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

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

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

Rino Fontana – the wine collector like no other

Rino Fontana: a collector like no other

We were fortunate to have a one-to-one tasting with Jean-Charles Cazes, the managing director of Chateau Lynch-Bages, Chateau Haut-Batailley and Chateau Ormes de Pez. Not only did we have the opportunity to taste the fantastic range of 2019 wines from the estates, but we were also given the opportunity to dig a little deeper into what makes Lynch-Bages such a special and unique wine in Pauillac. Ch. Lynch-Bages's recipe for success Whilst there is plenty of talk in Bordeaux these days about restraining the extraction of tannin  during vinification and for many Chateaux this has been to their benefit, it was also comforting to hear Jean-Charles talk with tenacity about how a high level of extraction remains a huge part of the recipe for Chateau Lynch-Bages and today remains a key factor in the wine’s signature structure and its consequent ageing ability.  There is confidence in this method and the levels of extraction the estate can go to, whilst retaining balance in the wines is impressive. It is no doubt thanks to the distinct gravel terroir in Pauillac, which seems particularly present at Lynch-Bages, where the magical union between Cabernet Sauvignon and gravel soils seem to exude possibly more than anywhere else. It is clear that in the past, the Chateaux that lack that special terroir but have copied the approach and style have ended up with over-extracted wines and a loss of character and freshness. Whether it is the trend in the reduction of extraction, better technology for the handling of tannins or a better understanding of individual terroirs and their varying abilities to absorb tannin whilst remaining balanced, high levels of extraction is on the decrease in the Medoc. But thankfully Lynch-Bages has not swayed to the fashion, knowing that their terroir is built for such a purpose. 

