What is Premiere Napa Valley?  Inspired in part by the Hospices de Beaune, Premiere Napa Valley (PNV) is a wine auction that takes place every February in Napa. The week around the auction is filled with tastings and events relating to PNV. The auction is only open to members of the wine trade, most often merchants or restaurants who will then sell the wine exclusively to their clients. Today, Sotheby’s runs the actual auction. It first took place in 1997.  Which wines are auctioned off at Premiere Napa Valley?  The lots are all made specifically for the auction, one-of-a-kind wines that otherwise wouldn’t exist. Only members of the Napa Valley Vintners can make wines for the auction, and sometimes producers will collaborate on a lot. The lots normally comprise 240, 120 or 60 bottles, coming from AVAs across the region. These limited bottlings are often of a variety or vineyard not normally bottled separately, or a special blend or collaboration. The wines all come from the same vintage – harvest just under a year and a half prior to the auction (so the 2023 vintage is being offered in 2025), and tastings of these lots offer the first comprehensive view of a vintage to the trade.  Who organises Premiere Napa Valley and where does the money raised go?  The event is organised by Napa Valley Vintners. Napa Valley Vintners is an association of producers established in 1943 and formalised in 1944, a forum to exchange ideas and work as a group to overcome challenges as well as elevate the reputation of the valley’s wines. Napa Valley Vintners also organises Auction Napa Valley (previously knowns as the Napa Valley wine Auction) which was created in 1981 and takes place every summer.  Alongside its efforts to champion the region and its wines, investing in the local community is a huge focus: since 1981, the group has raised over $230 million for local non-profits – supporting healthcare and education, as well as environmental work. Today, 539 wineries are members of the organisation. The 29th iteration of Premiere Napa Valley, held in 2025, raised $3.3 million, a new record for sales. You can find out more about Napa Valley Vintners’ philanthropic work, which operates under Collective Napa Valley, and their current initiatives on their website.  Read more about Napa or browse all current Napa listings Photography: Alexander Rubin, courtesy of Premiere Napa Valley

Created by Napa Valley Vintners, the Premiere Napa Valley wine auction takes place every February. Here’s everything you need to know about the event and the lots on offer 

Everything you need to know about Premiere Napa Valley – California’s famous charity wine auction, organised by Napa Valley Vintners 

What is Premiere Napa Valley? About the famous wine auction

What is Premiere Napa Valley? 

