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 

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 

South America’s finest Argentina and Chile have rapidly become hotspots for fine wine. Offering high-altitude sites with glorious sunshine, and varied soils, it’s no surprise that some of Bordeaux’s top estates have ventured into the two nations. Cheval Blanc's Argentinian collaboration with Terrazas de los Andes, Cheval des Andes, is unsurprisingly impressive. The estate works with high-altitude sites to produce a Malbec-based blend. The 2018 that is set to be released this year has already been rated highly by James Suckling (98 points), who wrote, “This will be a great wine indeed.” First Growth Ch. Mouton Rothschild works with Concha y Toro in Chile’s Maipo Valley to produce Almaviva – a wine that has, in Suckling’s words, become “a benchmark for the reds of the Andes”. He awarded 97 points to the 2019 and describes it as “extremely perfumed… vertical and integrated”. Bodega Catena Zapata – one of Mendoza’s leading names – will release the 2018 vintage of its top wines, Nicolás Catena Zapata and Adrianna Vineyard Mundus Bacillus Terrae. The latter is a Malbec from a 1.4-hectare plot which sits at almost 5,000 feet, while Nicolás Catena Zapata is the estate’s flagship wine – and Argentina’s first “Grand Vin”, made with the finest fruit from ungrafted vines on the family’s high-altitude sites. Both have earned high praise with the Wine Advocate’s Luis Gutiérrez describing the 2018 as “among the finest vintages for the Mundus Bacillus Terrae” (98 points). The Chadwick family – who own Errázuriz – will also release the 2019 vintages of their top cuvées, Seña and Viñedo Chadwick. Made by Francisco Baettig, these are incredible wines – earning 98 and 99 points from James Suckling, respectively. Last but not least is Clos Apalta, the Chilean estate that produces the finest expression of Carménère in the world. The 2018 is another excellent release, with 98 points from James Suckling. Super Tuscan stars The 2018 vintage in Tuscany was stunning – producing wines of elegance and freshness. While some of the Super Tuscans have already been released, a handful will be available via La Place this month. Masseto – the cult Ornellaia breakout star, described as the “Pétrus of Italy” – and the third vintage of its second wine, Massetino, will be released. Produced in tiny volumes, these extraordinary expressions of Merlot will be in unsurprisingly high demand. Solaia – Tignanello’s sibling from the Antinori stable – is set to be similarly popular, as ever. Giving it 98 points, Antonio Galloni of Vinous wrote, “I can't remember ever tasting a young Solaia with this much sheer appeal and balance in the early going.” The month will also see the latest releases from Bibi Graetz. The artist-turned-winemaker works with old vines and indigenous varieties to produce elegant expressions of Chianti. The 2019 Colore received 99 points from James Suckling who described it as “old-vine magic”, finding the 2019 Testamatta serious and structured (97 points). Cult California September sees a flurry of the Golden State’s most illustrious names hit the market. Opus One – the joint venture between Mondavi and Ch. Mouton Rothschild – is consistently in demand, and no more so for the 2018, with 98 points from Wine Advocate’s Lisa Perrotti-Brown MW and 99 points from Suckling. Having tasted it ourselves – we can vouch for the elegance of the vintage. It’s also worth paying attention to the new release of Overture (also based in the 2018 vintage), which is undoubtedly the best to date. Keep an eye out for the top-scoring 2018s from Vérité (100 points for La Muse, 98 points for La Joie and 97+ for Le Désir from Wine Advocate); the latest release of Joseph Phelps’ Insignia, the original Napa Valley proprietary red (2018 – with 97+ points from Wine Advocate); the 2019s from L’Aventure – the Pasa Robles estate run by Bordelais expat Stephan Asseo; and the 2017 vintage of Dominus (97+ points from Wine Advocate) – the cult wine from Christian Moueix of Pétrus. The new vintage from Maya Dalla Valle – who trained at Pétrus, Latour, Masseto and more, and is now heading up the family estate, Dalla Valle – is guaranteed to