The 2019 is a stunning wine and Lynch Bages does seem to flourish in a warm vintage. Asked where the suppleness comes from in the 2019, Jean-Charles states "rather than any restriction on extraction, it is more to do with the glycerol-rich quality of the Merlot in 2019 that adds wonderful flesh to the distinct Cabernet Sauvignon structural profile. It is this warmth of the vintage that brings suppleness to the wine as the freshness exudes from the
union of graphite minerality and mouthwatering Cabernet tannins." The 2019 vintage Whilst it was a warm vintage in 2019, Jean-Charles states that "the winter of 2018-2019 was very wet and with high humidity periods both in April and June which provided a huge amount of water reserves that meant the vines suffered no vine stress despite what was to be a very hot, dry summer. Temperatures at times were similar to those seen in 2003 but whereas then the vines completely shut down, in 2019 they remained active and pushed on through, reaching a beautiful phenolic ripeness in the tannins." The Echo de Lynch-Bages is also easily the best example I can remember tasting and for Jean-Charles the quality of the second wine is a great indication of the overall quality of the vintage.  He states "whilst the Echo has distinct vineyards closer to the river with more clay in the soil, how the grapes behaved in these lesser sites is quite remarkable." The IPT (tannin levels) between the two wines are different with Echo at 78 IPT and Lynch-Bages at 91 IPT. While technically Echo is therefore less structured, Jean-Charles explains that "the tannins tend to be slightly grippier in the Echo and with the general refinement of the tannins being a signature of the 2019 vintage, it has produced a very serious second wine." The Lynch-Bages specially cultivated yeast Vinifications at Chateau Lynch-Bages are quite particular in that since 2013 the property has cultivated their own indigenous yeast that originates from their vineyard. They worked with the University of Bordeaux experimenting with the yeast strains until they found the perfect formula.  Using indigenous yeasts these days in Bordeaux is fairly rare due to the  potential risk of bacterial spoilage as alcohol levels have risen, but for Lynch, with their own cultivated yeast they have found what is essentially a compromise between the two, an incredibly
reliable fermentation, even in warmer vintages, whilst the indigenous yeast adds a distinct character and complexity to the Lynch-Bages flavour profile. Pioneers of Pauillac The reputation of Chateau Lynch-Bages as an over-achieving Fifth Growth was initially built up by Jean-Charles’ great-grandfather (his namesake) who was a real pioneer in Bordeaux during the 1950s and 1960s. Jean-Charles describes him as a real risk-taker. He was the first winemaker in Bordeaux at that time to take the risk of picking later.  Jean-Charles explains "in those days most producers in the Medoc were too nervous of autumn rains to hold out", the result harvesting grapes with unripe, green tannins, that required years to soften. Alongside Jean Bouteiller of Chateau Pichon Baron and Edouard Gasqueton of Chateau Calon Ségur, Jean-Charles believes  "they single-handedly steered Bordeaux towards a richer, riper style."  The wines of Lynch-Bages became recognised for their opulent, fruity style. But this was not without forfeit. The family used to joke about his risk-taking. In 1964 with the onset of rain he refused to pick, preferring to wait until the bad weather passed, but it just rained and rained and the vintage was ruined. But it was the great vintages of 1953, 1955, 1959  and 1961 along with the lesser vintages of 1952 and 1957 that built the reputation for Chateau Lynch Bages, producing some of the finest wines of the vintage.  Jean-Charles was in fact the first Cazes to own Chateau Lynch-Bages - taking a huge gamble in buying the property. He was initially a lowly baker in the town of Pauillac and he bought the estate in the 1930s during the Great Depression, seeing an opportunity during the economic turmoil. He managed to accrue the money to secure the estate. With very little capital he had to sell every single bottle he produced, and this continued when his son Andre took over and is the reason why Lynch Bages has such a small back catalogue of vintages at the estate.  But the quality of the wines was evident even back in the early days.  During the 1950s and 1960s Alexis Lichine (then owner of Chateau Prieuré-Lichine) used to hold blind tastings with the trade in Bordeaux – typically made up of negociants, courtiers and merchants. In these tastings, Chateau Lynch-Bages famously performed well.  