We talk to Europe’s leading glassmakers from the 250-year-old Austrian family-run firm Riedel to the young dynamo behind Grassl, which launched in 2018. We also speak
to Jancis Robinson MW on her recent collaboration with British designer and master craftsman Richard Brendon, who explains that traditional glass types have long been in desperate need of modernisation. Legend has it that Marie Antoinette’s breasts provided the outline for the creation of the
coupe, the shallow-bowled champagne glass that graced the lips of Hollywood’s starlets during the Golden Age, and enjoyed regular appearances in episodes of Mad Men. When it comes to wine glasses, aesthetics has historically taken precedence but functionality has risen to the top of the priority list.  Wine has long suffered an injustice at its final destination whether it’s champagne, sherry or claret. Designer Richard Brendon recalls his first meeting with Master of Wine, Jancis Robinson. “She said she’d never understood why white wine was put in a smaller glass than red wine and described this as discrimination. Champagne producers hate flutes because they don’t allow for any of the aromatics to get out of the wine, likewise Sherry and Port producers don’t like the small glasses that their wine traditionally gets put in.” There are a growing number of glass companies aiming to redress the balance. And, in the
same way as every winemaker in Burgundy has his or her own particular way of producing the perfect Pinot Noir, every glassmaker has a view to crafting the most suitable vessel in which to pour it.  Austrian-based Riedel has gone down the route of a glass particular to a variety from Chardonnay to Zinfandel while Brendon has followed Robinson’s one-size-fits-all advice.  “Jancis was entirely confident that we could create one glass that worked perfectly for every style of wine,” says Brendon” but we also needed two decanters to ensure we have a collection that works for every wine.”  With 40 years of experience tasting wine, Robinson set out the specific parameters for her ideal glass. “The widest part of the glass should be exactly 125ml or one-sixth of a bottle. This would mean when a standard pour is served, the wine will have maximum surface area, allowing for all of the aroma to get out of the wine,” he says.  “Jancis wanted a nice tall bowl to allow for the wine to be swirled in the glass to get more of the aromas out of the wine, and that the opening of the glass should be as small as possible to trap the aromas of the wine, but still big enough for even the largest of noses! The thickness of the rim was of utmost importance, she wanted it to be gossamer-thin so that you hardly notice the glass when taking a sip. “ Gossamer-thin is an apt descriptor for Zalto’s glassware, particularly the elegant, fine stems
that induce a certain nervousness in the holder. It’s a far cry from the heavy cut-crystal glasses that adorned the dining tables of previous generations. Daniel Primack of Zalto’s UK importer WineRackd admits such delicacy can be a concern initially but “with perfect balance in the hand and such fine construction, you may worry that you’re going to break them just by drinking from them but fear not,” he says.  “They are mouth-blown and cooled very slowly making them incomparably tough for something so fine. Zalto’s own recipe of the three main ingredients for creating crystal, silica, soda (sodium carbonate) or potash (potassium carbonate) and lime (calcium oxide) also contribute to the clarity and durability. They are blown differently to other Austrian glasses, with the bowl and stem formed as one piece, then the foot attached. A more usual arrangement is for the stem to be glued to the bowl. Remember the attachment point is a weak point” Staying in Austria, Riedel is perhaps the country’s most famous glassmaker in the wine world, producing an impressive 60 million glasses annually at its three factories. The 250-year-old company now uses machines to make 95% of its glasses. The company’s UK managing director Stephen McGraw says “we can produce machine-made glasses which are almost indistinguishable from handmade glasses.  However handmade glasses are still very important to us, as we preserve a skill which is still recognisable to the techniques used in Roman times. In terms of machine-made versus handmade? The glasses will all perform equally well, from a sensory point of view.” He adds that its unusually shaped decanters are a different matter: master glassmakers, who tend to have around 15 years of experience to be at the top of their game, can only make these intricate objects.  A much more recent addition to the glass scene is Swiss brand Grassl, which launched in
2018.  Founder and wine collector Alexander Mackh, who is just 26 years old, explains its conception. “I launched Grassl Glass because I didn’t enjoy the proportions of the glassware on the market. Finer, deeper, less-extracted, less-oaked wine [styles] require different glassware, so I decided to create my own.”  Prototypes in hand, Mackh tested the glasses on some of Burgundy's top winemakers as well as heading to the finest names in Bordeaux including Châteaux Ausone and Palmer. Tweaks were made accordingly and now the Slovakian-blown artisanal glasses can be found as far afield as South Korea and Australia.  
What is the magic number?  While Brendon and Robinson have created just one wine glass, Grassl’s magic number is four. The designs include Liberté, which is ideal for medium to low acidity white wines, which are oak aged and 1855, a glass for reds high in tannin, richness and alcohol. If push comes to shove, Mackh says “If you wanted just one glass that does the job, it would be the Liberté as an objective tool for tasting." Riedel is known for its varietal-specific glasses and there are myriad options but there has to
be genuine rationale behind a new style. “A glass designed for a specific wine must show that wine better than any other, non-specific glass would,” says McGraw before explaining the ongoing process that shapes its bowls. “We design and test our glasses together with winemakers. Through a series of tasting workshops, we fine-tune and hone the shapes of our glasses until the winemaker tells us that the glass is showing his wine correctly. Further, after a glass is designed and in production, we do continuous testing and tasting workshops to ensure that the glass is as relevant still as the day it was first designed.” However, there’s no need to be rigid in what you pour in the grape-specific glasses. Riedel has a glass, for example, that suits rosé Champagne, Nebbiolo and New World Pinot
Noir. You certainly won’t go to wine hell if you also use it for a glass of Chardonnay. Primack agrees: “The names are simply a guide to identifying the bowl. They were named this way as 15 years ago, it was the convention to use a wine name. Today, Zalto stress it is not a prescription for the contents. For example, many people appreciate certain styles of White Burgundy in the Bordeaux bowl. This has been proven time and time again”.  Function has now won over form in the wine glass arena but that’s not at the expense of beauty. The bedazzling array of aesthetically appealing wine glasses provides a tactile experience for both your hands and lips. Wine is delivered to our senses as the winemaker intended and that means it has never tasted so good. Explore more Editorial 