Jaime Araujo’s surname is a familiar one to Napa collectors. Her parents Daphne and Bart purchased the famed Eisele Vineyard in Calistoga in 1990 and established their eponymous winery on the site shortly after. Jaime was enrolled in university at the time and wouldn’t join her parents in Napa for many years, instead spending over two decades studying and working in Europe, including a stint at Moët Hennessey. She arrived in Napa in 2012 to work alongside her parents as a business consultant, but the job was short-lived, when the winery and Eisele Vineyard was sold to Artémis Domaines (the parent company of Ch. Latour) in 2013.   While her parents went on to establish Accendo Cellars, with Jaime and her brother as partners, the itch to build a business of her own only grew stronger. “I always wanted to run a business as a force for good,” she recalls. She got her chance during the first vintage at Accendo in 2013, when she turned a Cabernet Sauvignon lot that didn’t quite fit in with any of the Accendo cuveés into her first 300 cases of Trois Noix wine. (The name – French for “three nuts” – is a cheeky reference to her two children, as well as her brother’s daughter, all quite young at the time.)   Despite her family’s legacy, and perhaps the temptation to enter the market at the top end, as many newcomers do, Jaime was intent to create wines that were approachable and embodied sustainability ideals. This included a pricing strategy that skewed heavily towards affordable options, ranging from $30-50 per bottle and the most expensive Cabernet Sauvignon topping out at $150. “I’m not in this to make billions,” she laughs. “It’s so important that Napa is accessible to as many people as possible. You have to be welcoming and make wines that appeal to everyone.”    Even before Jaime was developing her brand, Steve Matthiasson had been quietly establishing a reputation as one of Napa’s most respected organic winegrowing experts. After studying horticulture as a graduate student at the University of California Davis, he launched his wine career in 1995 as a viticultural consultant, going on to settle in Napa with his wife Jill Klein Matthiasson in 2002 and building an impressive client roster. Since 2007, Steve has worked closely with the Araujo family, first for Eisele vineyard – where he continues to consult – as well as at Accendo. Other current and past clients include Dalla Valle, Spottswoode and Chappellet.   The process of becoming a winemaker in addition to viticulturalist, however, has been a slow and steady process. Matthiasson says he learned about wine almost by osmosis over the years, sitting in on client tastings and by keen observation. In 2003, Steve and Jill produced just 120 cases under their name, but by 2017, they reached a major milestone with the purchase of a small winemaking facility and neighbouring vineyard in the Oak Knoll AVA – a massive accomplishment for two outsiders with little initial capital. Last year, their production reached 12,000 cases, stretched across 25 unique cuveés. Today, Steve farms most of the vineyards he makes wine from, including a small vineyard at his home, where he has planted rows of northern Italian varieties, including Refosco, Ribolla Gialla and Schioppettino.   Inside the compact Matthiasson winery, cosy by Napa standards, foudres line the walls and nearly every inch is occupied with equipment, case goods and barrels. In the corner, a stack of large glass jars filled with liquids of varying colours sits – the aromatics steeping in alcohol for vermouth, Steve explains, which he and his wife make along with olive oil and jam, as accompaniments to the unique lineup of wines Matthiasson produces, ranging from single-vineyard Cabernets to more esoteric fruit and wine co-ferments. While many collectors still may not have heard of Matthiasson, Steve says he is proud to be sought after by sommeliers and others in the wine trade: “We like to say we’re the musicians’ musician.”   Both Jaime and Steve believe strongly that their businesses must be both environmentally and socially responsible. “It’s so important to stand up for what you believe in,” Jaime emphasises. Today, Trois Noix boasts a range of sustainability initiatives, including B Corp status, a high-level sustainability certification which only two other wineries in Napa currently possess. Though not specific to wine or agriculture, B Corp certification is awarded after a rigorous assessment to prove a dedication to positive community impact alongside profit.   In the same vein, all of the vineyards Steve farms for Matthiasson are organic, which is the certification that is the most meaningful to him – and represents a full circle of sorts from his early days studying agriculture, when winemaking was not yet on the horizon. “Organic farming has become not just accepted but embraced since I’ve been here,” Steve says, saying that it’s becoming the norm rather than the exception, especially so for the most well-known cult Napa wineries. “And it’s not just for PR,” he adds, saying many don’t broadcast their farming practices. “They truly believe it makes better wine.” Steve believes the standard of farming has improved dramatically since he arrived in Napa and so has the quality of the resulting fruit. “As the years have gone by, our ability to do the right thing has increased,” he says.  The resulting wines that both Trois Noix and Matthiasson produce are crafted in a fresh style, with an emphasis on primary fruit and terroir-specific cuvées, as opposed to dominant oak or heavy extraction that have been the trend for fine wine in Napa. Araujo says she is trying to craft wines that are reminiscent of Napa 50 years ago, by using a light hand. “We started getting bigger and bolder in Napa, and that’s fine, but we can do this, too, and do it well.” Araujo describes her goal each vintage as crafting wines in a “sweet spot”, built to enjoy immediately but also with the structure and acidity to age for several years at a minimum.    At Matthiasson, pick dates are watched closely, and occur on the early side for Napa, so that alcohols remain low and acidity is naturally brisk. Other than a small amount of sulphur, no other additions are made. “We utilise traditional winemaking methods,” Steve says – quick to note, though, with a laugh, that there is a difference between “natural and natty”, explaining that his goal is to make fresh, clean wines from the healthiest fruit possible. Unlike other Napa wineries that employ optical sorters and tables lined with harvest workers examining every berry, Mathiasson does not sort the fruit prior to fermentation, trusting instead in the farming and meticulous picking over multiple passes.   “We’ve always been an agricultural community, and no one wanted to talk about that for a long time,” Jaime tells me. She believes the future of Napa will be a focus on not just high quality but also history, community and a reputation for doing the right thing. These will not be talking points for her brand only, however, as last year she was elected Board Chair of the Napa Valley Vintners. A nonprofit trade association founded in 1944, NVV acts as a voice for the wine business in Napa Valley, promoting, supporting and advocating for its over 500 members. “I’m a bridge between old and new because of my family and my experience,” Jaime says, explaining that she hopes to bring a fresh perspective on the future of Napa, one that emphasises a range of styles and price points, but most of all, is able to welcome a wider range of people than ever before, by showing the varied people and places of the region. Matthiasson voices a similar ethos. “The wine business has so much artifice, but we want to let people in.”  Matthiasson and Trois Noix collaborated on a special lot for Premiere Napa Valley last year – a lot that we purchased and will soon be releasing. Please contact your Account Manager to register interest. 

In a region where wine is often a byword for luxury, two producers are dedicated to reminding drinkers of Napa’s humble roots. Rachael Ryan – Senior Buyer for our US arm, Vinfolio – talks to Jaime Araujo and Steve Matthiasson about their philosophy, farming and approach to making wine 

Two Napa wine producers are championing economic, environmental and social sustainability: we talk to Trois Noix’s Jaime Araujo and Steve Matthiasson 