Jean-Charles talks fondly about how his great-grandfather would carry Alexis Lichine’s little book of blind-tasting results with him everywhere he went and used this to build up the reputation of the Chateau to merchants around the world. It seems Chateau Lynch-Bages has been over-achieving ever since and if the 2019 is anything to go by it continues to produce some of the best wines in the Medoc whilst retaining such a strong Pauillac quality. The recent purchase of Chateau Haut-Batailley Jean-Charles carried on in his ancestors’ risk-taking footsteps when he purchased Chateau Haut-Batailley in 2017 - a gamble that just a few years later seems to be paying off. The site is positioned in some of the finest terroir in Pauillac, neighbouring the vineyards of Chateau Latour, Chateau Pichon Lalande and Chateau Grand Puy Lacoste. Bordering Saint Julien the wine is much less structured than Lynch-Bages but more seductive and elegant. 2019 is undoubtedly the top wine they have made at the estate. 
 With Cabernet Sauvignon performing so well in 2019 they were able to put more than ever before in the blend, producing real clarity on the fruit and a real flair and energy on the finish. The wine is very different in style to Chateau Lynch-Bages, more of a cross between the seductive elements of Saint Julien and the graphite minerality of Pauillac. Both the second wine Verso and Chateau Haut-Batailley are fantastic additions to the Cazes portfolio.  Their third Chateau in the Medoc – Chateau Ormes de Pez in Saint Estephe, is arguably one of the best value wines in Bordeaux producing fantastic consistency in recent vintages and adept at handling the different tannin profiles you find in Saint Estephe. The wine is juicy, fleshy and more open-knit than the Pauillac wines but has a wonderful power and seriousness despite its roundedness. The quality and purity of the fruit typical of 2019 is also outstanding at Chateau Ormes de Pez. All three properties come highly recommended. Tasting notes Chateau Lynch-Bages 2019, Pauillac Gorgeous dense, focused aromas -dark black fruit both fresh and ripe, scented tea leaf, clove, vanilla, chocolate, tobacco, graphite. Stacked fine, close-knit tannins provide impressive detail, density and intensity on the palate. There is fantastic energy in this wine, pulsing as a
glycerol-rich fleshy concentration of fruit washes over a stony minerality. There is finesse and power and so much minerality. Stunning wine. 
Echo de Lynch-Bages 2019, Pauillac Lovely lifted tones to the wine - open dark berry fruit, sweet leather and scented clove as well as distinct graphite minerality and pencil lead. Succulent palate, juicy, fleshy glycerol rich and then the tannins start to define structure underneath a generous fruited full body. Integrated,
balanced power. Very clean, there is elegance and power and a lovely energy to the wine. Very impressive for a second wine. Click here to buy. 
Chateau Haut-Batailley 2019, Pauillac Inky purple colour, Brooding dark / black fruit aromas. High-quality oak tones of scented clove, scented tea leaf and dark chocolate. Deep, beautifully ripe, delineated black fruit - cassis, blackberry, plum - puckering but refined, structural tannins. Earthy, savoury tones on the finish. The sustain on the finish and the energetic lift add complexity to the wine. Excellent. Click here to buy. 
Verso 2019 (Second Wine of Chateau Haut Batailley), Pauillac Dry spice, brooding nose. Soft, juicy blackberry coulis fruit - fleshy and generous. But there is also detail on the palate, the tannins have structure and layers. It doesn't have the refinement of tannins that the Haut-Batailley has but it's still serious. Refreshing acid and mineral freshness offset the generous fruit. Definitely over-achieving in 2019. 
Chateau Ormes de Pez 2019, Saint Estephe Juicy, open-knit fruit with distinct savoury saddle leather and violet St Estephe tones. Juicy, opulent, generous fruit with lovely mid-palate weight and concentration. Tannins are sinewy but beautifully integrated, and textural giving lovely framework and depth to the palate. Succulent and juicy, fully ripe but no hints of overripeness. Explore more Editorial 

Jean-Charles Cazes on what makes Chateau Lynch-Bages such a special and unique wine in Pauillac.

Wine tasting with Jean-Charles Cazes, the managing director of Chateau Lynch-Bages, Chateau Haut-Batailley and Chateau Ormes de Pez.