Fine wine demands the perfect glass to provide the ultimate sensory experience but the resting place of the final pour has long been neglected. But it’s all change.  

Fine wine demands the perfect glass to provide the ultimate sensory experience. We speak to Riedel Europe’s leading glass makers and British craftsmen

Fine wine glasses versus aesthetics

We explore the terroir and characteristics of Markus Molitor's top Grand Cru cuvees throughout the Mosel region. Markus Molitor talks us through the terroir profile and characteristics of his top single vineyard cuvees, plotting the wines on the map as we taste the latest vintages from each site.

Exploring the terroir and characteristics of Markus Molitor's top Grand Cru Riesling cuvees throughout the Mosel region in Germany.

Markus Molitor and mapping Mosel vineyards 

Markus Molitor: Mapping the Mosel

Bordeaux’s white wines don’t often make it into the limelight and Ch. Margaux is one of the few top estates – beyond the borders of Graves and Pessac-Léognan – to make a white that is as highly rated, and collected, as its red.  Last year, lovers of its famous Pavillon Blanc were rewarded with the news of an addition to the First Growth’s range: a second white wine, known as Pavillon Blanc Second Vin.  From the 2004 vintage, the team became increasingly selective with the fruit that made it into Pavillon Blanc, and from 2008 only a third or maximum half of the Sauvignon Blanc they harvest was being bottled. The team started occasionally bottling a barrel or two of a possible second wine, with the final result often poured for the harvest team. They rapidly realised, however, that the quality was good enough to deserve much more than internal consumption.  The wine is a true second selection and therefore sees exactly the same winemaking and attention as Pavillon Blanc proper. Pure Sauvignon Blanc, it spends around nine months in barrel, with circa 25% new wood, and half the barrels larger demi-muids, and some bâtonnage at the start of the wine’s maturation. One of the most important stages is the pressing, which is done extremely gently, stopping as soon as the pH rises by 0.10, and meaning they only manage to get around 50cl of juice per kilo of grapes.  While the first release came from the smallest white vintage on record for the property (2022), the new release – set for Thursday 16th January – comes from the 2023 vintage, the highest yield on record since 1988 (although still an extremely modest 37hl/ha at Ch. Margaux).  We covered the conditions of 2023 extensively in our report on the year, but – as with 2023 in Burgundy – there was a heatwave as the harvest arrived. The team at Ch. Margaux stops picking as soon as the mercury hits 32°C – meaning that the pickers would start work as soon as it was light enough, but have to stop as early as 10.30am on some days. With the hot weather, the sugar levels started to creep up rapidly; but the Sauvignon Blanc was all picked between 23rd and 30th August – early enough to retain plenty of freshness.  More approachable than its big sibling Pavillon Blanc, Pavillon Blanc Second Vin is nevertheless a wine with serious ageing capacity – and one that offers a taste of the property’s masterful expression of Sauvignon Blanc at a very appealing price. It’s a stunning wine – a unique expression of Bordeaux Blanc from this top estate – and one that we can’t recommend highly enough. 2023 Pavillon Blanc Second Vin  The nose is beautifully expressive, with fresh pear, chalk, lime juice and grapefruit pith. On the palate, the wine is long and taut – yet with a waxy texture that might lead you to believe there’s some Semillon in the blend. This is pure Sauvignon Blanc, however – pure and vibrant, green-fruited yet not at all green. Forget cat’s pea and any grassy, herbaceous tones: this is a wine about tension and freshness, with hints of jasmine and honeysuckle. It’s vibrant and bright, with a satisfying bitterness to the long, mouth-watering finish. Already stunning now, this will only get better in bottle – with everything in place to allow it to evolve for 10-15 years. Sensational.  With 13% alcohol and a pH of 3.15, the wine was matured in around 25% new oak. Around 10,000 bottles were produced (versus just 8,000 in 2022).   The 2023 vintage of Pavillon Blanc Second Vin was released on Thursday 16th January 2025 and is available now