fly. The 2018 Maya has already got a smattering of top scores, with 100 points from Wine Advocate’s Lisa Perrotti-Brown MW, who wrote, “As cerebral as it is downright hedonic, this Maya is simply jaw-dropping.” This year will also see the latest vintage of Beaulieu Vineyard’s Georges de Latour Private Reserve – Napa’s first cult wine, and only its second release via La Place. The 2018 has 98 points from both Vinous and Suckling, with Antonio Galloni describing it as “sensational”. Ex-château classics The September Series isn’t limited to the New World – with a handful of estates in Bordeaux and the Rhône joining in, including the annual release of a ready-to-drink vintage of Ch. Latour, after the First Growth left the en primeur system. This year sees a star-studded vintage, 2005, emerge from the cellars. A vintage that needs little introduction, this wine has unsurprisingly high scores; tasting it earlier this year, Antonio Galloni gave it a perfect 100 points, describing it as “life affirming”. Ch. Palmer will also release 2011; while a less illustrious vintage, Robert Parker described it as the wine of the vintage in Margaux. Cheval Blanc, meanwhile, will release the 2019 vintage of Le Petit Cheval Blanc, the property’s highly desirable white. While normally Ch. d’Yquem would also release a vintage of their sweet wine, they are holding back the 2019, so this year sees only the 2020 vintage of Y d’Yquem (the estate’s dry white) released. Looking across to the Rhône, Ch. de Beaucastel will release the 2019 vintage of their Hommage à Jacques Perrin. This cuvée comes from ancient Mourvèdre vines and is made in tiny volumes. Alistair Cooper MW of jancisrobinson.com describes it as “a powerful thoroughbred”. Top wines from further afield A handful of wines from South Africa and Australia have also made their way onto La Place. The 2018 vintage of Klein Constantia’s Vin de Constance – the iconic sweet wine with a long and fabled history – will be released this year, perhaps a comfort to sweet wine fans who won’t be getting their fix with Yquem. Only scored so far by James Suckling (98-99 points), he rightly acknowledges it as a “unique wine”. Two names from Down Under get their second release via La Place this year. The 2017 vintage of Jim Barry’s The Armagh Shiraz – a Clare Valley legend – will be joined by 2018 Wynns John Riddoch Cabernet Sauvignon, a standard-bearer for Coonawarra. New this year This year sees several new names join the September Series. First up is Peter Michael Winery: founded by Sir Peter Michael CBE in the 1980s, this estate has been championing single-site, elegant wines from its corner of the Knights Valley, on the border of Napa and Sonoma, ever since. The 2018 vintage of the property’s Cabernet blends Les Pavots (from a single plot on the original Knights Valley estate, 97 points from Jeb Dunnuck) and Au Paradis (from a site in Oakville, purchased in 2009, 98 points from Jeb Dunnuck). While Robert Parker has spent much of his time rating wine, he also invested in a property in Oregon with his brother-in-law Michael Etzel. The result is Beaux Frères, now part of the Henriot stable, in Ribbon Vale, which produces world-class Pinot Noir. The 2019 vintage of the two top cuvées – from the Beaux Frères Vineyard and Upper Terrace Vineyard – will hit La Place this year. For the first time, Australia’s most famous estate, Penfolds, will release one of its wines, Bin 169 Coonawarra Cabernet Sauvignon. A classic expression of this grape on the region’s terra rossa soils, the 2018 is described as “impressive” by Suckling (97 points). Recently announced is the first vintage of Yjar – a new ultra-premium Rioja from Telmo Rodríguez. It’s described as an “outstanding first bottling” (James Suckling, 97 points) and “a wine that transcends the vintage” (Luis Gutiérrez from Wine Advocate, 96 points). Learn more about La Place de Bordeaux and the September Releases or read more Editorial

September sees the latest vintages from some of the world’s top estates released via La Place de Bordeaux. Ahead of the 2021 releases, we run through the vintages and properties that you’ll want on your radar

Exploring the top 2021 wines released by some of the world’s top estates via La Place de Bordeaux.