Farming for the future: Trois Noix and Matthiasson 

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

When a red blend from Chile became the first wine from outside Bordeaux to be offered on La Place in 1998, it no doubt ruffled a few feathers. Could the New World, let alone South America, ever rival the quality of wines being made in Bordeaux? In the late 1990s, the answer was frankly no. Today, however, the fine wine market is keeping its eye on Chile’s leading estates with good reason. Not because they can rival Bordeaux in style, but because Chile’s winemakers are defining a style all of their own and discovering the potential of their top terroirs.  Gone are the days of overripe fruit, heavy-handed oak and 15% alcohol wines which dominated the scene during the height of Robert Parker’s influence in the early 2000s. Today vintners are focusing on making chiselled and elegant reds, as a result of much earlier harvesting and more restraint in the cellar – but, most importantly, these wines are all about balancing the freshness and nuance of their mountain terrains with the vibrant fruit profile and fine tannins these sunny lands offer. In the past decade, thousands of soil pits have been dug across Chile’s wine regions as winemakers get under the skin of their Chilean DNA — an endeavour well worth the effort as recent vintages show. Here are the regions at the forefront today.  Alto Maipo  It’s no coincidence that Château Mouton Rothschild’s Chilean venture with Concha y Toro, Almaviva in Alto Maipo, was the first non-Bordeaux wine to reach La Place. Maipo had been at the heart of Chile’s great Bordeaux imitation game since the 19th century, and on paper, Alto Maipo has a lot in common with Bordeaux: the same red varieties planted on similar gravels of river terraces.    Today, however, the best wines – including Almaviva and Viñedo Chadwick – focus on what makes Alto Maipo Cabernet Sauvignon and blends distinctive. In high-altitude Puente Alto in particular, the purity of the Andean sunlight at over 700 metres’ altitude offers a flamboyance of cassis and blackcurrant aromas, while cool mountain nights revive the grapes, giving the wines tension, filigree tannins and fragrant wild herb aromas. It’s this seductive combination which marks Alto Maipo as a Grand Cru of Chile.  Aconcagua  Further north, the Chadwick family has been making bold wines from valley floor vineyards in the warm Mediterranean climate of Aconcagua for over a century. Since the 1990s, however, they have been planting on the slopes and the more interesting colluvial soils found in the Andes foothills and towards the coastal mountain range.  Their iconic Seña blend, which originated as a collaboration with Robert Mondavi in 1995, has become increasingly refined under the hand of Chilean winemaker Francisco Beattig in recent vintages. Select plots of mainly Cabernet Sauvignon and Malbec are synthesised into a balanced wine of 13.5% which prioritises harmony over power and carries graphite, cedar and blackberry aromas, trademarks of contemporary Aconcagua wines.  Apalta  One of Chile’s few DOs reflecting a place rather than a political region, the hill of Apalta has become world-renowned as one of the country’s best terroirs, with some of the best-known estates in Chile. Lapostolle, the biodynamic estate of the Bournet Lapostolle family, has been instrumental in developing the reputation and character of Apalta wines.  The key to Apalta today, and their iconic Clos Apalta property is the unique microclimate and kaleidoscopic palate of profiles the winemaker can draw from on this diverse hill site in Colchagua – from rich old-vine Cabernet Sauvignon on the clay soils of the valley floor, to the linear Merlot and peppery Carménère from Apalta’s southeast-facing granite slopes. These complex blends with black cherry and black pepper aromas, a full body and silky finish have become highly sought-after trademarks of Apalta wines today.  Chile’s winemakers are increasingly site-specific in their quest to show the potential of their unique country, with new and exciting vineyards being planted from the limestone-encrusted soils on the coast of the Atacama Desert down to the volcanic slopes of Osorno in Chilean Patagonia. And while there are no doubt many more Grands Crus in the making in Chile, those that have risen to the fore in the fine wine market today show precision, focus and a far greater self-understanding and appreciation than ever before.  Explore all current Chilean wine listings or read more Editorial 

Chile’s most iconic wines have come a long way in the last decade. With producers increasingly focusing on expressing site rather than creating a particular style, a handful of areas are emerging as the country’s Grands Crus, as Amanda Barnes reveals

Chile’s most iconic wines have come a long way in the last decade. We explore the region and producers such as Clos Apalta, Almaviva, Chadwick and more