Jean-Charles Cazes of Chateau Lynch-Bages

Interview with Jean-Charles Cazes of Chateau Lynch-Bages

2021 Bourgogne Hautes-Côtes de Nuits, Louis Auguste, Domaine David Duband  
This wine, named in honour of David’s son, Louis Auguste, comes from higher-altitude sites and some of the domaine’s oldest vines (over 55 years in age). In 2021, it’s spicy and lifted – offering a mouthful of pure, crunchy red fruit. It’s fresh and mouth-watering, building to a savoury, smoky finish. Superb value.  


2021 Gevrey-Chambertin, Charles van Canneyt  
This village bottling is an excellent entry point to Charles van Canneyt’s range – especially if you can’t get your hands on any of his Domaine Hudelot-Noëllat wines. The 2021s may be the best vintage to date of his négociant label, with a line-up of elegant and vibrant wines that offer great value. The village Gevrey-Chambertin is a wine of such finesse – with a lifted, perfumed nose. But behind the aromatics, there’s a more serious palate, with persistent, focused fruit, and vivid acidity driving through the core of the wine. The long finish is scented with delicate florals. 


2021 Gevrey-Chambertin, Domaine Duroché  
Because yields were so low in 2021 (due to frost and hail in the north of Gevrey), Duroché’s 2021 village Gevrey includes fruit from Le Clos, Champ, En Vosne and what little survived the hail in Premier Cru Champeaux. All Duroché’s vines are old, and for this cuvée, they were all planted between 1930 and 1986. The nose is perfumed and floral, but it’s the palate that really sings – with a tight energy and ripe, round mouth-feel. A gentle toastiness (with 15% new oak) coats the sweet, red cherry fruit. This vibrates with potential – the finish long, saline and mouth-watering. A brilliant introduction to the Duroché style. 


2021 Savigny-lès-Beaune, Premier Cru, Aux Guettes, Domaine Jean-Marc & Hugues Pavelot  
This vineyard sits just below the forest, with only 30cm top-soil over the hard rock below. The Pavelot plot (a mere 0.35 hectares) shows a totally different side to Savigny – brighter and lighter, with vibrant red fruit and a creaminess (with 25% new oak). The nose is full of raspberry and cranberry, with a welcome, sublime freshness thanks to this more “traditional” vintage. The medium-bodied palate is mineral and elegant, with great tension. The oak is well-integrated, bringing extra weight to the mid-palate, building to a vibrant, long finish. This is a top wine – classic and airy, as Burgundy used to always be. 


2021 Givry, Premier Cru, Clos Marole, Domaine Joblot  
Clos Marole is one of the few survivors from a catastrophic growing season at Domaine Joblot, with yields slashed by 50%. But – even if there’s not very much of it – the wine is superb. You’re instantly struck with vibrant, fresh red fruit, blackberry and crushed strawberry – possibly thanks to the old vines (on average 40 years old). The oak (35% new) needs a little more time to integrate fully, but is well-judged. Relatively light-bodied, the palate is driven by great acidity and silky tannins. The finish is long and suave. Enjoy this delicious wine young, but it has everything to keep for a decade or more.  


2021 Morey-Saint-Denis, Premier Cru, Clos des Ormes, Domaine George Lignier  
Domaine Georges Lignier is the largest owner in Clos des Ormes, with almost two hectares of the Premier Cru, all on calcaire comblanchien. The nose is pretty and perfumed with sweet spice notes courtesy of the oak (around 25% new). The fruit is bright and crunchy, yet there’s a darker, more brooding aspect on show – with a powdery tannic structure adding texture to the pure, long palate. An impressive result in the vintage.  


2021 Coteaux Bourguignons, L’Eclos des Abeilles, Domaine de Bellene  
Nicolas Potel only made 6,000 bottles of this wine in 2021 (instead of 20,000 normally) – yet it’s once again excellent for what is “just” a Coteaux Bourguignons, rivalling some top village appellations. The fruit for this great-value cuvée comes from cooler vineyards on the limits of the Bourgogne appellation in Nantoux (where the vines are 80 years old), Saint-Romain and Nuits-Saint-Georges, classified as Coteaux Bourguignons (an appellation more often associated with reds). The wine is mainly Chardonnay, however there’s a sprinkling of Aligoté adding extra zip.  The nose is honeyed, fresh and mineral, with the palate crisp at first, with clean acidity and superb balance. It rounds out with toasted almond and citrus, building to a long finish that brings a generous dimension of complexity to the wine. It is almost ready to drink now. A superb effort from Potel.  
  
2021 Puligny-Montrachet, La Rue aux Vaches, Alvina Pernot  
This was a particular highlight of our tasting – offering a very different style to Clos des Noyers Brets. Versus the soft purity of Clos des Noyers Brets, this is both more mineral and with a riper core of fruit – juicy white peach and apple, but with a bright, zesty green edge to it, and the very slightest hint of toast. The texture is richer and creamier, offering a pleasingly round yet beautifully elegant mouthful. Long and nuanced finish. This was bottled exclusively in magnum – with just 146 produced.   


