the 1970s. But some argue that this shift wasn’t for the better. Fire created a less consistent heat, with hot spots that would burn the wash and promote Maillard reactions (the same reaction that takes place when you brown meat, or during the bottle-ageing of Champagne or other traditional-method sparkling wine) – adding nutty, roasted notes that build complexity, or so proponents would argue. Glenfarclas is known for having briefly dallied with steam before returning to direct-firing, along with the likes of Macallan, Glenfiddich and Springbank.  As the whiskies of this pre-modernisation era – Scotch’s so-called “golden age” – become increasingly coveted, distilleries (both new and old) are looking to recreate these practices. Along with traditional floor maltings, producers like Glen Garioch (owned by Suntory) and Dunphail are investing in direct-firing. (Although, with worm tubs no longer produced, new distilleries have little choice regarding shell-and-tube condensers.)  However they are fired, given their custom nature, copper pot stills don’t come cheap. Much of the work continues to be done by hand, hammering to strengthen and finish the copper. Stills can range from 5,000 to 50,000 litres in capacity, but an average 15,000-litre still and its condenser will require between 1,800 and 2,000 manhours, and set you back around £250,000. And that price has only increased recently, thanks to rising energy and material costs – with a copper shortage proving challenging for Forsyths, a business that is the UK’s second-biggest buyer of the metal.  With the distinct nature of stills and their impact on spirit, plenty of new producers will ask for copies of a particular distillery’s stills – wishing to emanate their style of spirit. Forsyth tells me how one Japanese customer requested a pair each of Macallan, Glenlivet and Glenrothes stills. While of course there are many problems with this imitation game, there’s also no guarantee – as Forsyth tells me – that the same equipment will have the same results, especially when not run with the same wash, in the same way, by the same people. And, of course, a company like Forsyths isn’t going to give away Macallan’s proprietary designs, for example. As such, they’ll recreate something similar, but ensure it’s tweaked so no two distilleries have exactly the same design.   But how much impact do stills really have on the final spirit? Despite his half-century in the trade, Forsyth is quick to suggest, “I don’t think a lowly coppersmith can talk too much about that.” He’s clear that you need good equipment to make good spirit, but it’s one factor in amongst everything else – the barley, water and fermentation times, for example. And how a still is used is as important as its shape or size, with both the speed of distillation and the all-important cuts – dividing the heart from the foreshots and feints. Forsyth firmly believes that good wood is “the single biggest effect in a bottle eight, 10 or 12 years later”. There’s little use having a good base spirit if it’s ruined by a decade in bad oak – but good oak also can’t salvage bad spirit.  Forsyth has seen it all during his 55 years in the whisky business – and has been forced to be as malleable as the metal his family has worked for generations to survive the booms and busts. Despite the challenges, the coppersmith is as enchanted by his trade as when he first picked up a hammer in his father’s workshop. The industry will doubtless continue to ebb and flow, but with a spirit that takes decades to produce, the pace of change is reassuringly gentle. “It almost goes as slow as the running of the spirit,” Forsyth says whimsically. The still room remains the beating heart of distilleries – the basis of a producer’s fingerprint, all thanks to the careful hammering of the artful coppersmith.  Browse all current Scotch whisky listings or read more about spirits  

There’s something romantic about the bulbous sheen of a copper pot still. These behemoths glimmer with the promise of fine spirit – but it’s rare that we talk about what happens within. Sophie Thorpe sat down with Richard Forsyth OBE of Scotland’s leading coppersmiths, Forsyths, to find out more 

Cult coppersmiths Forsyths on the art of crafting copper pot stills for the biggest names in Scotch whisky – and how they define a distillery’s spirit style

