Until I joined Vinfolio, the US arm of our business, I hadn’t heard of Ch. Belle-Brise. But I rapidly fell in love with this little-known, yet much-loved Pomerol property. Our retrospective was to be held at three-star Michelin SingleThread in Healdsburg (Sonoma County, California), and examine 23 vintages of Belle-Brise, from 2020 all the way back to 1993. As proprietor Henri-Bruno de Coincy unfortunately couldn’t make it to our event, I was tasked with hosting on his behalf, and gave him a call to learn more about what he feels are the most important details to share about his property. (My degree in French, which was instrumental in my becoming a sommelier, proved to be quite useful. While M de Coincy speaks four languages, English is not one of them.) During our conversation, I confirmed the embarrassment of riches as far as what sets Belle Brise apart from its illustrious neighbours. Located in the southwestern corner of the already diminutive Pomerol appellation, Belle-Brise consists of only two hectares (around five acres) of vines. Planted to 80% Merlot and 20% Cabernet Franc, the vines average 70 years in age, with some 110 years old. The vines are farmed biodynamically, using horses to complete the necessary labour in the vineyard. While the subsoils have a mix of clay and sand, they also possess the famous crasse de fer – the iron-rich sand that is said to impart the aroma of truffles, a facet which only reveals itself as the wine ages. M de Coincy refers to Belle-Brise as his “jardin” (indeed, while the family spends much of their time in Armagnac, the house at the heart of the vineyard is very much their second home) and takes great pride in the fact that everything can be harvested by hand in a single day. 
Wine has been made at Belle-Brise since the 18th century, but the property did not see its first commercial release until 1991, after M de Coincy acquired the estate, with the wine sold only to family and friends before that date. If you are familiar with your Bordeaux vintages, you will know that 1991, ’92, and ’93 were all extremely difficult harvests. While not the auspicious start he may have hoped for, it did offer an opportunity to explore the vineyard and learn how to best care for it. Today the winemaking is identical from year to year, with the vintage – and site – speaking loudest. The wines are fermented in concrete before being placed in a third new, a third second-use and a third third-use 400-litre barrels, the traditional size used for Armagnac, rather than the more conventional 225-litre Bordeaux barrique. The Coincy family has been making Armagnac for 32 generations and over 700 years, so the exact size is not arbitrary, but the decision to use larger barrels is also deliberate – reducing the impact of the wood on the final wine. While the story of the château and the history of the De Coincys are both compelling, I must return to what is most important to keep in mind when tasting Belle-Brise: elegance and finesse. Serving Pomerol with kaiseki-influenced Japanese cuisine (as at SingleThread) may not be the obvious choice, however the delicacy of the wines ensured that the harmony of the dishes was kept intact, leading to many unexpected moments of delight. Unsurprisingly, exceptional vintages were beautifully cohesive and balanced, however, it was the less well-respected vintages (2011, 2004, 2002, 2018 and 2008, among others) that truly showed how attention to detail and care can surmount challenges that nature may present. While we were not able to taste every vintage of Belle-Brise (with the tiny volumes produced, the family simply doesn’t have stocks of everything), this retrospective tasting was one of the largest ever presented. The favourite vintage among guests on the night was 2011, a vintage which also came up in my conversation