Last year saw Ch. Margaux launch the first vintage of a new wine in the First Growth’s line-up: Pavillon Blanc Second Vin. Ahead of the second release, here’s everything you need to know about the wine 

Everything you need to know about the second wine to Pavillon Blanc, Bordeaux First Growth Ch. Margaux’s new white wine, made for the first time in 2022 

Ch. Margaux’s Pavillon Blanc Second Vin 

The new release of Pavillon Blanc Second Vin

There’s been no shortage of hype about the 2021 vintage – a year that producers and pundits have been praising as one of the best in modern history, frequently comparing it to 2016 or 2019. But does it meet those very high expectations?  The preceding winter was key – mild and wet, replenishing water reserves in the soils, an essential resource for the vines to draw on later in the season. The growing season didn’t start too early, and although there was a drop in temperatures in early April (a risk to the early-budding Nebbiolo), frost damage was limited. Reports suggest that lower-altitude sites were hit hardest, but losses were only around 10% – and some producers considered it a form of natural green harvest.  After this early threat to the crop, late April and May were cool and wet, but then the weather was largely warm and dry until harvest. Temperatures weren’t excessive, apart from a brief heatwave in early August, but the water reserves were key to allowing the vines to survive in the dry conditions. Vietti winemaker Eugenio Palumbo explained that they received around 400mm rain across the season, versus the 600-700mm of a normal year.  Storms hit the region in early July, with some hail – although this was localised and impacted Roero, Monferrato and a handful of sites in Barolo. The dry conditions meant disease pressure was minimal. Come September, there was a little rain, helping the vines over the finish line, while the temperatures at night dropped – providing a high diurnal range that helped preserve aromatics and freshness while the fruit developed phenolic maturity.  Harvest got underway at the very end of September (Philine Isabelle Dienger was one of the first out on 29th), running through to the middle of October, with all the Nebbiolo in by the third week of the month.  Aldo Vacca of Produttori del Barbaresco and the Gaja team both compared the vintage to 2016 – emphasising its classic style. The long growing season allowed for structured wines with ripe tannins, yet the cool nights in the run-up to harvest preserved tension and aromatics.  Not everyone agrees on its classicism, however; for Dave Fletcher (Fletcher Wines) it is a vintage with amazing structure, depth and density, but it’s far from typical. Valentina Grasso at Ca’ del Baio explained how tight and dark-fruited the wines are in comparison to those of 2016, needing time to reveal their complexity.  Similarly, Nicola Oberto at Trediberri emphasised how – although many Monforte d’Alba producers thought it was a perfect vintage for the commune – the powerful style of the year didn’t necessarily fit them, preferring the purity of a year like 2022.  Philine Isabelle Dienger noted how the warm, dry conditions were a shock to the vines after 2018, 2019 and 2020, and the ferments were tricky to handle, sluggish. Some noted it was a difficult year to use native yeast, and more opted for cultured yeasts to ensure clean ferments. The Philine Isabelle wines were typically low in alcohol, at around 13.5% with their early-picking philosophy, but most tended to be around and above the 14.5% mark in 2021.  For Burlotto’s Fabio Alessandria, the dry, warm conditions provided just the right amount of stress for the plants and he’s very happy with the quality of the 2021 wines – structured with good density and concentration, yet maintaining balance, akin perhaps to 2019 Burgundy. The wines will undoubtedly need time, he says, but the vintage will reward those who wait.  Most critics are yet to offer their full thoughts on the vintage, although Kerin O’Keefe wrote in an early look at the year that, although it was “a difficult vintage”, the best wines are “stunning, age-worthy wines”, combining “the austerity of 2019 with the elegance of 2016”. Echoing Alessandria, she feels the wines will need a decade to drink at their best. Reporting for jancisrobinson.com, Walter Speller was initially cautious of the “enigmatic” year, wondering if it was as good as people suggested, however now feels it is “an excellent vintage”, offering “more heft and depth than the utterly beguiling and readily accessible 2019”.  Antonio Galloni (Vinous) has published his report and – although it doesn’t quite have “the stratospheric peaks of the most exceptional years”, there are “a bevy of outstanding wines”. The 2021s are “finessed, elegant wines that will delight Piedmont fans”, with “open aromatics, pliant fruit and finessed, ripe tannins” – and the best, he says, are “profoundly expressive”.  Keep your eyes peeled for additional reports on the vintage; we’ll add to this feature as and when we have more information. In the meantime, read more about Italy  Browse all current listings of 2021 Barolo 