Top 2021 estate releases via La Place de Bordeaux

September Series: the 2021 edition unpacked

The 2022 vintage was the second in a row to be marked by drought. In his first look at the vintage, Walter Speller (jancisrobinson.com) emphasised how the winter offered little to no snow – and therefore snowmelt. While heavy rains can often run off the slopes, the trickle of snowmelt is more easily absorbed by the soils, meaning that in 2022 the already depleted water reserves (after the dry 2021 growing season) weren’t replenished.  The dry weather continued through the spring, and in late May the mercury started to rise. Flowering took place early (around 10 days ahead of normal). July became warmer and drier, and producers were conscious of managing canopies to avoid potential sun damage. The lack of water resulted in small berries and clusters, meaning a high skin-to-pulp ratio, but the main concern with the water stress was that it may block ripening – and in particular impact phenolic maturity.  Thanks to the steady, warm conditions, harvest got underway early, with all the Nebbiolo in by early October – producers looking to preserve aromatics and freshness in the heat. With no rain, there was little – if any – disease pressure, but sorting was still important to avoid shrivelled or sunburnt berries. Indeed, at Produttori del Barbaresco, Aldo Vacca said they lost around 10% via sorting, while with the small berries and sorting, Dave Fletcher (Fletcher Wines) had between 20 and 30% less than a normal year.  To succeed in the year, producers had to preserve acidity and manage the potentially excessive tannins from the small bunches produced, as well as sorting out any sun-damaged fruit.  At Burlotto, Fabio Alessandria told us that 2022 was “something never seen” – an atypical growing season that doesn’t compare to any that came before it. With warm, dry conditions and low yields, he expected big, rich, tannic wines – but has been surprised by their gentle approachability. It’s not a classic or great vintage in his books, but one that offers great pleasure. Similarly, Nicola Oberto (Trediberri) finds the wines don’t reflect the intensity of the year’s conditions.  Few critics have reviewed the vintage yet, although there’s a clear consensus that it is not an outstanding vintage and sits behind 2021, with more fruit-forward, but also approachable, wines. Vinous’s Antonio Galloni has been pleasantly surprised by the wines so far. He emphasises that managing yield was key, ensuring the crop load was low enough for the vine to ripen the fruit. Despite the risk of phenolic under-ripeness, he has found the wines to be softer than he anticipated, with generally less oak used, producing wines that will offer “near to medium-term drinking”, if not great ageability.   Keep your eyes peeled for additional reports on the vintage; we’ll add to this feature as and when we have more information. In the meantime, read more about Italy  Browse all current listings of 2022 Barbaresco

After the hallowed 2021 vintage in Piedmont, 2022 was a more challenging growing season. The wines it produced, however, have so far surprised both winemakers and critics. As the first 2022 Barbarescos are set to be released, we take a look at the year 

Diving into the 2022 vintage in Piedmont – the growing season and wines from Barolo and Barbaresco according to producers and critics 