with M de Coincy, as it has been chosen as the “desert island” of wine professionals and aficionados many times before. The most interesting flight for me came later in the meal, with the 2004, ’03, and ’02 grouped together. These vintages all presented different challenges during the growing season. The 2002 saw extreme rain in many parts of France, with heavy downpours affecting flowering and fruit set. The 2003 saw a summer with extreme heat, which taught many lessons that were applied in 2022. Lastly, the 2004 had a larger harvest on the whole, but the vintage is often forgotten, left in 2005’s long shadow. In the glass, however, the 2002 was pure and bright, with the 2003 showing its suntan but still refined, and the 2004 had a concentration and depth that was remarkable (especially as the wines were all around two decades old).  Regardless of vintage, elegance and finesse were constant throughout the entire evening, reminding me of a concept I learned in one of my French philosophy classes at university. If my memory serves me correctly, Michel de Montaigne proposed in his Essais the concept of a “forme maîtrise” or master form when referring to the evolution of a person as they age, and as something that cannot be easily defined in simple terms. While I am now much different than I was at age five, 15, 25, etc, there is still a governing sense of self (or possibly a single thread) that connects the person writing this to the child I once was. As we continued to taste through the vintages of Belle Brise, this forme maîtrise kept asserting itself, via the performance of the wine in the glass, reminding me of the “garden” where these wines were made. As many of the variables seen at other châteaux (differing blends, oak regimes, etc) remain constant at Belle-Brise year after year, one can focus on the vintage and its effect on the wine in the glass. This results in a singular experience, when one can truly feel the sense of place that only certain wines can offer. Tasting Ch. Belle-Brise: 1993-2020 vertical 2020 Ch. Belle-Brise: The 2020 Belle-Brise has an opulent nose with ripe fruit – plums – and violet. It’s already very approachable now, with remarkably fine rounded tannins. Plush. 2019 Ch. Belle-Brise: The nose is packed with ripe raspberry fruit and vanilla cream, currently more open than the 2020, with lovely sweet spice too. The tannins are slightly firmer with bright acidity – this is generous but focused. Very impressive. 2018 Ch. Belle-Brise: From a hot vintage, this is a very concentrated Belle-Brise with blackberry and black plum. Brooding, powerful and structured, the 2018 shows a very dark fruit profile, and needs a little more time to integrate fully and show its best – but this will be a wine for the ages. 2017 Ch. Belle-Brise: Packed with red fruit, this is open and expressive, fragrant and floral. The palate is tighter and more linear in style versus the warmer vintages that preceded it; the wine precise and delicate. 2016 Ch. Belle-Brise: This is a bold and age-worthy Belle-Brise. The nose is ripe, layered with dried fruit, prune and hints of dark chocolate. The wine is big and dense, with ripe tannins, and will benefit from more time in bottle. This is built to go the distance. 2015 Ch. Belle-Brise: The 2015 offers a nose of sweet, ripe fruit. It’s plush and mouth-filling, yet retains amazing elegance and great freshness. There’s beautiful balance, with very fine tannins that frame the fruit. 2014 Ch. Belle-Brise: This is just starting to reveal some maturity, with cedar, hints of truffle and tobacco alongside the plum fruit. It’s an earlier-drinking vintage versus the 2015, for example, but has lovely restraint and is showing beautifully right now. 2012 Ch. Belle-Brise: This may have been a tricky year, however the 2012 Belle-Brise shines – with bright fruit and violet florals on the inviting nose. The palate is delicate, supple and charming – a very pleasing wine packed with appeal. 