2021 Saint-Aubin, Premier Cru, En Remilly, Louis Jadot 
In 2021, there is just one barrel of this Premier Cru – and it’s exclusively available from FINE+RARE. Pithy with flinty, mineral tones that complement an almost orange-zest lift. Behind the citrus and minerals though, there’s a core of fresh, white-peach fruit and toasty, spicy oak that lingers on the finish. The concentrated core is balanced by vibrant acidity, with that creaminess rounding out the lithe palate. Delicious.  


2021 Chablis, Grand Cru, Les Blanchots, Domaine Long-Depaquit  
Domaine Long-Depaquit has 1.66 hectares of this cool Grand Cru. They managed to make just 20% of a normal crop in 2021, the region’s yields drastically reduced by cruel April frosts. This was a particular highlight of our tasting – with an intense, taut, lime-and-lemon profile. Although the fruit verges on lean, there’s a brightness to the wine too. Notes of chalk, oyster shell and Granny smith apple are complemented by a creamy, round character. The finish is long and zesty – classic, pinpoint Chablis. 
 Browse all available Burgundy or read more about the vintage 


The grandest names in the Côte d’Or might be the most desirable – but there’s much more to the region beyond the very top appellations. Here we highlight 10 of the wines that we think offer the best value in 2021 

Discover the 10 best-value wines from our tastings of the Burgundy 2021 vintage so far – from up and down the Cote d’Or

The best-value wines in Burgundy 2021

Burgundy 2021: top-value buys

Based in the village of Morey St Denis, the domaine is today run by the ever-thoughtful
Benoit Stehly, the great grandson of Georges Lignier, who has been in charge of
the property since 2007.  It remains one of the great value domaines in the Cote de Nuits and the wines are undoubtedly the top-value picks from these top sites in 2018.  This week we met with Benoit in London for a second look at his 2018s, following our initial autumn tasting at the domaine. The times are changing Benoit’s honest approach to his viticulture, his confidence to experiment and his continual
strive towards creating “thought-provoking” rather than “perfect” wines, always makes for an inspiring visit. He is not one to shy away from making changes in the vineyard in accordance with the
undeniable rise in temperatures over the last decade in Burgundy. Warm vintages are becoming commonplace and therefore he thinks a fresh approach is required to make the most of it.  Benoit is unique in Morey in keeping a permanent grass cover in the vineyard creating competition with the vines and forcing deeper root systems. It also serves to increase humidity, off-setting the heat of a hot vintage and slowing down the ripening, thus retaining freshness and protecting against the grapes cooking on the vine.  It also protects against erosion as well as creating more biodiversity in the soils. Others in Morey have since tried and failed with the same technique and this he believes was down to his own luck. First planting the grass in 2012 he was fortunate to have had three consecutively wet springs that enabled the roots to bed in. His neighbours who have since tried have seen much drier Springs in 2014, ’15, 16, ’17 and not been able to maintain them. 
In a warmer vintage like 2018, Benoit looked to similar steps he took in 2015 to best deal
with the heat. He has thrown out the rule book of picking 100 days after flowering, knowing that in vintages like these the grapes ripen much quicker.  “Two distinct style changes today exist in Burgundian Pinot Noir due to climate
change”  Benoit believes the very real effects of climate change has seen two quite different
styles develop in the Cote du Nuits and in recent vintages this has only become further
exacerbated by ever warmer summers. According to Benoit, about a third of Burgundy producers, typically the younger (or at least younger-spirited vignerons), of which he includes himself, are picking on freshness. The older generation continue to pick on ripeness – governed by the general rule of picking 100 days after flowering.  Both styles have their advantages, picking later gives you fully developed aromatic
complexity but with the risk of escalating alcohol levels and less freshness. Benoit prefers to pick on freshness, retaining “classical” alcohol levels – between 13.2 – 13.6% abv and terroir specificity, whilst avoiding what he believes is over-ripeness in the fruit flavours. The risk seems to of paid off with his 2018s.  The French government no longer calls the shots in a warmer Burgundy Picking times were regulated by the French government in Burgundy up until 2005. The
practice was discontinued following the disastrous timing by the government during the very hot 2003 vintage in which they only allowed picking to start in September (too late for many). The delay was due to government officials unable to declare until they returned from their summer holidays. Many vignerons broke the law to save their crop, others were not so lucky. Following the outcry, the government in 2004 declared that producers could pick from August 1st, effectively making their declaration pointless. Ever since, the practice has
been discontinued. However, as Benoit explains, many vignerons had become reliant on officials to tell them when to pick, rather than making their own judgements. Abandoning the declaration exposed all the vignerons that had little understanding on when was the right time to pick. It also further debunked the now outdated notion that you pick 100 days after flowering. A fresh approach 
Many of Benoit’s neighbours, even in 2018, were still picking 100 days after flowering and in his opinion were producing overripe wines with huge alcohol levels. For Benoit, Burgundy over 14% abv loses its typicity and sense of place. He states how Burgundy has always been one of the coolest regions in the world to produce Pinot Noir, and in the past the leaner, difficult vintages were all too common.  Climate change has produced warmer, riper vintages which according to Benoit has at least given the vigneron more choice in the style of wine they want to produce. With the warmer weather, one can either opt for a fresher style or a riper style and this comes down to choice of when to pick.  For Benoit, the picking time is the key factor to get right and remains the most stressful time
of the year. With high temperatures and a persistent drying wind at harvest, picking times in 2018 had never been more important. Picking just five days later saw the alcohol level rise by 1%. Fortunately, Benoit was one of the first out in the Morey St Denis vineyards beginning to pick from the 5th September, with all the grapes in within 10 days, starting with his Grand Crus and ending with his coolest Village sites. The 2018 wines Chambolle Musigny 2018 The oldest vines dating back to the 1930s gives this village wine plenty of personality coming from two plots north of the Chambolle village whose soils are rich in iron. The wine has wild floral aromas and light mineral ferric notes with silk-like melted tannins. The purity of fruit on the palate is fantastic with great mid palate weight and expansive breadth. This is excellent
quality for village level. 
Morey St Denis 1er Cru 2018 Bright translucent purple colour with perfumed notes of violets, wildflowers and red berries. The palate has a lovely spectrum of fruit from vibrant crunchy blackberry fruit to more candied red cherry and cassis. This interplays with a more Morey-esque savoury tone of fresh soil, hints of sage and bay providing more refreshing earthiness to offset the ripe fruit. The tannins are beautifully integrated and very fine, well-balanced with refreshing crunchy acids. Morey Saint Denis 1er Cru – Clos des Ormes 2018 Benoit calls this his baby Clos de la Roche, sitting directly below the Grand Cru vineyard and sharing the darker spice, brooding fruit and complex perfumes of orange bitters and sweet herb notes alongside rich plush blackberry fruit. This is a very serious gourmand style of Burgundy that is built to age and will develop beautifully in bottle over the next decade.  Gevrey Chambertin 1er Cru Les Combettes 2018 Surrounded completely by Grand Crus, this has a lovely elegance and sweetness on the nose,
the intensity and generous character of top Gevrey and a really wonderful balance. Red fruits, raspberry, a touch of juniper, pepper, silky tannins that are already so soft and integrated. Mulberry and macerated raspberry on the finish. Great length and freshness. This is serious. 
Clos Saint Denis Grand Cru 2018 Vines between 60 and 70 years old – powerful red fruits with fresh peppery notes and minerality on the nose. Superbly balanced tannins with a light sweetness, an expansive palate of dark berries and cherries opening to a long and elegant acidity, which amplifies the minerality of the terroir. Dry and powerful, the spine of this Clos St Denis provides amazing structure and exciting length on the finish. Will age incredibly well.