Piedmont 2022 – Barolo and Barbaresco vintage 

Piedmont 2022: vintage focus 

For a long time, La Place de Bordeaux – as you might guess from its name – only distributed Bordeaux. But that all changed in 1998, when Almaviva – the collaboration between Concha y Toro and Baroness Philippine de Rothschild (of Ch. Mouton Rothschild) – joined La Place. With Mouton’s standing in Bordeaux, it was a sensible step for the property to use the region’s established network to distribute its new Chilean venture. In 2004, Opus One – Mouton Rothschild’s California collaboration with Mondavi (now Constellation Brands), and arguably Napa’s most famous winery – moved to distribute exclusively via La Place. At first it wasn’t an easy sell for Bordeaux négociants: these New World wines simply weren’t appealing to traditional buyers of Bordeaux, despite their Old World pedigree. Négociants also found that with the sheer wealth of choice on offer from Bordeaux, additional wines from the US and South America were just diluting the market. But today a shift in winemaking – with more focus on site expression and an emphasis on elegance rather than power – has seen these New World icons competing with the world’s very best on the fine wine stage. This shift combined with consistent high praise from critics has created a global audience that realises the quality, and value, on offer from these properties. While once they might have been thankful they didn’t have the added pressure to sell beyond Bordeaux, négociants are now kicking themselves that they don’t have access to stock of these wines. Fabulous vintages from the US, Chile and Italy have bolstered sales on La Place in years when Bordeaux en primeur has struggled (as with the 2017s).  Despite a difficult start, distribution via La Place proved to be a huge success: Opus One doubled its exports, building the fanatical global following that it has today. Since then, a swathe of producers from around the world has followed suit, using Bordeaux’s impressive distribution network to place their wines throughout the international market. And it’s a brilliant way to do so: wineries with little in the way of marketing and distribution can gain access to thousands of merchants within hours by offering their wine through La Place. In turn, this gives them indirect access to millions of customers around the world, something that would otherwise simply not be financially feasible. Masseto – which was first offered on La Place in 2008 – was the first wine without ties to Bordeaux to join La Place, and kick-started an influx of Italian fine wines, including Antinori’s Solaia, Bibi Graetz’s Testamatta and Colore, Caiarossa and Galatrona. Alongside some of California’s most famous Cabernets – Vérité, Joseph Phelps, Inglenook and more – and South America’s most respected names – such as Catena Zapata, Cheval des Andes and Seña – September is now one of the busiest times in the fine wine calendar, with new releases from around the world offered via La Place. While its roots may be firmly in Bordeaux, La Place has become the home of global fine wine – offering producers an international audience, and giving consumers access to some of the wine world’s most desirable names. Read more about how La Place works or discover more Editorial

Each September, a selection of the world's finest wines are released via La Place de Bordeaux. We look at how these prestigious properties – from South America, California, Italy and beyond – found their way into Bordeaux’s distribution network

Each September a selection of the world's finest wines are released via La Place de Bordeaux. Learn more about it and browse exclusive releases