Ever since the fruit came into the winery, the Piedmont’s producers have been talking about the 2021 vintage in hallowed terms. As the first Barolos from the year are released, we dive into the revered vintage, looking at what both producers and critics are saying about the year

Diving into the 2021 vintage in Piedmont – the growing season and wines from Barolo and Barbaresco according to producers and critics 

Piedmont 2021: vintage focus 

Some of Nicolas Champagneux’s earliest memories are of life in the vines – of the hubbub of harvest with his grandparents. It’s not the hard work that he recalls, it’s “des bons moments de famille” he tells me – the convivial spirit that infused the air. He grew up in the heart of Côte-Rôtie, spending weekends and holidays in his family’s vineyard – a swathe of Les Grandes Places, a prized site in the commune of Verenay, where his great-grandfather planted vines at the start of the 20th century.  Les Grandes Places is an extraordinary site – with the most famous producer arguably Jean-Michel Gérin. In the north of the Côte Brune, in a southwest-facing amphitheatre, this steep site has crumbly mica schist soils, which allow the vines’ roots to drive deep into the bedrock. It’s home to some very old vines – such as the centenarian plantings that Champagneux farms – and produces wines that are beautifully elegant yet with dark, fleshy power. Champagneux has almost two hectares here, having the largest holdings. Nicolas’s uncle André took over running the vineyard after his grandparents, while his father Gérard went to work in a factory. There wasn’t enough money for both brothers to join the family business back then, with Côte-Rôtie not nearly as sought-after as it is today. Other than a couple of barrels for personal consumption, the family didn’t make wine, farming the site and selling almost all the fruit to Guigal, one of the Northern Rhône’s most famous names.  Indeed, beyond the family vineyard, Nicolas spent a lot of time at Guigal – after his father Gérard left life on the factory floor to head up their viticulture team. From 16, Nicolas would work there in his holidays to earn some money. When Champagneux turned 18, he needed to find a job: he was determined not to work in an office and loved being outside, so he ended up becoming a high-wire electrician – working with huge currents of 20,000 volts. “You were never in the same place, each day was different, each task was different – so there was no monotony,” he says. He often finished his day early, and – a farmer born and bred, unaccustomed to the concept of relaxing – would go help in the family vineyard.  When his uncle passed away, there was no one else to take over the domaine – so he stepped up to the plate, keen to ensure his family’s heritage was preserved. He decided to start keeping the fruit and making wine under the family name, wanting to see the year’s efforts captured. He knew how to work the vines but had never dreamt of being a winemaker – but, never one to be put off by a challenge, he learnt on the job. That was 2014, and the wines have rapidly earned him a reputation in the region. The family cellar had the essentials, but the first few vintages were made with the bare minimum – with a new cellar built in 2016 (Yves Cuilleron advised on the project).  Almost a decade after he left the world of pylons, transformers and conductors behind, life might follow an annual cycle, but it’s as un-monotonous as it was before. Nicolas works as a one-man band and values the independence that brings – managing his own time and being his own boss. “There is still a lot to do and each year is different,” he tells me. He hopes his son will join him at some point – he was born in 2009, and his uncle put away a stash of wine from the vintage, some of which is set to be released for its 20th anniversary in 2029.   