Clos de la Roche Grand Cru 2018 Deep nose of blueberry and purple fruit, savoury herbs and spice. Tightly wound and intense, the palate shows a hint of dark chocolate, oak, dark cherry and red fruits. A chunky personality, touch of pepper on the finish and good length. So much potential here. 
Bonne Mares Grand Cru 2018 Grown exclusively on the red limestone soil (Morey-side) of Bonnes Mares rich in iron, from 100-year-old vines. A captivating nose of mandarin, touches of spice and a broad spectrum of red and dark berry fruits. A core of red cherry and raspberry on the palate, mouth-watering acidity balanced by sensuous tannins. Structured yet elegant with an intense fresh berry finish. Outstanding. Explore more Editorial 

Domaine Georges Lignier has some of the most enviable Grand Cru sites in Burgundy with significant holdings in Clos de la Roche, Clos St Denis and Bonnes Mares

Exploring Domaine Georges Lignier and its enviable Grand Cru sites in Burgundy in Clos de la Roche, Clos St Denis and Bonnes Mares. 

Domaine Georges Lignier, 2018 vintage update

Domaine Georges Lignier: 2018 vintage update

I am too disorganised to call myself a collector, but I often find myself thinking about the multiple meanings of collecting. I have a room full of books left unread from one year to the next, whose mute reproach I feel every time I am in their presence. I have half a dozen radios, from Marco Zanuso and Richard Sapper’s folding Brionvega TS502 to a Danish-made Beolit 707 from Bang & Olufsen, with its slide rule tuning device. I have a manual typewriter.  Most of us accumulate such random clutter. These were never possessions that were primarily about being useful – the Brionvega and the Beolit have long since been supplanted by a bluetooth speaker and a smartphone. They represent my membership of the design tribe.  The books carry other layers of meaning. My five years at university are on one shelf. The traces of the eight years I have spent writing a just-completed biography of Boris Iofan – Josef Stalin’s preferred architect – are spelled out in the titles of the books on another shelf. The typewriter was inherited from my father and it serves to remind me of childhood. The closest that I come to having a collection that a serious collector might acknowledge is in my chairs: a Rover chair that Ron Arad salvaged from a car, a Gio Ponti Superlegera, an Eames Lounger, a Harry Bertoia, George Sowden’s Palace chair from the 1983 Memphis collection and a deconstructed armchair designed by Rei Kawakubo. On a larger or smaller scale, humans develop complex relationships with their possessions that can go from the professionalism of full-blown collecting, to the casual significance of a row of junk shop finds on a mantlepiece. They can tell us a lot about ourselves. Marina Warner’s guide to the house in Hampstead, now run as a museum, in which Sigmund Freud spent the last year of his life, offers an arresting insight into the significance that collecting had for him. She describes the ranks of ancient bronze, ceramic and marble figures parading across the desk that Freud brought with him to London from Vienna where he no longer felt safe due to Nazi occupation in 1938. Certainly, they are beautiful, and mostly they are precious. Thanks to their association with Freud, even the few that have been established as 20th-century forgeries will have become valuable. Some are almost 4,000 years old and reflect the religious and political practices of the distant past. Others, such as Freud’s art deco cigar case, come less freighted with history. But as Warner says, “they were also tools of thought, the kitchen utensils of his imagination”.   The batterie de cuisine of psychoanalysis included Egyptian coffin masks from the Roman period, Chinese jade and gold brooches, Roman glass, a 2,500-year-old sphinx, sarcophagus lids, Babylonian cylinder seals and Egyptian heart scarabs, as well as a 19th-century neck rest from New Guinea, modern metal porcupines, and Balinese figures. The pieces in pride of place on his desk, placed in apparently random order, were his special favourites, a tiny fraction of his collection that had become permanent fixtures. From time to time, Freud made space for a few new acquisitions to get a look in. “A collection to which there are no new additions is really dead,” he told his biographer Ernest Jones. After a short interval, most of the new things would be moved into the glass-fronted cabinets positioned around his study, where they were placed in more organised groups than those standing on his desk. Greek sculptures went on a shelf together. A cluster of representations of the Egyptian god Horus were grouped on another.  In Freud’s lifetime, the collection was continually changing. Before his move to London, he toured Vienna’s antiquities dealers almost every week on the look-out for new finds. He was ready to exchange pieces for items he could not afford to buy, and was generous in gifting pieces to friends and pupils he thought would appreciate them. Freud also had no qualms about buying items that came on the market in questionable circumstances, in particular, from the unofficial excavations (sometime after 1906) at a Roman fort in Hungary.   Despite the important part it played in his life, Freud wrote very little about collecting. The nearest that he came to spelling out what drove his interest in fragments of ancient sculpture, was when he compared his own exploration of the unconscious minds of his patients to an archaeological excavation of an ancient city. “The psychoanalyst, like the archaeologist, must uncover layer after layer of the patient’s psyche before coming to the deepest, most valuable treasures.”  Freud was known to share his dining table with choice specimens to act as companions during a meal. “I must always have an object to love”, he confessed to his colleague and rival Carl Jung. When he was writing his book The Interpretation of Dreams in 1895, Freud spent the summer at Schloss Bellevue outside Vienna. He took a selection of what he called “my old grubby gods who take part in the works as paperweights for the manuscripts” with him.  Before Freud left Austria for England in 1938, his desk, his consulting room, and his study at Berggasse 19 were photographed by Edmund Engelman. Engelman’s 150 images helped Freud’s architect son Ernst to transpose the desk and its contents from a dark back room in a Viennese apartment to a sunlit Hampstead villa.  