2011 Ch. Belle-Brise: Another less lauded year, the 2011 is not as powerful as warmer vintages, but is still an hallmark Pomerol from this estate. It’s layered with plums and spice, the wine rounded, smooth and welcoming in style, 2010 Ch. Belle-Brise: The 2010 is a concentrated, powerful and muscular Belle-Brise that is destined for the long-haul. The palate is mouth-filling and tightly packed at this still comparatively youthful stage, even 13 years on, with dense berry fruit. 2009 Ch. Belle-Brise: This bottle wasn’t showing flawlessly – the tannins prominent and fruit not as concentrated as in other bottles we’ve tasted, although it still showed toasty, coffee complexity on the nose. 2008 Ch. Belle-Brise: This is beautifully expressive, with notes of mint, violet and plum on the nose. It’s fragrant with herbal lift, while the palate is vibrant, fresh and nervy. A joy from this less famous vintage. 2007 Ch. Belle-Brise: This may not be a top year, but Belle-Brise produced a lovely wine that is beautiful at the moment. The nose is evolved with earthy tones, truffle, cedar and tobacco. Ready to go, this is open and elegant, with lovely resolution on the palate. 2006 Ch. Belle-Brise: This is absolutely textbook Pomerol from Belle-Brise in 2006. The nose is lovely, with opulent fruit, while the palate is smooth and velvety, the tannins gorgeously polymerized. It’s still fruit-forward but really delicious. A delightful wine. 2005 Ch. Belle-Brise: This top-rated vintage offers a brooding, dark-fruited nose, with notes of chocolate, earth and truffle. The palate is dense and powerful, with chalky, rich tannins that cloak the layers of damson, cigar box and mushroom. 2004 Ch. Belle-Brise: The 2004 shows remarkable concentration and depth. The wine is mature, showing an evolved nose of cedar, tobacco and forest floor, while the palate is almost fully tertiary, but with ethereal dried fruit. Fantastic. 2003 Ch. Belle-Brise: Although this shows the warmth of the year, with baked fruit, it’s still refined, with resolved tannins. Unlikely to evolve further, so worth drinking up. 2002 Ch. Belle-Brise: This is showing beautifully – pure and bright, with aromas of dried flowers, dried cranberry and prune alongside lifted spice notes – cardamom and clove. On the palate, it’s elegant, with fruit still driving through to the refined finish. Haunting. 2000 Ch. Belle-Brise: This is full of ripe plum fruit, damson and vanilla with a sweet earthiness. It’s still amazingly fresh and tasting impressively young. It’s got a great backbone and plenty of life in it yet, but delicious now. 1999 Ch. Belle-Brise: Notes of forest floor, earth and dried leaves dominate the nose, accompanied by more delicate potpourri aromas. This is a beautifully delicate, fine-boned wine with a long, lingering finish.  1995 Ch. Belle-Brise: The 1995 is still surprisingly fragrant – with dried cranberry and redcurrant fruit alongside dried herbs, cedar and sandalwood aromas. It is alluring and enticing on the nose, leading to a seamless, lifted palate. 1994 Ch. Belle-Brise: The nose of the 1994 combines expressive dried orange peel with richer prune and raisin fruit, as well as savoury, earthy notes. On the palate, this offers richer fruitcake tones – with currants and spice, and impressive depth. 1993 Ch. Belle-Brise: This 30-year-old Claret is remarkable. It was only Henri-Bruno’s third vintage, and it is evolved but very much alive. The nose combines forest floor and more herbal tones, while the palate is silky, supple and perfumed. An amazing result from a rather challenging year. Explore all current listings of Ch. Belle-Brise or discover more about our experiences.