How La Place de Bordeaux marketplace works

The rise of the September releases: how La Place went global

Each September, the new vintages of an exclusive group of fine wines are released via La Place de Bordeaux. Amongst the new additions this year are three exciting wines from Australia and California – giving many consumers their first chance to buy these iconic names. Find out more about our pick of the new wines below. Beaulieu Vineyard's Georges de Latour Private Reserve: Napa’s original cult Cabernet Founded in 1900 by Georges de Latour and his wife Fernande, Beaulieu Vineyard is one of the most historically important wineries in Napa Valley. Not only is it one of the longest continuous-running wineries in California (as one of the few that ran throughout Prohibition), it was also home to the most legendary figure in California wine history, André Tchelistcheff, who made the wine here for 40 years. The property’s Georges de Latour Private Reserve is seen by many as Napa Valley’s first “cult Cabernet”. The wine was originally made exclusively for the family’s personal consumption, but when André Tchelistcheff arrived at the estate in 1938 and tasted the 1936 vintage, he insisted that it was bottled and sold as the winery’s flagship bottling. It was released in 1940, named in honour of Georges de Latour who had died earlier that year. It soon became one of the region’s most famous and desirable wines, recognised as an example of the quality that was possible in Napa and in particular Rutherford. Today Georges de Latour Private Reserve is made in its own dedicated winery. The fruit is selected from vineyards originally planted by Georges de Latour in the early 1900s, hand-picked and fermented in 50% new oak. This year the wine will for the first time be released via La Place, with the 2017 vintage – the 81st for this cuvée. Jim Barry The Armagh: a Clare Valley icon Jim Barry is one of Australia’s winemaking legends and a pioneer of the Clare Valley – a region now firmly recognised for its fine wine credentials. He was the valley’s first qualified winemaker, graduating from Roseworthy in 1947 and establishing Jim Barry Wines with his wife Nancy in 1959. Over the years the estate has been rightly widely praised, most recently being named James Halliday’s 2020 Winery of the Year. The Armagh is the property’s flagship cuvée, made with 100% Shiraz, first produced in 1985. Barry wanted to produce a wine that would compete with other Australian icons such as Wendouree (a neighbour and inspiration behind the wine), Penfolds Grange and Henschke’s Hill of Grace – which it undoubtedly does. It is one of the few wines classified as “Exceptional” by Langton’s – the definitive guide on fine Australian wine. Sourced from a single low-yielding vineyard planted in 1968, the fruit is hand-harvested in several passes. The wine is matured in a combination of French and American oak for 15 months, creating a wine that is plush and supple, with rich layers of fruit and great structure that prepares it for decades in the cellar. The 2016 made its début on La Place this year – a wine rated 99 points by James Suckling, who described it as “one of the most impressive releases to date”, while Joe Czerwinski of the Wine Advocate declared it “my pick of the recently bottled vintages”. It’s without a doubt one to watch. Wynns John Riddoch Cabernet Sauvignon: classic Coonawarra John Riddoch first planted vineyards in the Coonawarra’s famous terra rossa soils in 1891; today Wynns is the region’s most famous winery, and one of Australia’s best known. The attention to detail at this estate is exceptional, monitoring individual vines and studying the soils with a precision that places them firmly amongst an elite group of Australian wine producers. The resulting wines have remarkable balance and complexity. For over 20 years, the partnership of Sue Hodder and Sarah Pidgeon in the winery, and Allen Jenkins in the vineyards, has pushed quality even higher. Their flagship cuvée is the John Riddoch Cabernet Sauvignon, named after the region’s pioneer and first made in 1982. It is only produced in exceptional years, with a blend of the best Cabernet parcels that vintage – representing less than 1% of the estate’s top Cabernet grapes. It tends to spend between 16 and 20 months in oak (around 30% new, a combination of barrels and hogsheads). Like Jim Barry’s The Armagh, it is one of the few wines to be listed as “Exceptional” in Langton’s Classification. This year sees the release of the 2016 vintage via La Place – a wine that James Halliday describes as “a cabernet of the highest class”, awarding it 98 points. Read more about the rise of the September releases and how La Place works

The list of fine wines released via La Place de Bordeaux each September grows each year. Here, we introduce three of the most exciting wines joining the line-up in 2020: Beaulieu Vineyards Georges de Latour Private Reserve, Jim Barry The Armagh Shiraz and Wynns John Riddoch Cabernet Sauvignon.

New La Place de Bordeaux: Beaulieu Vineyard Georges de Latour Private Reserve, Jim Barry The Armagh Shiraz and Wynns John Riddoch Cabernet Sauvignon.