Climate change is at the forefront of his mind, with harvests now early September and even August versus October under his uncle. Where they used to struggle to get 13% potential alcohol, his wines often sit at 14-14.5%. He’s now working with grass cover, deleafing less and using a little whole bunch in warmer years to preserve freshness in the wines. Otherwise, little has changed in the decade since he started – he continues to work as simply as possible, looking to translate the vines he grew up amongst into wine. And that’s just what he does: the wines are elegant expressions of Les Grandes Places, perfumed and suave, with a fine grip of tannins and an underlying savoury salinity, ageing beautifully – as a mini-vertical of the 2015, 2016 and 2017 vintages showed recently.   The Nicolas Champagneux wines  From his four hectares of vines, Nicolas Champagneux makes three wines: an IGP Vin de Pays des Collines Rhodaniennes La Rémise and two Côte-Rôties, Les Grandes Places and La Dédicace, all made with 100% Syrah.   La Dédicace comes from the younger vines in Les Grandes Places, with a “mere” 40-60 years behind them on average. Around 6,000-7,000 bottles are produced of this “baby” Grandes Places.   Les Grandes Places comes from his oldest vines, averaging a little over 100 years in age, with some planted in 1910. Just 1,500 bottles or so are made of this wine each vintage.  Both the Côte-Rôtie wines are made in exactly the same way, mostly de-stemmed with  little whole-bunch added in warmer vintages and fermented with indigenous yeast, reaching a maximum 28-30°C, and spending around three weeks on skins. The wine then spends 20-24 months in old oak before bottling.  Nicolas Champagneux Côte-Rôtie Les Grandes Places: a vertical tasting  2022 Côte-Rôtie Les Grandes Places: This is packed with spicy intensity – clove and cardamom along with a hit of Szechuan pepper. The palate offers a juicy lushness, layered with deep, concentrated dark cherry fruit and a twist of black tapenade, with mouth-coating tannins and all refreshed by a line of vibrant acidity. A baby now, best approached from 2030.  2021 Côte-Rôtie Les Grandes Places: A really impressive 2021, poised and powerful, Champagneux’s Les Grandes Places needs air but gradually reveals pepper spice and more delicate, lifted, violet florals. There is, however, power and weight to the palate – more than you might expect from the pretty nose, with a savoury firmness, supple but structured tannins and juicy acidity. It’s dark and brooding, gothic with its haunting florals, with a long, mouth-watering, saline finish. Approach from 2027.  2017 Côte-Rôtie Les Grandes Places: The 2017 Les Grandes Places combines delicate florals with a bloody, iron note on the nose, leading on to a palate layered with bramble fruit. The tannins are round, supple and soft-textured, with tangy acidity that cuts through the concentrated fruit, while the long finish is scented with white pepper and parma violets.  2016 Côte-Rôtie Les Grandes Places: This 2016 is in a gorgeous place. Heady incense combines with sweet cherry fruit and a touch of smoke on the nose, leading onto a palate that you sink into – the wine soft and supple, with waves of sweet fruit, yet all cut by an intensely saline, savoury edge. Fresh and flawlessly balanced, decant and enjoy now and over a good decade to come.   2015 Côte-Rôtie Les Grandes Places: The sternest of the trio of 2015, 2016 and 2017, this is a powerful and impressive vintage of Les Grandes Places – with all the best characteristics of the year. The wine is dark and broody, compact and amazingly primary still, with black cherry fruit and blackberry filling the nose. On the palate, however, it has amazing purity and intensity, with a crystalline quality to the fruit, plenty of acidity to complement its concentration and the firm tannins. Smoky, saline notes linger in the mouth, with a dusting of petal florals on the finish. Decant if opening now, but this will be even better if you can resist for another few years.  Explore all current listings from Nicolas Champagneux including a range of back-vintages or read more about the Rhône 

It’s almost a decade since Nicolas Champagneux took over his family’s vines and started making wine under his own name – the first generation to do so. We sat down with the vigneron to find out more about his heritage and the journey so far 

How the talented young vigneron in Cote-Rotie has taken his family’s legacy and created a new domaine that is one of the Rhone’s most exciting 