Chile's Grand Cru wines explained

Chile's Grands Crus explained

While critics are mostly yet to publish their reports on Napa’s 2018, the early reviews are outstanding. Alder Yarrow describes it as “a complete knockout, with phenomenal potential” and “some of the best wines that Napa has seen in almost a decade”. Antonio Galloni has suggested the vintage offers “gorgeous, super-refined Napa Valley Cabernets that are quite a bit more understated than what we have seen in recent years”. Lisa Perrotti-Brown MW has just released her glowing report for the Wine Advocate – the top line that the wines are “packed with purity, vibrancy and energy”. The year was cooler than normal for the region, allowing the grapes to ripen long into the harvest; it was essentially an easy year for the growers that caused little stress. “We usually find the uneventful vintages to be the best years,” says Thomas Rivers Brown – the superstar winemaker behind dozens of California’s top wines, including those of Schrader Cellars. “After a particularly wild ride in 2017, it was nice to have a relatively calm, cool growing season with an abundant crop.” Will Harlan feels it’s a particularly important vintage for Promontory – and one that he’s excited to introduce to the world, although we won’t get to see the wines for a couple of years yet. Talking to him and Cory Empting, the Director of Winegrowing, they explained how it felt like everything had come together – a decade’s worth of work in the vineyard coming to fruition in the wines. Empting noted that it was a relatively dry year (with rainfall down around 30% on average), but the rain that they did get fell in late April and early May – just after budbreak and as the vines were gearing up towards flowering. This enabled them to dry-farm a larger percentage of the vineyards. Temperatures were steady, with the mercury not rising above 100˚F (38˚C) and only rarely above 90˚F (32˚C). The region’s trademark fog, one of the keys to the quality produced, was also a little bit different in 2018 – not burning off until midday, keeping temperatures lower than normal. The season ended with an Indian summer with no threat of rain; meaning a wide picking window for producers to work with. At Promontory, Empting felt there was a real energy in the fruit – he followed his gut, taking a gamble and they finished picking two weeks earlier than normal, long before many of their neighbours. Everyone I spoke to reiterated the joy of having a bit of volume to work with in 2018 (up around 20-30% according to Napa Valley Vintners) – and while the larger berries harvested could have created dilute wines, lower in tannin and colour, that was far from the case. As Brown explained, “Colour and concentration came quickly – mostly due to true ripeness, so it wasn’t necessary to really hammer on the ferments to get them where you wanted. If you did, you probably produced wines that were over-extracted, and focused on structure over flavour.” Mike Smith of Myriad Cellars described it as a “textbook” year – with everything falling into place. There were no heat spikes and the ample crop enabled him to drop fruit without worrying about his yields. The challenge for him with such generous volumes, however, was tank space – especially as he works out of a custom crush, where tanks need to be turned around for someone else to use. Nevertheless, he managed, taking advantage of some extra tanks of his own and the resulting wines have an amazing freshness and purity, yet also dark colour and textural richness.  Empting is similarly happy with the results – wines that he feels really demonstrate the character of the Promontory property. For him, they’re lithe – not having the baby fat you’d normally see, with tension, length and great acidity. “You’ve taken all the weight out of it,” he explains. “It has density – but the perfect amount that isn’t distracting you from the detail.” He’s one of several to highlight the suppleness of the tannins, making it an extremely transparent, crystalline vintage that will drink from the get-go, but has no doubt about the ageing potential given the balance in evidence. So how does it compare to recent vintages? Brown felt many would be tempted to compare the vintage to 2012 – having similar crop and berry sizes, but that the wines of 2018 are “far superior” that 2012's earlier-drinking style. “Though the wines are very charming right now and very drinkable, there is quite a bit of tannin lurking beneath the surface. I assume these wines will be very open for a year or so and then go dormant for a while. They should easily age two to three decades,” he explained. For Smith, they sit somewhere between 2013 and 2016 – the tannins of the former, but the polish of the latter.  No doubt we'll hear more in the coming months, but it's looking like an exciting vintage – one that offers an old-school style of Napa with elegance, balance and great cellaring potential. Browse Napa or read more about California

As Napa’s top names start to release their 2018s – with more to follow over the next couple of years, we talk to some of the valley’s top names to find out more about the vintage, a year that shows great promise

We talk to top Napa Valley wine estates Schrader Cellars and Promontory to find out more about the 2018 vintage that is tipped for greatness