Earlier this month, we hosted a dinner celebrating Ch. Belle-Brise, exploring this Pomerol estate via 23 vintages back to 1993. Here, Scott Turnbull MS – Director of Private Clients at our US arm, Vinfolio – considers the event and the golden thread that connects each vintage of this special wine

Master Sommelier Scott Turnbull dives into what defines Ch. Belle-Brise, the special Pomerol estate, via a rare vertical tasting of vintages back to 1993

Ch. Belle-Brise – the walled garden of Pomerol

Ch. Belle-Brise: discovering the walled garden of Pomerol

There is a lyricism to the way Roberto Bava speaks. Beyond his unmistakeable Italian accent, his sentences rise and fall. Every word is a piece of music in and of itself, which is sometimes broken by an infectious burst of laughter. He drops his h’s and finds syllables where ordinarily there are none. It’s not hard to picture him holding court at the head of the table at the Vermouth di Torino Institute, or working the room at events with people, he says, who openly express their  dislike of vermouth. “You have this reaction against it because you remember your grandmother used to offer you an oxidised thing,” Bava tells me. Once they taste a vermouth that has been well-made and well-kept, it’s a whole different ball game. “You discover a totally different product,” he says. Introducing vermouth to an entirely new audience, or a familiar audience in a different way, clearly brings joy to Bava. He talks of an event the night before we speak when he offered vermouth to the guests. After a couple of sips, they stopped drinking wine and switched to vermouth for the rest of the dinner. “It was phenomenal,” he says with unabashed glee. “People are now tasting it and saying, ‘Oooh, this is goooood.’” Bava, and the three or four generations (he forgets which) of his family who have worked in the industry before him, have lived through vermouth’s highs and lows. After heady days in the 20th century when it was consumed neat as a welcome drink or “nice company to your book and solitude”, vermouth fell out of favour in the “hard decades” of the 1970s, ’80s and ’90s. “As a category, it was a little bypassed,” Bava tells me. Vermouth simply couldn’t compete with the marketing budgets of other products and they stormed to the fore, leaving the fortified wine “a little lost”. It wasn’t until the cocktail renaissance in the 1990s and the meteoric rise of the Negroni many years later (in the early 2000s) that the pendulum swung back in vermouth’s favour. “Vermouth is a good drink,” Bava says lyrically, “but it is also an instrument to make better other drinks.” When asked which cocktails of the many that are made with vermouth – think the Martini, Negroni, Manhattan, Adonis – has done the most for the category, the Vermouth di Torino Institute president says in a flash: “the Negroni”. He then adds in his melodic way: “As an Italian, and being a Negronista, it’s gotta be a Negroni.” Bava does then concede that it slightly depends on the country. In America, for example, he says, the Manhattan is king – even if people don’t necessarily realise vermouth is in it. Another reason vermouth has risen to prominence, according to Bava, is the improved quality and introduction of a Geographical Indication (GI) for Vermouth di Torino three years ago – something he refers to as a “little miracle”. In short, this means the vermouth must be made with at least one Italian wine, wormwood must be the predominant flavour and the wormwood used must be grown in Piedmont. The final liquid must be between 16% and 22% alcohol. For a GI, this is broader than others and allows many producers in the Piedmont region to use “Vermouth di Torino” on their bottles. Bava was instrumental in getting this classification for the region in 2019 and was rightly given the role of president at the Vermouth di Torino Institute. In three short years, Bava says the GI is paying dividends and making a real difference to the style and quality of Vermouth di Torino. “Vermouth was produced all over the world,” he explains, “sometimes losing a little of the identity”. It wasn’t until the GI was approved that vermouth producers from Turin, like Bava, could really communicate that a vermouth from Poland or Argentina wasn’t the genuine article. For that, you need to go to its birthplace of Torino, Italy. “Vermouth di Torino has been a benchmark for the whole category – and will be, for sure,” Bava adds energetically. “This [label] makes an important guarantee to the consumer because you know what is in the bottle. You know there is control, you know someone has checked, made an analysis, you know the ingredients, and this is not a generic product, it is a specific product and a protected product.” He makes the inevitable, and important, comparison with the wine world. “You can produce wine all over the world, but if you do wine in Barolo it’s specific. You can do table wine in France anywhere but if you go in Pauillac, of course, you have something else. So this is what’s gonna happen,” he explains. To date, 99% of Turin's producers have joined the fold to champion and protect the region’s appellation, including some of the biggest and smallest names. At present, Vermouth di Torino is the only vermouth GI recognised and protected in the category but Bava teases that there could well be more in time. With vermouth from its birthplace now protected and a much better understanding of how it should be kept – in the fridge once open and stored out of direct sunlight – it’s hard not to see its fanbase continuing to grow, especially as it ticks the low-alcohol box for a more mindful, younger consumer base. “The consumption is going to grow. It takes us some time. I’ve been working already 10 years,” he laughs. But Bava is certainly bullish now all the producers are working as one. With Bava spreading the word, in his enchanting and charismatic way, you can certainly see an appreciation for vermouth continuing apace. Explore all spirits or read more Editorial 

Vermouth has fallen in and out of vogue many times throughout its history. Buoyed by a new geographical classification and ever-growing classic cocktail appreciation, the future looks brighter than ever. 