Nicolas Champagneux – building on his birthright 

Nicolas Champagneux: building on his birthright 

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

“C’est quoi, traditionnel, aujourd’hui?” Marion Raphet half-jokes as we talk about the 2019 vintage, tasting her family’s bottlings at Domaine Gérard Raphet. Since 2011, it feels like Burgundy’s vignerons have been on a rollercoaster: with hail (2012, 2013, 2014 and 2016), heatwaves (2018, 2012), frost (2016 and 2017 for Chablis) and even the influx of Drosophila suzukii – an Asian fruit fly – after a particularly mild winter (2014). While global warming is nothing new to farmers – in Burgundy or elsewhere, 2019 feels like it marks a shift, with the threat of climate change suddenly all the more tangible. The year was full of extremes, from an unusual hard frost in April to a hot, dry season that really challenged vines – and growers. But in a region where tradition reigns supreme, where the way in which producers farm their vines and make their wines is passed down from generation to generation, evolution is now imperative – and, as Mickaël Haratyk of Domaine Joblot lamented, “Some producers don’t change.”  Harvest dates have gradually been creeping back, and – as Frédéric Weber at Bouchard explained – “It’s more and more difficult to pick a good date.” In 2020, Burgundy saw some of the earliest harvest dates on record – often extremely similar to those of 2003. Joseph Colin pointed out, however, that August harvests aren’t new – in 1553 producers started picking in Meursault on 14th August. He argues that the region has always had periods of warm weather that lasted 20 to 30 years; it’s a cycle. The question, however, is how long the cycle lasts – and whether growers or the vines can make great wine with fruit that is picked on 1st August. Haratyk echoed this sentiment, noting that harvests today are a month earlier than 25 years ago; with that pace of climate change, it’s hard to imagine what things will be like in another 25 years’ time.  The focus for growers used to be on getting enough sugar ripeness, with chaptalisation almost rote in decades of yore, but now it’s about retaining balance in the wines. The decision of when to pick is driven by acidity levels, to retain the essential freshness and elegance that defines fine Burgundy as we know it. At Joblot, there was a time when 11.5% potential alcohol equated to fruit that was ready for picking; now it is naturally never less than 14%. They know they’ll have the necessary sugars and maturity (with phenolic ripeness achieved easily), the challenge is to make sure nature’s generosity is off-set by the requisite acidity. But what else are the region’s vignerons doing to adapt to a new, warmer Burgundy? In the vineyard, producers can look at how they manage between the rows: ploughing is increasingly avoided, as it releases valuable moisture from the soils. The use of cover crops is another consideration; while they can help avoid erosion and preserve top soil on slopes, they also present a rival for precious nutrients and water. Growers can delay pruning, which in turn can delay budburst, helping to limit the impact of frost on the vines. Something that many producers emphasise is the importance of a thicker, taller and leafier canopy. While once vines would have been trimmed neatly, and leaves stripped to allow the sun to reach the grapes and aid ripening, today producers are limiting this work, wanting to shield grapes from the heat and limit their exposure. Charles van Canneyt, for example, still trims his vines, but lets them grow higher than he used to, and doesn’t leaf-strip at all. At Joblot, they work with a thicker canopy these days, and let the lateral shoots – that previously they’d have trimmed – grow freely. However, a thicker canopy brings its own potential problems, as Philippe Jouan noted, explaining that oidium (powdery mildew) is now the biggest issue in the vineyard. A thicker canopy means less airflow, creating a more humid environment within the canopy and therefore disease pressure. Many producers believe that mature vines are key – their deeper root systems able to reach water reserves, and with age are thought to gain a natural stability, enabling them to withstand more extreme temperatures. Marion Raphet (Domaine Gérard Raphet) explained how her old vines were so much more resistant to the rising temperatures; noting that even in a year as hot as 2020, the old vines were still green when we visited in mid-October. But some producers have seen old vines struggle in the dry conditions of 2019 and 2020. Benoît Stelhy at Georges Lignier, a proud proponent of permanent grass grown between his vines, saw his old vines seriously impacted by water stress, with the resulting yields so unviably low that they have made him seriously question the way he is working. He is now wondering if perhaps having intra-row grass cover is more important in young vineyards, where their natural vigour needs to be countered by competition. In the winery, there are plenty of benefits to the riper fruit: there’s no need for chaptalisation, and it is in general easier to extract colour, tannin and flavour. However, that same ripeness and the associated lower acidity levels, can pose problems. As Chantal Tortochot explained this year, above 13% alcohol, natural yeasts can struggle – meaning that we may see more commercial yeast (which can guarantee wines ferment to dryness) in use.  