2018 Napa vintage report

Napa 2018: a promising vintage

“Right, Richard, what do you think of this?” Gus Paterson, a second-generation whisky blender, said to his son, then aged eight, thrusting a glass in front of his nose. The young Richard – destined to become one of the world’s foremost blenders – had just entered a whisky warehouse in Glasgow for the first time.  “I still remember the bustle of the city,” Richard tells me, almost 65 years later. “He unlocked these doors, and we walked into his world. It was dark and dingy. The smell – of maderised wine and whisky – it’s something you never forget.” But as for the glass in front of him, he didn’t know what to say – a response that earnt him a slap round the back of the head from his father. “Pay attention. Swirl it around. Say hello. Is it as heavy as your grandmother? Light as your mother? Sweet as a chocolate bar? Dry as the dust on the floor?” Suddenly, the young Richard Paterson got it – he was hooked. Skip to the current day and the Master Blender – after 50 years at Whyte & Mackay (the company behind the likes of Dalmore, Jura, Fettercairn and Tamnavulin) and 55 in the whisky industry – has just been awarded an OBE in the New Year’s Honours. “I haven’t quite got my head around it yet,” he says. Talking to me via Zoom, Paterson is a character that refuses to be diminished by a screen. Slickly dressed in a suit and scarlet tie, the showman in him leaps across the WiFi connection, with moments of Mrs-Doubtfire-esque comedy in our conversation, his grandiose moustache dancing beneath one of Scotch whisky’s most famous noses (at one point insured for £1.6 million). Whisky was the family’s trade, his grandfather having established a blending, bottling and broking business in Glasgow in 1933. Richard, however, was determined to prove himself when he joined the industry in 1966. After a battle with his MD at the time, he persuaded them to fund his Wine and Spirit Education Trust courses. He travelled the world to visit vineyards and get to grips with wine – an exploration of flavour that laid the foundation for his work pioneering and experimenting with wine-cask finishes. His skill of blending, choosing the perfect barrel and knowing when it is at its best, is unparalleled. When I ask him how he does it, he tells me that it’s key first to know the style of your single malt – to recognise its personality and character, and then be able to see whether a particular cask will enhance its beauty. “You need to make sure you give it the right clothes,” he explains. Each year he checks in on the casks at Dalmore, tasting hundreds in a day, working through six a minute, nosing each one in an almost trance-like state to, in his words, say hello. It’s only, however, after adding a little hot water and leaving the spirit at room temperature and humidity, allowing each spirit to wake up, that, he says, you get to see what it’s really like. “How are you? Ah, yes, you’ve decided to come away… You’re beautiful.. hmm... You’re a bit of a bitch… and you’re a bit of a bum,” Paterson says, miming his way through an imaginary flight of samples on screen. While there are many elements in determining the style of a whisky – the barley, yeast, distillation time, shape of the still, cut-off times, reduction, the warehouse and more – for Paterson, “the cask is king”. The barrels that hold a whisky can represent up to 80% of the final style – and when you get it right, it’s like nothing else. He tells me about one of the most memorable spirits he’s tasted, a 62-year-old Dalmore of his own making. “Dave Broom [the famous whisky writer] was with me,” Paterson says. “We wanted to make sure that the particular aged Sherry Oloroso casks were going to give us the right quality. A bit like when you cut a pork pie – with the meat evenly distributed. When we nosed it… all those flavours came together in perfect harmony. It really, truly reflected an aged icon.”  Whiskies of this ilk fetch enormous sums, with a bottle of the aforementioned dram (one of only 12 released by the distillery in 2002) selling for £91,650 at auction a few years ago. Paterson seems somewhat baffled by the prices, but mostly hopes it doesn’t put people off drinking the bottles. “You mustn’t sit and look at it; it’s for sharing. The memories that you get – you never forget that,” he says. “And – with whisky – you can always put the cork back.” Over five decades at Whyte & Mackay, he established Dalmore as one of the world’s finest and most collectable single malts; but last year announced he’s taking a step back (working 100 days a year, largely dedicated to Dalmore) to focus on a new project, and the reason for our conversation. Wolfcraig is a brand new distillery and, with Paterson joining a team of serious pedigree, it’s one of the most exciting projects the Scotch whisky world has seen.  With demand for fine single malts higher than ever before, there are over 30 new distilleries at some stage of opening – and no shortage of demand for a man with the skill and sheer brand strength of Richard Paterson. So, of the many offers he’s received over the years, why did the master blender decide to take the plunge with Wolfcraig? In short, he explains – he’s never seen a project with the long-term commitment, capital and combined experience. The team includes Dr Alan Rutherford OBE (former Production Director at Diageo, Master of the Quaich and previous President of the Malt Distillers Association of Scotland), Ian Macmillan (a Master Distiller, also a Master of the Quaich and a member of the Worshipful Company of Distillers), Iain Lochhead (former UK Bacardi Operations Director, and another Master of the Quaich) and Michael Lunn – whom Paterson worked under for 17 years at Whyte & Mackay. For Paterson, it’s a unique opportunity to create a new Highland single malt from scratch, and he’s confident they’ll craft “something special”. The plan is to use a double ball still, with the reflux creating a gutsy, muscular profile, while of course remaining true to the Highland style.
Only the finest wood will be used, and Paterson expects to use Sherry casks to add softness to the spirit. Construction of the £15 million distillery is scheduled to start in summer this year, with a restaurant, bar, private tasting room and extensive visitor centre planned. The distillery has the capacity to produce 1.5 million litres, but production will be strictly limited, with the focus firmly on quality over quantity, and no spirit released until it’s absolutely ready. In 25 years, Paterson expects it to be one of the top whiskies in the world. He grins, his excitement about the possibilities uncontainable: “We’re gonna put our money where our mouth is.” Find out more about Wolfcraig, browse all Scotch whisky or read more Editorial 

Richard “the Nose” Paterson has been crafting The Dalmore for Whyte & Mackay for half a century. But now he’s launching a new project, Wolfcraig – a Highland distillery that has the industry awhirl. We caught up with the larger-than-life character to find out more

The Dalmore Master Blender Richard Paterson on his new project, Wolfcraig, a Highland distillery that has the industry awhirl. 