Like most collectors, Freud could never limit himself to a single field. Ronald Lauder the former MoMA chairman, for example, is known for the collection of Viennese modernism that forms the basis for his own museum, the Neue Galerie in New York. He also collects (in depth) in 15 other fields with little apparent connection between them. Lauder is fascinated by the work of the Japanese designer Shiro Kuramata. He has a collection of arms and armour going back to The Crusades, and another of World War Two memorabilia. He owns some of Egon Schiele’s finest works, as well as various 18th-century French artworks. Fellow collector Rolf Fehlbaum (head of Vitra) has one of the largest collections of modern chairs in the world, and gave Frank Gehry his first European commission to design a gallery for it, but he is equally fascinated by toy robots manufactured in Japan since 1937. He calls them tiny kinetic sculptures. Where possible, he acquires their original packaging too. Perhaps the best way to understand the psychology of collecting is to see it as a spectrum. At one end, it is about order and control. In a messy and uncontrollable universe, a collection offers at least a semblance of certainty. A collection of this kind is based on provenance, completeness and authenticity. An over-restored vintage Bugatti is less desirable to a collector than one in original condition.  Every previous owner, every detail of its making forms part of its record. A red Olivetti typewriter designed by Ettore Sottsass that once belonged to David Bowie was sold at Sotheby’s for US$65,000. You can buy one (that hasn’t been owned by Bowie) for US$750, which is still a lot of money for a piece of obsolete technology. Some collectors attempt to make patterns from the things that they acquire or, like jigsaw puzzlers, set out to complete a picture by locating every piece of a set. Some try to document the evolution of a species whether the subject of their interest is biscuit tins or the eggs of a particular type of bird. Some forms of collecting require the active engagement of the collector. Wildflowers need to be picked and dried quickly before they are pressed into a book. Butterfly collectors used macabre methods such as poison jars, or squeezing the thorax, to dispatch their prey without causing so much distress that they risk damaging delicate wings. At the other end of the spectrum, the accumulation of stuff by people who die alone in homes overwhelmed by stacks of ancient newspapers and tins of cat food, is a kind of sickness. It’s a condition that can overwhelm even the most celebrated of artists. In the last 17 years of his life, Andy Warhol filled a succession of cardboard boxes with a seemingly random accumulation of objects: taxi receipts, a vinyl Ramones single signed by Joey Ramone, a piece of an ancient, mummified foot, pastel-coloured corsets and a selection of metal dentures. Every time he had a full box, it was sealed and shipped off to storage in a warehouse in New Jersey. A typical box has 400 objects in it, some have as many as 1,200. Items in them include a piece of Caroline Kennedy’s wedding cake – Warhol seems to have been a regular guest at Kennedy weddings. He showed up 20 minutes after the wedding ceremony for Maria Shriver and Arnold Schwarzenegger had started, in the company of Grace Jones. He was in black leather, and wearing two wigs; she had on a huge green fur hat.   Warhol’s boxes are a collection of the uncollectable and the uncontrollable, which, thanks to the resources of the Andy Warhol Foundation, has been tamed after six years of work by a dedicated group of archivists and cataloguers. The Andy Warhol Museum in Pittsburgh has aestheticised the cardboard boxes. They sit on back-lit shelves in the museum to suggest that this is not a random collection of trash that Warhol never looked at, but, in the view of the museum, is in fact a time-based art piece, comprising at least 500,000 objects that took 30 years to complete. It presents a considerably less impressive sight than British Regency period architect Sir John Soane’s museum. The architect of the Bank of England put as much effort into adapting his Lincoln’s Inn Fields house (and subsequently the two adjoining houses) to display his Hogarth paintings, a sarcophagus and his architectural models, as he did to accumulating the collection itself. The Nobel prize-winning Turkish writer Orhan Pamuk’s novel, The Museum of Innocence is an eloquent exploration of the hoarding end of the collecting spectrum. What initially appears to be an account of a doomed love affair, quickly reveals itself as an exploration of the meaning of collecting. The story’s main protagonist Kemal starts acquiring things when his relationship with his lover Füsun is going well. When she drops an earring, he finds it and puts it to one side. As Füsun falls out of love with him, Kemal begins an increasingly desperate accumulation of objects that record their relationship. He picks up each of the cigarettes that she smokes. When she has stopped seeing him altogether, Kemal starts hanging around at her parents’ house and stealing pieces of cutlery that she might have used.  What makes Pamuk’s book particularly remarkable is that he acquired a house in Istanbul’s Beyoğlu district that had belonged to a Greek merchant in the Ottoman era, and transformed it into a physical Museum of Innocence. It is, of course, very far from innocent; everything inside it is a lovingly created fiction. The first thing that you see once you get inside, is a wall covered with 4,213 cigarette ends, each of them carefully annotated in Pamuk’s neat handwriting, with imaginary details of the time and place they were smoked. The rest of the house is full of equally carefully fabricated objects from cosmetics to movie posters that reflect Pamuk’s vision of the modernising Turkey of the 1970s. “I think getting attached to objects happens in traumatic times and love is a trauma,” Pamuk once said. “Perhaps when they are in trouble, people hoard things.”  When Pamuk gave me a tour of his museum, he told me about meeting Warhol’s archivist, and expressed his reservations about the significance of the boxes in Pittsburgh. “Hoarding objects reaches the level of collecting only when there is a story that unites them,” he said. But that is a novelist criticising another, less narrative art form. While Freud’s desk in Hampstead was always useable, if overcrowded, the desk in fashion designer Paul Smith’s office in Covent Garden is completely overwhelmed with a snowdrift of collected objects that sweeps over an office chair, down onto the floor, and back up to the shelves that line every wall. There are stacks of books and magazines, cameras and mountains of vintage cycling jerseys. There is an i-Mac computer, a gift from Jony Ive that Smith has never used. Computers aren’t Smith’s thing. In any case, it’s too late now, short of purging half the contents of the room: there is no way to get near it. There are toy tin cars, collections of bottles from Moroccan markets, a pink bicycle and a lot of rabbits. “I once said in an interview that seeing a rabbit brings me luck, and they haven’t stopped pouring in ever since,” explains Smith. Collecting began, as did so many things in Smith’s career, with his early enthusiasm for cycling. Growing up in Nottingham in the 1950s, there was a newsagent which occasionally had a copy of L’Equipe, which would portray the heroes of the Tour de France in their yellow jerseys in colour on the cover, but in sepia inside. He bought the magazine, fascinated by the images, even if he couldn’t read it. “I can remember once saying, ‘I really like Jacques Anquetil’ to my father, which baffled him, since none of our family had ever been abroad. I saved my pocket money so that I could upgrade the gears on my bike from Simplex to Campagnolo. The box it came in was as important to me as the gear itself.”  