The higher pH of these musts also increases the risks of bacterial spoilage, hence producers need to be particularly careful handling them – with hygiene, temperature control and/or the careful use of sulphur of increasing importance. Benoît Stelhy described how he is trying to recreate the cold of yesteryear’s winters; he cools his wines before putting them into barrel, therefore delaying the onset of malolactic fermentation (as the region’s cool temperatures would naturally have done after an October harvest). By doing so, he can avoid adding sulphites at this stage, feeling the wines can therefore benefit more from micro-oxygenation in barrel, before malolactic fermentation takes place when the wines naturally warm up in the spring. But these measures will only work in the short-term; as the region warms further, producers need to start looking further ahead. Re-planting vineyards with rootstocks better suited to today’s climate is likely to be necessary (not to mention considering other issues posed by current rootstock selections). “The vines that are in their prime today,” William Kelley explains, “were planted with a view to early ripening in a marginal climate; in much warmer conditions, the choices of rootstock and vine genetics made in the 1970s, 1980s and 1990s – even by producers aspiring to high quality – are close to the opposite of what’s required today.” Such a shift, of course, takes time – with the need to leave vineyards fallow between re-planting for several years, and a minimum three-year wait for vines to produce fruit, or longer for fruit of serious quality. Experimental plantings of Syrah and Malbec in the region feel a little ahead of the curve, but there will certainly be a need to adapt clonal selections. The rise in the popularity of Aligoté – frost-resistant, early-ripening and high-acid – is no coincidence, and some suggest that it could be a solution for retaining freshness in the region’s whites. Small percentages of Aligoté and Pinot Blanc were once planted amongst the Chardonnay in even the grandest of Crus, and it’s something William Kelley would like to see make a comeback, feeling it “would help white Burgundies retain the tension and acidity we prize so highly”. As the mercury rises, we’re already seeing a shift in the sites that thrive. Until now, many of the sites considered the “best” are mid-slope with good exposure and drainage, basking in the sun, often with relatively little topsoil; increasingly this simply isn’t what is needed in the climate. “The big winners are places such as the Hautes-Côtes,” Kelley explains, “which are today enjoying a climate that’s very similar to what the Côte de Beaune and Côte de Nuits experienced in the 1990s.” Gros Frère & Soeur has even planted a plot of Pinot Noir at the very top of the Côte, beyond the limits of the Burgundy appellation, at altitudes that would once have been impossible.  Plots that were once unviable now are, and sites previously deemed “lesser” for their cool, marginal temperatures are being favoured. Similarly, sites with deeper, more clay-rich soils, with greater waterholding capacity, are becoming more desirable with drier conditions. As Benoît Stelhy noted in 2019 and 2020, Clos Saint-Denis with its poor soils struggled more than, say, Clos de la Roche. Alvina Pernot noted that two of her parcels either on the edge of or in the middle of forested areas (Meursault Premier Cru La Pièce sous le Bois and Puligny-Montrachet Premier Cru Clos de la Garenne) are shielded from the sun, preserving acidity and freshness in the wines. The long-term viability of some sites, however, is hanging in the balance. Producers are increasingly aware of the threat that climate change poses. As Charles van Canneyt explained, at the moment they are only seeing the benefits – with riper fruit and more concentrated musts – but they’ll need to learn how to handle, and battle, the negatives too. While the future might be uncertain, producers are slowly but surely adapting. As Benoît Stelhy noted when discussing the benefits of organics, it’ll do for now – but does it give an answer for tomorrow? “We have to go further,” he said, a sense of urgency in his voice. It’s a call to arms, and one that producers will have to follow. For now at least, the wines are arguably better than ever; let’s hope that will long be the case.  Browse all Burgundy or explore more Editorial 