Cocchi Vermouth's Roberto Bava on the Italian drink's history, its new protected status and the classic cocktail renaissance

Vermouth's bright future 

Vermouth: the Italian job   

Soldera is one of Italy’s most iconic and best-loved wines. In top vintages, it is the absolute benchmark for Sangiovese par excellence and there are few wines in the world that can achieve the same level of ethereal beauty. The estate has always been a family affair and, following the passing of founder and guiding light Gianfranco Soldera in February last year, the remaining family members have continued his work, adhering to his strict philosophy and methods in the vineyard and winery. We caught up with Gianfranco’s daughter Monica Soldera who, alongside her husband Paolo, has worked with her father at the estate since 2003. The Soldera philosophy The Soldera story starts with the winery, Case Basse. “Its foundation is built on the history and heritage of the family", Monica says, "[it is] focused on a love of nature, passion for food and wine, and pleasure of knowledge. Nowadays Case Basse follows this path thanks to the help and personality of my mum, my brother Mauro and his wife Valeria, me and my husband Paolo.” Elegance, perfume and balance have been at the heart of Soldera from the outset. This has been achieved through a combination of factors synonymous with fine wine production: extremely low yields, strict grape selection at harvest, and the all-important terroir which is so well suited to growing Sangiovese (including not only the soil but all the natural influences specific to the estate such as climate, exposure and elevation). In addition to this, Soldera has always operated under a philosophy that the family refers to as “fine-tuning”. This fine-tuning approach has seen the estate go into minute detail in both the vineyard and winery to improve the quality of the wines. For example, the de-stemming of the grapes is done in a special machine that safeguards the integrity of the berries and enables their selection according to size. Berries are then checked manually, one by one, before being transferred directly into 100-quintal (10,000kg) oak fermenters for natural fermentation. Movement and racking of the wine is not practiced unless absolutely necessary and the wines are aged in large old Slovenian oak casks for around four years before the wines are bottled directly from the cask, completely unfiltered. Extensive research is also carried out at the property, as Monica explains. "There are two souls at Soldera: the first is very traditional in its work in the vineyard and in its winemaking processes but the other soul is academic".  Soldera has become a beacon of research in the region, commissioning in-depth studies on the soils, clones and climate within the property.  Monica says that climate change over the past 10 years has been very noticeable and therefore it has never been more important to understand nature, adding: “Nature gives you a lot of signals but you need to understand what those signals are telling you.”  Without research and a deeper understanding of their environment, many farmers might use aggressive methods to combat problems in the vineyard which cause more damage. “If you are scared, you act aggressively. If you are attentive to nature, it gives you confidence and you can work to protect it”. The research continues today with grants awarded to researchers who use the Case Basse vineyard to carry out their studies. This year they celebrated the 10th anniversary of The International Soldera Case Basse Award for Young Researchers, which is awarded by a commission of six agricultural professors and experts.  Candelaria Castello Lloret received the top prize in 2019 for her research entitled Metabolomics Characterisation of Spontaneous Vine Growth in Case Basse Estate, Montalcino. This type of research has enabled Soldera to continually refine their agricultural work as well as provide data for agricultural practices more generally. The 2019 harvest The 2019 harvest was the first at the estate without founder Gianfranco and therefore a very poignant one for the family.“It was full of emotion and responsibility," Monica says. "However, we are really happy with the results and the first evaluation of the wine leads us to believe that Soldera 2019 will be one of the best-ever produced at Case Basse."  "We took care of the vineyards, we selected the grapes and we carried out the vinification according to the principles and the practices that we learned from my dad throughout the years," Monica explains. "Even though nature can be variable and we must adapt to it. The 2019 growing season has been characterised by a different meteorological trend compared to other recent years. A cold winter with few precipitations followed by a fresh and rainy spring and a hot dry summer led to high-quality grapes very rich in fully ripe tannins, a guarantee for a long-lasting wine". "Meanwhile, 2016, 2017 and 2018 are maturing properly in the cellar and we are monitoring and tasting them regularly with the support of Professor Vincenzini and his team," she adds. "All of them offer us joy and great emotions that we will share with our customers in the coming years.“ The 2015 vintage  On the 2015 vintage, which is due to be released in the next few weeks, Monica said: "It has been a regular year in climate with no particular difficulties in vineyard and vinification. My father said 'an easy vintage' which means no challenges in production but joyful in wine. Nature was generous in 2015 and after having 2014 so difficult in weather this has been a gift.  "The 2014 Sangiovese Soldera is thrilling, but the production has been very limited so we are only able to share it in lower quantities with our customers. Coming back to 2015, we think that drinking wine is a personal and specific experience, nobody is allowed to tell you what you feel in your nose and mouth. At the end, what is worth is if you finish the bottle (not alone!) because you enjoy it. So I do not want to write about perceptions in tasting as a rule. Personally, I would say: a rainbow of emotions." The 2015 was exceptional in Brunello di Montalcino more generally. Significantly warmer and drier than the two previous vintages of 2013 and 2014. Production levels were around average for the estate at just over 16,500 bottles, up from just under 10,000 in the more difficult 2014 vintage. The wine was aged for 45 months in barrel prior to bottling.  Explore all current Soldera listingsor browse more Editorial 