The Dalmore's Master Blender Richard Paterson

On the nose: Richard Paterson

It’s no secret that Scotch whisky is dominated by two giants – Diageo and Pernod Ricard, who represent 60% of the market, with three other big players taking the next 20%. That leaves a mere 20% for those who have the wallets and mettle to fight over the rest – but that’s an increasing number of people. There are currently over 30 single malt distilleries at some stage of opening.  “I think it’s a bit of a worry to be honest,” Mark Reynier, Renegade Spirits founder and CEO, says. Reynier has been behind three of the most talked-about distillery projects in the past 20 years – the resurrection of Islay powerhouse Bruichladdich in 2000, the renovation of a former Diageo brewery into Irish single malt distillery Waterford in 2015 and the construction of Renegade rum distillery in Grenada from scratch in 2020. All three have a dogged focus on terroir and have not been without their struggles. “Superficially it does look easy - but it sure as hell isn’t,” he says. “With Bruichladdich we almost went bust twice. With the best will in the world and two-distillery experience I got it wrong with Renegade and almost went bust last September.”  In Reynier’s view, many of those opening distilleries are driven by romantic ideas and the desire to make a quick buck – from landowners looking to monetise estates to “crooks” who “promise fortunes to be made”. Few, however, have the knowledge, business nous or money to back up their ambitions.  Wolfcraig – a new distillery in Stirling – is one of the industry’s most interesting projects, largely thanks to the experience of the team involved. While neither of the founders Jamie Lunn or John Moore had worked in whisky before (coming, respectively, from construction and finance), Jamie Lunn’s father is former Whyte & Mackay chairman and chief executive Michael Lunn – and happened to be eager for a new project. It hasn’t been plain sailing though: the team had a false start with an ill-fated attempt to take a controlling stake of an existing distillery. Downhearted but not defeated, they made the decision to go it alone. Moore and Lunn have assembled a first-rate team with over 200 years’ experience. Master Blender Richard Paterson OBE was the most recent addition to the roster – which Jamie Lunn affectionately refers to as “the Harlem globetrotters of whisky” – including Dr Alan Rutherford OBE (former Production Director at Diageo, Master of the Quaich and previous President of the Malt Distillers Association of Scotland), Ian Macmillan (a Master Distiller, also a Master of the Quaich and a member of the Worshipful Company of Distillers) and Iain Lochhead (former UK Bacardi Operations Director, and another Master of the Quaich). But even with a team of such pedigree, it hasn’t been easy. “It was three and a half years of pain,” Moore says. Every decision has been driven by an unwavering mission to produce a truly special liquid, considerable industry experience and business acumen. Stirling, for example, was chosen not just for its infrastructure, but its accessibility – within an hour’s drive of 70% of the Scottish population. The team ensured they were fully funded and have consciously built a brand – and decided on the style of spirit they’ll be making – before physically breaking ground. “Out of all the new whisky distilleries,” Moore says, “very few of them are designing their own unique spirit and they have not put any thought into why they have a particular shape of still.” Wolfcraig, by contrast, is having their still handmade by Forsyths, with a distinctive double-ball design to produce a more muscular, full-bodied spirit. It’s not just new players and mavericks behind the trend though, with some of whisky’s most historic names being given a new lease of life. Halewood International, for example, is bringing malt whisky distilling back to the heart of the Scottish drinks industry in the Port of Leith, Edinburgh, for the first time in 100 years with the John Crabbie Distillery.  Today, the name John Crabbie might be synonymous with ginger wine, but he was an independent bottler, single malt producer and recognised blender in the 19th century. For the team here, creating something new brings great freedom. “One of the key parts of our distillery is its versatility,” Global Dark Spirits Manager Andy Wallace says. “Because of the type of distillery we have, we can change our new make spirit and we can be very adaptable. That flexibility, put in the hands of somebody who knows what they are doing, like our Master Blender Dr Kirstie McCallum – a chemist with an excellent palate – and we’re going to experiment.”   Experimentation with different casks is high on the agenda. In addition to PX and Oloroso casks, the team is looking at how Manzanilla might work and playing around with other wine cask finishes.   Prior to joining Halewood, Wallace spent six years at William Grant & Sons, the home of Balvenie and Glenfiddich since 1887. “They are beautiful, incredible distilleries in a beautiful part of the world,” Wallace says, “but they come with their own inherent limitations… some people will see them as being a bit aspirational and not for them.” In his view, building something from scratch – even with a history like Crabbie’s – means they don’t have to produce a certain type of product. “What we want to do is bring new people into the category and allow people to drink differently,” he explains. Free from the burden of a legacy, a new distillery can be more agile. This can, however, be a catch-22. In a quest to stand apart, rather than play the old boys at their centuries-perfected game, innovation – if not managed in a considered, well-financed, way – can end in tears. “A lot of people have got rather carried away with the romance and [they] don’t really understand the consequences and the costs, and the durability that you need,” Mark Reynier explains.  “And above all you need a unique proposition. Just to be another distillery isn’t enough. The distilling bit is the easy bit. I think this is what’s going to be the downfall for a lot of people. The maturation and the time and cost is the crunch. And then you have got to bring it to market.” Wallace agrees. “You must have a long-term plan for selling your product because you have got a several-year timeline before you can launch anything in the first place,” he says. “One of the big challenges for whisky companies is predicting demand. If you have to predict how much 12-year-old product you’re going to sell on day one, that is a really difficult challenge.”   This was one of the many reasons Wolfcraig was determined to be fully funded from the get-go. “A lot of new whisky distilleries are just living hand-to-mouth and raising money year-on-year and that is emotionally draining,” Moore says. “But, also more importantly, it takes time away from the business when you are constantly fundraising.” It’s no small amount of money required, either. While you might be able to start a gin distillery with £50,000, whisky is a different beast. “Even the small craft distilleries, you’re talking several million pounds to set up,” Moore explains. “Our overall investment will be close on £20million… So, it’s not something you go into lightly.” “Running a distillery is an expensive business,” Reynier adds. “Just when you most need the revenue to get into the market, that is when you are least likely to have it. You are building in a lag period. You have created this brand over a decade, but you don’t actually have enough stock maturing to satisfy the sales that you have created or are creating. So, you have got to plan forward.” Waterford is a distillation of everything Reynier got wrong at Bruichladdich and everything he felt he wasn’t able to do because of a “lack of resource, lack of desire perhaps, tradition getting in the way, and the lack of logistics”. “We had a war chest because we knew that to do it properly, we had to be able to insulate ourselves financially to be able to buy ourselves the time to do it properly, with proper, premium-quality barley, single-farm distillations for uniqueness and for complexity,” Reynier explains. “Practised at Bruichladdich, perfected here.” Ultimately, once you get past the business and branding, it’s the quality of the liquid that will sort the wheat from the chaff. “We need to achieve the same core things any distillery does,” Wallace says. “We want to make genuinely brilliant drams that people will enjoy in years to come.” Browse all Scotch whisky or read more Editorial 