The 2020 vintage was the third in a trio of hot years for Burgundy, the region’s producers fast becoming used to what is the new norm. Here Sophie Thorpe looks at how global warming is impacting the Côte d ’Or and what the region’s vignerons are doing to cope with their shifting climate

Exploring how global warming is impacting Burgundian winemaking in Côte d ’Or and what the region’s vignerons are doing to cope with their shifting climate

Dealing with climate change in Burgundy vineyards

Adapt or die: dealing with climate change in Burgundy

Transitioning from the world of fine cashmere to viticulture might not seem an obvious move – and yet, for Brunello Cucinelli, wine is another arena to which he can bring new “dignity”.  Cucinelli is a man of humble origins, born in a small Umbrian village in 1953. His family were share-croppers but moved to the city in search of better employment, with his father taking a job at a cement factory. Cucinelli saw his father struggle to make a living, and do so with little respect from those around him – a battle which has defined his work and philosophy.  Despite training as a building surveyor, then studying engineering, Cucinelli ended up working as a showroom model for Ellesse in his early 20s while his girlfriend (and future wife) ran a small boutique. Inspired by this window into the fashion world and the brightly coloured clothes of Benetton, he decided to make a line of similarly vivid cashmere jumpers, launching in 1978, aged 25. Since then, the business has evolved – with muted, neutral tones replacing the lively colours that gave him his break. His clothes are defined by their understatement, the epitome of “quiet luxury”.  Today, the Brunello Cucinelli business is worth €6.3 billion. There is more to Brunello Cucinelli than fine fashion, however, with 20% of the personal profits channelled back into Cucinelli’s charitable foundation. He operates under a philosophy he defines as “humanistic capitalism”, wanting to offer his employees the respect his father didn’t receive and reclaim the value of crafts that might once have been deemed “blue collar”.  A huge part of this is his work in Solomeo, the village that he calls home (and where his wife, Federica, was born). The couple got married there in 1982, making it the company’s headquarters in 1985. Since then, Cucinelli has invested significantly in the tiny, hilltop hamlet, gradually restoring it, and adding his own cultural flourishes – a School of Arts & Crafts, Forum of the Arts, Aurelian Neohumanistic Academy, theatre, amphitheatre, library and more. Over the last 30 years, he has – working with architect Massimo de Vico – transformed the village.  Castello di Solomeo, the winery and vineyard, is the latest addition – but one that has been over a decade in the making. Michele Baiocco – who has been leading the project’s team since 2010 – met Cucinelli playing football. He’d been making wine in Perugia, and the two men met for dinner. Cucinelli asked him if he’d help him “give the agriculture world a new dignity”, and they decided to create a Bordeaux-inspired wine. Together they found the right site for a vineyard in Solomeo, and planted the first vines in 2011.  Cucinelli had always loved Bordeaux, but with Montalcino not too far away, and a wish to make something “typical” for the region, Sangiovese was an obvious addition. Extensive studies were undertaken to create a vineyard with the right soils and exposition. But – take a look at a picture of the vineyard, with its softly curving rows of vines that flow across the property – and it’s clear that this isn’t a standard vineyard.  “The vineyard is like a painting,” says superstar winemaking consultant Riccardo Cotarella, who has been working with the team, especially on the blending process, since the 2018 vintage (the first commercial release). It is “an artist’s way to plant vines”, he explains – one that doesn’t make it any easier to work. Cucinelli’s inspiration, however, was a renaissance garden, and the fact that it forces everything to be done by hand is key to the project, emphasising the craftsmanship of making wine, as well as making a beautiful place for the team to work.   The philosophy in the vineyard is driven by “reason and good sense”, with no chemical pesticides or fertilizer, using grass cover and cover crops. It’s a complex site – with five hectares, spread across four different soil types (more clay rich, more marl, sandier and more calcareous) and divided between four varieties (Cabernet Sauvignon, Cabernet Franc, Merlot and Sangiovese).  Each of the 12 different blocks is vinified separately, something which they feel is key to terroir expression. They only make one wine from the site, and – as Cotarella says – “Working with Brunello [Cucinelli] always means the best quality.” Careful vineyard work is key, and the team has been reducing the production per plant, to focus the vines, encouraging complexity and concentration. Just like Cucinelli’s clothes, this is a wine intended to last.  While Cotarella consults, Pietro Grelloni is the full-time winemaker dedicated to Castello di Solomeo, working alongside Baiocco. Grelloni was born locally and worked with Baiocco, but had travelled the world making wine before returning to Perugia, when Baiocco asked if he’d like to join the Cucinelli project in 2017, just in time for the vintage. It’s clearly a special project to be involved in, but – for Grelloni – it’s the long-term view that sets it apart. “We take care about the year, but we also have to take care of the future,” he says – explaining how it is not just about the vintage that will be harvested this year, but in 100 years’ time. As Cotarella says, “It’s a very special wine, with a very special philosophy.”  Castello di Solomeo is exclusively available from FINE+RARE. The second vintage, 2019, is set to be released this week.

Read anything about Brunello Cucinelli and “dignity” is a word that comes up time and again, woven into the very fabric of the empire he has built. As the fashion icon releases the second vintage of Castello di Solomeo, we explore the philosophy behind the project 

Exploring the cashmere king Brunello Cucinelli’s Umbrian wine project, Castello di Solomeo, and the philosophy that defines it

Made in Solomeo

Made in Solomeo: the stamp of dignity

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