Prior to the upcoming release of the long-anticipated 2015 vintage, we caught up with Gianfranco Soldera’s daughter, Monica, who, alongside her husband Paolo, has worked at the estate since 2003.

Soldera is one of Italy’s most iconic, best-loved wines among collectors. Gianfranco Soldera’s daughter, Monica, discusses the benchmark Sangiovese

Monica Soldera on Super Tuscans 

Monica Soldera on the Super Tuscans and her family's iconic estate

Lisa Perrotti-Brown MW has caused quite the stir. In her Bordeaux 2021 en primeur report, her first for her new publication The Wine Independent, she scored some wines below 80 points – and just 20% made it above the 90-point mark. She’s a woman on a mission, determined to bring honour and integrity back to wine criticism. The Master of Wine and Robert Parker protégée stepped down as Editor-in-Chief of the Wine Advocate – the leading fine wine publication – last year. She was tired of what had become a corporate life. Michelin took over in 2019 and her time was increasingly spent in meetings, doing reporting, looking at corporate responsibility as well as managing her team and making sure everything was going to plan – a plan, she emphasises, that was not set by her. Most importantly, her senior position took her further away from what she really loved doing – writing about wine. “I love to sit down with winemakers and capture that story that is not on their website, that is not in their marketing material. Something that is real and raw. There is not enough of that,” she tells me. Her view is that it’s the story that makes wine “more than just a drink” – and that’s why people spend hundreds of pounds on a bottle. This storytelling is what she’s looking to do with her new, small outfit, The Wine Independent. Importantly she’s partnered with Johan Berglund – a professional photographer (whose beautiful images we've used here) – to bring those stories to life, with a modern platform that is a world away from most other critics’ sites (often “a wall of words”, she says). As the name of the new publication suggests, Perrotti-Brown is making a stand against publications that she feels no longer put the consumer first. Her inspiration is Robert Parker’s original operation – the Wine Advocate started as a small newsletter shared with friends. “Essentially a mom-and-pop shop”, she explains, getting back to basics, with minimal staff and no fancy office with big overheads. For her, the goal is simple: to publish timely – and honest – reports, allowing readers to search for wines easily and helping them to discover something new. She doesn’t hold back voicing her concerns about the state of wine criticism today. She’s damning, believing there’s a trend not just to overscore, but that it’s a strategy to gain influence, helping critics be quoted by retailers and wineries – and therefore benefitting from “free marketing”. “When you see people coming in one or two points above everyone else and they hang on and wait until other people’s reviews have come out… I mean, come on, it’s definitely happening,” she says. The compaction of scores, however, is what really riles her. Everything sits between 95 and 99 these days, she suggests. “Nobody dares to go to 100 and nobody dares to go below 90.” Perrotti-Brown is outspoken about critics for whom the tiny number of 100-point scores they hand out is a point of pride. “There are a lot of critics who are just too chicken-s**t to give 100 points,” she says. “If you know a wine is 100 points, it takes a lot of bravery to put it out there.” Some critics – such as James Molesworth of Wine Spectator – don’t believe that a perfect wine exists, and therefore never give 100 points. “Which is ridiculous!” says Perrotti-Brown. “Why use a 100-point scale, if you are not going to use the top?” Her fear is that scores will lose all relevance and meaning. Indeed, she notes that retailers don’t even reference who gave the score they quote. “You go into a shop these days and look at the shelf-toppers and it doesn’t even say whose score it is – it just says 97 points. Every wine is 97 points!”  