How copper pot stills define whisky styles

Copper craft: the art of the still

Humble yet with undeniable ambition, Jacques Devauges arrived at Domaine des Lambrays in March 2019 and has wasted no time in making small but significant adjustments at the estate. His appointment was the most recent in a flurry of changes that have made waves in the quiet of Burgundy, after the property was purchased by LVMH in 2014 for an undisclosed sum – the luxury group’s first foray into Burgundy.    While the first mention of “Cloux des Lambrays” dates back to 1364, it was really in the 1980s that its modern reputation was established. The vineyard had fallen into disrepair, but was bought by Roland de Chambure and the Saier brothers in 1979. They installed Thierry Brouin as winemaker and director, together restoring the property to its former glory. Thierry, in Devauges’s words, “rejuvenated” the estate – staying at the helm for 38 years, overseeing the property under three different owners before finally retiring in 2017.  Boris Champy had already been lined up to take over, but stayed a mere two years before Devauges was poached from Clos de Tart (where he’d been since 2015, previously Domaine de l’Arlot). In the humdrum of Burgundy, Champy’s sudden departure was big news – as was Devauges’s sudden arrival, although everyone has remained suitably tight-lipped on the topic.  While Domaine des Lambrays does own some village and Premier Cru Morey-Saint-Denis, as well as some Puligny-Montrachet Premier Cru, the domaine’s reputation is inextricably entwined with that of the eponymous Clos des Lambrays. This remarkable site – one of Morey’s five Grands Crus, along with Clos de la Roche, Clos Saint-Denis, Clos de Tart and Bonnes-Mares – was originally classified only as a Premier Cru. It was only in 1981, under Thierry Brouin’s tenure and significant work in the vineyard, that the site was rightfully upgraded – making it the last of Burgundy’s 33 Grands Crus to earn its status.  Such is its association with the domaine that Clos des Lambrays is often mistaken for a monopole; however it isn’t quite. One ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belongs to Taupenot-Merme. Originally a vegetable garden, it was planted with vines in 1974, and produces a tiny amount of wine (no more than one barrel in the most generous years).   Visiting in October 2020, it was clear that Jacques Devauges has big plans – and if 2019 is anything to go by, there is much to look forward to. Coincidentally, Devauges wasn’t new to the estate – having worked briefly in the winery under Brouin in 1997. He’s full of praise for Brouin’s work and clearly wishes to respect the enormous legacy he’s been handed. His aim, however, is to recreate the old Domaine des Lambrays of the early 20th century – before the vineyard fell into disrepair in the 1930s.  There have already been a few shifts, with the construction of a new winery underway and 2019 the first fully organic vintage, and the property – as of 2020 – in conversion to biodynamics. This is no small feat given some of the site’s peculiarities. After phylloxera, the vine rows were planted north to south, perpendicular to the slope. This is an angle that little machinery can handle (with a serious risk of toppling over) and as such almost all the work here has to be done by hand, however Devauges has had a special tractor made that can handle the site’s undulating terroir. A relatively large site, it’s unsurprising that the soils here vary. While broadly speaking it is a rocky clay, the bottom of the site is heavier clay and loam, while the midslope is more gravelly over deep limestone, and the very top has shallower limestone soils. As he gets to know the Clos, and differences between each sub-parcel, Devauges is vinifying each one separately, laying the barrels out in the same way as the vineyard – so he can figuratively walk the rows, identifying the character of each. For Clos des Lambrays, he has divided the site into 10 sub-plots (see the map below), however he identifies three major sections of the vineyard: the section near Clos de Tart, the middle and then the side closer to Clos-Saint-Denis.  Tasting three components of the vineyard separately, and then together, with Devauges was enlightening. First up was La Plante Dessous, on the Clos Saint-Denis side, home to some of its “youngest” vines – which are still 40 years in age. The wine produced here is tight and intense, building gradually in the mouth with silky tannins and an amazing purity of blueberry and blackberry fruit. Cerisier, a plot at the bottom of the slope near Clos de Tart, is drastically different. This is full, exotic, rich and ripe – yet with a real freshness and a chalky minerality beneath. The final section we tasted was 80 Ouvrées Dessus – right at the top, middle part of the vineyard. Angular and structured, it showed remarkable energy and intensity – a core of vibrant blue fruit and firm tannins. In the resulting final blend, you can feel every element – except with the dial turned up to max.   Unlike Brouin, Devauges feels it is important not to select the best barrels, and “blend” a wine, but to seek “as much truth as possible”. While he is declassifying the very youngest vines (those under 20 years in age) to their Premier Cru bottling, he feels that they have a responsibility to capture the site in its entirety – using whatever nature provides. “Here, we are farmers,” he says modestly, with a suitably Gallic shrug. The resulting wine is the one true expression of this site – and that’s clearly where Devauges’s focus lies, something that will doubtless evolve in the coming vintages. “Every year is a new page,” Devauges told us. If 2019 is the preface, we look forward to seeing the story unfold. Browse all wines from Domaine des Lambrays or read more Editorial 

The 2019 vintage was significant at Domaine des Lambrays not just for its exceptional quality, but as the first full year under new winemaker Jacques Devauges. We visited the property to find out more 

Exploring the first full vintage at the Burgundian estate Domaine des Lambrays under new winemaker Jacques Devauges 

Changing of the guard at Domaine des Lambrays

Glen Moray

Speyside

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The fixed custom price you wish to sell each item for.

Split into {caseSize} individual {bottleSize}cl bottles.

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shows all the items you currently store with us. These items can be sold.

Available for sale — items stored with {name} eligible to be listed on the marketplace.

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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 at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 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).

We will source this item at the guaranteed price 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).

Glen Moray

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