As demand for single malt whisky continues to soar, the number of distilleries – big and small – preparing to fling open their doors increases at a bullish rate. Holly Motion talks to a few of the industry’s newest names to see if everything is as rosy as it seems

Investigating the sharp rise in the number of single malt whisky distilleries with Waterford, Wolfcraig and John Crabbie. 

Distilling dreams

Last year the Chianti Classico governing body of producers (the Consorzio) banned the use of international varieties in wines bearing the top Gran Selezione classification. The decision has caused an outcry among some of the region’s top producers. Many claim that Cabernet Sauvignon and Merlot were not only instrumental in raising the quality and consistency of the region but have since become an important part of the region’s identity today. Some producers claim that the Consorzio, in the name of authenticity, is limiting the vigneron’s creativity when instead they should be focusing on upholding quality. As far as appellations in Italy go, Chianti is one of the oldest, dating back to the early 1700s. Quality, even back then, was an important factor for the top producers. Castello di Ama discovered records from 1773 which showed their estate was exporting wines to England and producing wines with exclusively red grapes designed for ageing – something that became a rarity in the region during the 20th century.  With few exceptions, Chianti production up until the 1990s was focused on quantity. Vineyards were mixed, typically with three Sangiovese vines for every white vine, either Malvasia or Trebbiano. “The white grapes were part of the culture here”, says Castello di Ama’s Lorenza Sebasti. “The white and red grapes were made together, to make a wine for everyday – it was part of the meal and needed to be as light as possible. It was safer to drink than water. And it gave you energy.” Under the Chianti appellation, the wines had to include white varieties (Malvasia or Trebbiano) alongside Sangiovese.  With a focus on quantity, the quality of the Sangiovese clones planted at this time was generally poor. As such, Sangiovese struggled to reach full maturity, resulting in aggressive tannins – typically mellowed by the blending of white varieties. From a quality perspective, it was impossible to make a 100% Sangiovese wine of any quality. The 1970s marked the beginning of a fascinating creative and experimental winemaking period in Tuscany. Piero Antinori and Giacomo Tachis were instrumental in replanting programs focused on quality. New clones of Sangiovese would eventually help, but international varieties were an essential component in quickly raising the quality of the region’s wines, as well as their ageing potential – another important attribute of fine wine. As well as working in Bolgheri creating the first Super Tuscan with Sassicaia, Tachis and Antinori produced their first vintage of Tignanello from their top vineyard in Chianti Classico in 1971. This first vintage was made only from red grapes (Sangiovese and other local varieties) and matured in oak barriques (the first wine of the region to be made in such a way).  With mixed results, they went back to the drawing board. After much discussion, and no doubt buoyed by their results at Sassicaia, they believed Cabernet Sauvignon was the solution. It wasn’t until 1975 that they produced the next vintage of Tignanello, this time a blend of 80% Sangiovese and 20% Cabernet Sauvignon – a blend that has remained the same ever since. The addition of Cabernet Sauvignon and maturation in barriques meant it broke the appellation rules and had to be declassified to a table wine. But it was the quality of this wine that spurred a new generation of winemakers that was to reshape the Tuscan landscape. More and more quality-led producers in Chianti Classico started experimenting with different varieties. Lorenza Sebasti describes Castello di Ama at this time as a “workshop of experiments”.  “When we started introducing varieties from France, we did many experiments – Pinot Noir, Chardonnay, Cabernet Franc, Cabernet Sauvignon, Merlot, Sauvignon Blanc… Our greatest success turned out to be Merlot.” Although the Consorzio eventually caught up with these pioneering producers and allowed up to 20% international varieties to be included in Chianti Classico blends, wine made from 100% Sangiovese was still not permitted. As better, lower-yielding Sangiovese clones started to appear, other Chianti Classico producers such as Fontodi, Montevertine and San Giusto a Rentennano broke the rules and started to produce 100% Sangiovese wines – again forcing them to declassify them. It wasn’t until 1996 that the Consorzio allowed Chianti Classico to be made from 100% Sangiovese. For Stefano Carpaneto, Tignanello’s winemaker since 2002, the presence of Cabernet was absolutely fundamental in Tignanello’s success. In the early days, Sangiovese was still lacking consistency and suffered with aggressive tannins if not blended. “Sangiovese was also difficult to manage in vinification and during the élevage in barrels,” he says. For him, the introduction of Cabernet gave balance to the Sangiovese at vinification and provided a tannin structure that allows the wine to age. It also guaranteed consistency year after year, which was paramount if Tignanello was going to compete with other fine wines around the world. At Castello di Ama, Merlot not only became an essential component in their top single-vineyard Chianti Classico wines but was so good