Critics should be fighting for consumers, she argues, rather than ingratiating themselves with wineries. “I know it is difficult, because we are sat there right in front of the winemaker, listening to their stories and I think the impetus is to really feel for that person, but you can’t. You always have to see it from the consumer’s perspective – it’s what Bob [Robert Parker] always told me. You are working for them.”  Hence, therefore, the broad range of scores that she felt was inevitable for a vintage like 2021. It was, she admits, a difficult vintage to assess in the evolution of Bordeaux. She’s adamant that she hasn’t changed the way she scores: “It just happens to be the worst vintage Bordeaux has had for a very long time,” she explains. Perrotti-Brown refers back to Robert Parker’s original benchmark for 90 points – an “outstanding” wine, a wine that is complex and age-worthy. For her – tasting very widely across the region – the majority of 2021s don’t meet those criteria, but she’s quick to emphasise that wines scored in the upper 80s are very good wines. “I think there has become some stigma over the wines scoring in the 80s and I don’t know why,” she says. Again returning to Robert Parker’s original scoring crib-sheet, these are “good to very good” wines and that is where, she feels, the bulk of Bordeaux 2021 wines fall.  Looking back at Robert Parker’s own en primeur scores in trickier vintages (2007, 2013, 1996), he too was awarding many wines eighty-something points, sometimes less. While Perrotti-Brown accepts the technological advances in viticulture and vinification mean you would rarely see Classed Growth wines receiving less than 80 points today, it only emphasises just how challenging the 2021 vintage was in Bordeaux. Of course, the vintage also produced some surprises. Despite everything that happened climate-wise, there were a number of wineries that produced outstanding wines, even by Perrotti-Brown’s assessment. “Some wines were absolute trainwrecks and there are other wines that are wow… you can tell these people worked their tails off,” she says.  The critic was certainly surprised and disappointed by other reports on the vintage, particularly given she’d worked and trained some of the people behind them. “When I am looking at other peoples’ scores [for Bordeaux 2021], 60% or more of the wines scored 90 points and above and that is astonishing to me,” she says, both confused and outraged. “Some of these wines, they are giving the same score ranges as the 2018 and the 2019s – I mean how is that possible?” Her report is a statement of intent. Lower scores may mean The Wine Independent isn’t as widely quoted by the trade, but what matters to Perrotti-Brown is whether consumers trust the publication. It’s a long-term game. “Eventually I hope consumers will look at all these other scores and say, ‘But what did The Wine Independent say?’” Perrotti-Brown took a huge risk stepping down from what is undeniably the wine world’s most influential publication – but she is confident she’s made the right choice. Her need for autonomy was the impetus for her to set up on her own, and she’s found freedom on her own terms. It is still early days for The Wine Independent and, for now, Perrotti-Brown is their only reviewer – although she confirms an additional critic will be announced in the coming weeks. Competing against more established publications with an extensive database of tasting notes and scores isn’t easy – but Perrotti-Brown has established herself as a disruptor in the field. She’s lain down the gauntlet – daring her peers to put the consumer back at the heart of what they do. Read more Editorial

Lisa Perrotti-Brown MW is making a stand. The ex Wine Advocate Editor-in-Chief, trained by Robert Parker, believes that critics are at risk of losing relevance – and for good reason. We talk to the wine writer about why she’s fed up of scoring strategies and set up The Wine Independent.

Why the wine critic left the *Wine Advocate* to go her own way, determined to bring honour and integrity back to wine criticism.