New La Place de Bordeaux wine releases

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

“We’re just sort of making it up as we go along,” Andy Erickson says to me on our transatlantic Zoom call, shrugging and smiling as we talk about his and his wife’s project, Favia. It’s not necessarily what you’d expect this star consultant winemaker to say – having helped craft the likes of Screaming Eagle, Harlan, Dalla Valle, Staglin, Mayacamas and more. It’s hard to believe that anything this man does is a fluke of fate. And yet this self-effacing tone is a thread that runs throughout my conversation with Erickson and his wife Annie Favia.  Favia brings her own, similarly enviable resume, having worked at Kongsgaard, Corison and for many years alongside cult viticulturist David Abreu, giving her unparalleled experience of Napa’s finest vineyards. She and Erickson met at a dinner party almost 30 years ago, instantly hit it off, and within six months were making their first barrel of wine together, tucked in the corner of their garage. That first experimental barrel of 1996 Russian River Pinot Noir (of which they still have a few bottles) was the start of something that grew as they and their family did, and the Favia label was born in 2001, although it was a couple of years before there was more than a barrel or two to sell.   The concept behind the brand is simple: “It’s our expression of what we think Napa Valley wine should be,” explains Erickson. But Favia has also been a project where they could experiment, push the envelope and play with the “pioneering freedom” (in Erickson’s words) that Napa offers. The flexibility to purchase grapes from different areas, pick and choose varietals, and work with no constraints in the winery is something they clearly savour.  The project focuses on Cabernet Sauvignon and Cabernet Franc – the latter in particular a grape they both love. Inspired by the likes of Ausone, Cheval Blanc, the reds of the Loire and Dalla Valle’s Maya (a wine that Erickson now makes), they were keen to play with the varietal, crafting two Cabernet Franc blends – Cerro Sur and La Magdalena. As Annie Favia explains, “[Cabernet Franc] allows you to make one kind of wine if you pick it at one time, and then a completely different wine if you pick it at another time.”  More than anything, however, Favia is about expressing a sense of place and connection to the land. “When I was growing up, my mom was an avid gardener and I spent a lot of time with her in the garden,” says Annie. “So it's always been really kind of home to me.” It’s unsurprising perhaps that their Coombsville property is far from just a vineyard and winery, but a homestead of sorts. “We really love to grow all kinds of things,” Annie says eagerly. While vines are the main crop, Annie also farms a range of other plants – largely for her loose-leaf tea company, ERDA, but also fruit and vegetables for the family table. “Growing different crops allows you to look at grapevines in a different way,” she explains.   For the Favia label, they work exclusively with fruit from Oakville and Coombsville, and while Oakville is arguably one of the most prestigious appellations in Napa, Coombsville is less well known. Fruit from the AVA has often been blended away into regional wines, but with its volcanic soils and proximity to the San Pablo Bay bringing cooling influences, they love its concentrated power, naturally fresh acidity and savoury quality, and more forward-focused tannins versus the broader profile of Oakville.   Although Erickson is increasingly focused on Favia, he still consults for a handful of carefully selected estates – something he can’t see giving up. “It’s a great outlet,” he tells me, explaining how different it is to channel a client’s vision for a project, versus craft your own wine exactly the way you want. Much like the various crops they farm, it’s another way for them to learn, experiment and develop. And yet, “Presenting something that you’ve made to people and getting a response…” Erickson says. “I love that part of what we do.”  Two decades after Favia was born, they’ve received significant investment from the Huneeus family (which owns Quintessa), along with a new 86-acre property in Oakville, where they’ll soon be starting work on a new winery, taking the project to the next level. “We’re going to be doing exactly what we’ve done for 20-plus years, but now have an even bigger farm and more fruit trees and more gardens and more wine to share with people. And it’s just really fun,” says Annie, the excitement clear in her expression. They’ll be bringing back Sauvignon Blanc, which they’ve made in the past, and are making their first wine with a tiny plot of Malbec they planted – a variety they’re considering with climate change.  On paper, Favia and Erickson are a formidable duo – with CVs that offer a roll-call of Napa icons – and yet they are entirely unassuming. Their absolute passion for the vine, for farming, the region and their craft shines through; and while they might be as down-to-earth as they come, it’s already clear that Favia is destined to reach great heights.  The latest releases of Favia are available now 

Annie Favia and Andy Erickson are Napa royalty. As the 2021 vintage of their personal project, Favia, is released via La Place, we caught up with the couple about their label, estate and vision for the region

Exploring the wines of Favia, Annie Favia and Andy Erickson’s Napa project, and how it’s growing after two decades

Annie Favia and Andy Erickson’s Favia 

Growing up: Favia

Viña Robles

United States

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