in its own right that they created L’Apparita – a 100% Merlot wine that today competes with the finest Merlots in the world. “Merlot in Tuscany has its own personality,” says Sebasti. “The aim was to make a very good Chianti Classico. But the Merlot stood out with its personality, we took it as a gift. It was part of our research, but it was also a discovery.” Sabasti explains how Tuscan Merlot is totally different to the Californian style, or Pomerol. “Somehow,” she says, “it has depth, but is not with fat and remains very vertical.” Tignanello, L’Apparita, Fontodi’s Flaccianello, Percarlo and Le Pergole Torte are some of the region's very top wines, responsible for raising its profile, yet all were forced at one time or another to declassify their wines. The Consorzio has caught up and now allows barrique ageing, 100% Sangiovese and the use of international varieties in Chianti Classico. But at a time when quality has never been higher, they have again been criticised for their recent decision to ban international varieties from the top Chianti Classico Gran Selezione classification. Castello di Ama’s Sebasti is not happy. She is a big believer in what she calls “renaissance thinking” – where quality-led winemaking should be about creativity and discovery, not rules. After all, it was the rulebreakers in Chianti Classico that brought quality to the region. Sebasti recalls how Robert Mondavi who, despite his position of power in Napa, stood up against imposing rules that would restrict young, up-and-coming winemakers to produce wines in a region where it was becoming too expensive to own land. Many other producers wanted to allow only bricks-and-mortar wineries to become members of Napa Valley Vintners, but Mondavi believed this would stifle creativity in the region. Sebasti echoes Mondavi, “We need the energy, the creativity, the new challenge of young winemakers and rulebreakers to continue to make our wines the best.”  Despite Antinori’s reputation largely being built on the success of international varieties, they are in favour of the banning of international varieties in Gran Selezione and voted for the change. “While the international varieties were absolutely necessary to transition the region from quantity to quality, they can now be put to one side,” says Carpaneto. For Carpaneto, the changing of the rules will help create a clearer identity for the region. He believes being able to taste 100% Sangiovese wines from different villages within Chianti Classico will help the critic and consumer compare the differences. “The international varieties can influence the wine too much,” he says. “A variety like Merlot can go over the terroir, it can cover the terroir.”  Sebasti, on the other hand, is yet to be convinced. She understands the allure of making Chianti Classico from 100% Sangiovese. She regularly tastes her own vats of Sangiovese and, while they can be great, for her, the magic touch for her terroir is a soupçon of Merlot added to the Sangiovese that makes her wine better – she is more interested in that than the classification. “They go for monotony,” claims Sebasti. “They say authenticity is 100% Sangiovese and this is historically incorrect […] It is not a political choice, it should be a vigneron’s choice.” If forced, Castello di Ama will leave the appellation.  While Antinori approved the decision for the ban, they have no intention to change the blend of Tignanello, or Solaia for that matter. “We cannot touch the Super Tuscans,” says Carpaneto. Their reputation is bigger than any classification. Regularly compared to the top wines of the world Carpeneto believes they have earned their place in history.  Among these top producers their wines do not need to rely on the classifications, however it is interesting that the top wines in Antinori’s portfolio, for example, are wines that rely on a blend of both Sangiovese and international varieties. In 2002 (a terrible vintage for Sangiovese), Solaia was made entirely from Cabernet Sauvignon. Carpeneto says they would never do this again. “the wine doesn’t taste like Solaia,” he says. “If we had the same vintage conditions again, we just wouldn’t make it.” As at Castello di Ama, it is the special relationship between the international variety and Sangiovese that makes their top wines so special.  Tuscany’s rapid rise in quality could not have happened with Sangiovese alone. It has the international varieties of Cabernet Sauvignon, Merlot and Syrah, at least in part, to thank for that. They were instrumental in Tuscany’s transition from an industrial-led wine-producing region to a qualitative one. The decision to ban their inclusion in the Gran Selezione classification will cause ruptures in the appellation – though the region is no stranger to controversy. Each vigneron will need to decide for themselves whether it compromises quality. Either way, the mavericks that have helped build Chianti’s reputation are not likely to let rules get in their way. Browse all Italian wine listings or read more Editorial

Despite a long history of growing native Tuscan varieties, Chianti’s reputation is tied to the Bordeaux varieties. We talk to leading producers about their role in the region – and why the Consorzio is trying to ban them from its top wines

Exploring why the Consorzio is trying to ban Bordeaux varieties after they have been so instrumental to Chianti’s success. 

Chianti Gran Selezione classification in crisis

Looking beyond Sangiovese: Chianti

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