What attracted Smith to the Campagnolo box, along with stamps and matchboxes which he has in large numbers – not just in his office but at his Nottingham HQ where he has an archivist trying to make sense of it all – is the way that designers can say so much in such a tiny space. He showed me a Japanese book of matches produced for a Tokyo nightclub in the 1970s. “It so clearly says it’s ‘contemporary’. You can hear the jazz already.”  Despite the huge assortment of assembled objects, Smith is reluctant to describe himself as a collector. “I just have a large quantity of the same things,” he says, matter of factly. “In my head, a collector is someone who selects an item or a subject. They collect them because they know a lot about them. Maybe I have a little knowledge about cycling jerseys.  In the early 1980s, on my first trips to Japan and India, I just got a bit carried away. I bought lots of Japanese furniture. In India, for some reason, I bought 15 wardrobes, and a piece of furniture that doubled as a staircase with drawers.” Smith had them all sent home on the Trans-Siberian Express.  He suggests that his is a collection that has found him. “Things collect me,” he says. “For some reason I started to be sent things, and they still keep coming.” There is an individual who regularly sends Smith artefacts that come unwrapped but covered in postage stamps. Others send him letters, toys, books and even ancient packets of razor blades. One visitor took careful photographs of his office, and later sent him a precisely detailed model of his office, complete with its chaotic contents. Smith’s London home, where he lives with his wife Pauline, is much calmer. “The house is hers. I do have one room for my stuff, but it’s mostly at the office that I get to look at things.” In 1996, patron of the arts and barrister Jill Ritblat gave the V&A Museum the largest single donation of clothes in its history, more than 1,000 items. There are ski outfits in postmodern pastel shades from the 1980s, and challenging Japanese experiments from Yohji Yamamoto and Issey Miyake, as well as couture from Dior and Saint Laurent. There is work by Alexander McQueen, Biba, Mary Quant, and Christian Lacroix, Emanuel Ungaro and Victor Edelstein, and an evening outfit produced by a dressmaker based on an idea of Ritblat’s own design.  The early days of British fashion from the 1960s are represented by Foale and Tuffin, and Zandra Rhodes, and from the 1980s by Margaret Howell and Katharine Hamnett. There is tailoring from Tommy Nutter and work by Giorgio Armani. It is by no means a complete account of contemporary fashion, but it is certainly extensive, and like the personal wardrobe that it is, combines some very special pieces made for family occasions, with more everyday wear. The connecting thread of Ritblat’s collection is Ritblat herself. These were all pieces that she had bought to wear. They were not chosen like stamps, or old masters, or celadon vases to make a self-conscious collection, but were the result of a continuing sequence of choices over time. Taken together they are a reflection of her life as an English woman of a certain background, at a particular time in the country’s history. “I never saw it as a collection, it was more like my diary, though I have never had time to write a diary. Each piece brings back memories of when I wore it,” says Ritblat. She made her first donation to the V&A at the end of 1996, but kept back the things that she wanted to be able to go on using, and they formed the core of a donation to the Design Museum of another 400 items in 2013. Ritblat is ambivalent about fashion. As a child she was somewhat self-conscious about being dressed by her mother, who had studied fashion herself. She was relieved to be able to assume the camouflage of the complex uniform rituals of an English public school for girls in the 1950s. “I loved my school uniform at Roedean; we were expected to change our clothes four times a day, as chic as anything. Scratchy afternoon dresses, regulation school loafers, very nice blazers and pleated skirts.” As a student barrister, she found herself adopting the formal uniform of the legal profession, but then as a married woman began to build a wardrobe that reflected the life that she was leading. Later, when she was making her own choices, she was early to discover Miuccia Prada. “What you pick out is based on whether it suits you and on the zeitgeist,” she explains. Smith, Heseltine and Ritblat represent three very different approaches to collecting. For Smith, the unruly mountain of things in his office, is, like the collection on Sigmund Freud’s desk, part of the tools of his imagination, a source of imagery and ideas for his work as a designer. It’s also a means of establishing his personality. Heseltine’s garden is an investment of time, resources and creativity in the remaking of a place that speaks to the future using living organisms that will outlive us all. Ritblat’s clothes are a record of the full life of an individual. All of these collections provide insights into unique people, their lives and times. In their different ways all three reflect on the nature of collecting, and its ability to be a creative activity in itself. In a world in which technology threatens to abolish the material world altogether, objects have not lost their allure. Their physical condition marks the passing of time in ways that pixels and code cannot do. Collecting is the means all of us have to create histories of our times, and even more, of ourselves. This article was originally published in FONDATA, Issue Two. 

In order to explore the mindset of the collector, Deyan Sudjic shines a light on the collected objects of Sigmund Freud and Andy Warhol, and speaks to three British collectors to better understand what it is that makes collecting such a vital part of the human experience.

Exploring the mindset of the collector and why the act is a vital part of the human experience, with a focus on Sigmund Freud and Andy Warhol

FONDATA: Exploring the art of collecting 

 I Collect, Therefore I Am

Ermes Pavese

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