Lisa Perrotti-Brown on why she left Wine Advocate

The voice of independence: Lisa Perrotti-Brown MW

There’s little Graham Eunson hasn’t seen in his 30 years in the Scotch whisky industry. From pushing barrels at Scapa straight out of school to managing one of the biggest names, the Orcadian has worked in almost every production role at five Highland distilleries. Over the course of his career, the Tomatin Distillery Operations Director has been at the painful end of two consolidations and led the revival of a distillery lost for 22 years. For the past decade, he has had to pool all this knowledge and experience to bring a distillery that was once famed for mass production to single malt prominence. “I always say it’s the most fun I’ve had in the whisky industry,” he declares with a chuckle, “and I’ve loved every single one of the distilleries I’ve worked at.” Eunson talks with such fondness about the industry and all his colleagues that it’s easy to see why both his children have followed him into the profession. He refers to his route into the industry and progression through the ranks from mashman to stillman to brewer as the “old-fashioned way”. When Allied Distillers closed his first distillery during the 1990s whisky loch, Eunson faced a tough decision: leave his beloved Orkney or wave goodbye to a fledgling career he absolutely adored. His homeland lost that tug of war and Eunson moved his wife and one-year-old son to Aberdeenshire and Glendronach Distillery until that also closed its doors. Glenmorangie became Eunson’s third Highland distillery where he worked as Assistant Manager to Dr Bill Lumsden for two years before Head Office beckoned and he took over as Distillery Manager. After a decade in the role, the chance to reopen a ghosted distillery lured Eunson away. “My wife would argue I don’t have a romantic side to me at all, which is probably true, but when it comes to whisky I do – and the opportunity to re-open the distillery after such a length of closure was too much to resist.” On April Fool’s Day 2008, Eunson stood on the balcony in the Glenglassaugh still house looking at the rusted pipework where sections had been pilfered by thieves and seriously questioned if he’d made the right decision to leave the breathtakingly beautiful, not to mention functioning, Glenmorangie. “But I have to say, the sense of achievement on the day we first mashed in again, after about eight months of struggling to try and design everything to get it to work better… the sense of achievement was fantastic,” he says with real pride all these years later. The next call, to take on a newly created General Manager role at a distillery that was once the largest in Scotland and had fallen out of favour, came in 2011. If he accepted, Eunson would look after everything from the malt coming in, to the distillation, maturation and recipes for all the whiskies. “They sold it well to me,” he says with a wry smile. “Basically, the buck stops for everything with me.” Two years ago, Eunson was asked to choose his new title. After some thought, he suggested General Operations Director – “So GOD,” he laughs; in the end he had to settle for “DOD” – Distillery Operations Director. The beauty of working at Tomatin, according to Eunson, is that he and the 62-strong team are masters of their own destiny. “We have gone from being a distillery which made lots and lots of spirit to go into other peoples’ whiskies. To the complete opposite way round percentage wise,” Eunson says. In the 1970s, Tomatin produced 12.5 million litres of pure alcohol a year making it the largest in Scotland. Today, the Highland distillery produces less than two million litres a year. Of this number, 1.1 million goes into Tomatin in its various forms, roughly 400,000 litres are swapped with other distilleries in exchange for whiskies for their Antiquary, Talisman, Big T, Ancient Clan and other blends, and 100,000 litres is sold for cash. Apart from malting and bottling, every stage of the traditional production – milling, mashing, fermenting, distilling, ageing and blending – takes place on the 140-acre site. “It’s great to be in control of all that ourselves,” Eunson says. “In the last 12 to 15 years, we have had a complete change of tact. We’ve reduced the volumes we’re making and it’s all about quality over quantity.” The gear shift is clearly working. Since its rebrand in 2015, sales have soared by 83% and visitor numbers to the distillery are topping 50,000 a year (in non-pandemic times). Tomatin produces a range of unpeated single malts from the entry-level (£30 a bottle) to the 50-year-old-plus (£10k+ per bottle). In their vast warehouses, the team is sitting on almost 200,000 casks and Eunson oversees it all. “It is one of the few jobs I would have thought in the world that you can do for 30 years and still look forward to going into work,” he says. “My job is wide and varied and never the same two days running.” In his latest project, and the first “serious launch” since the rebrand, Eunson has sourced rare Monbazillac, Sauternes and Rivesaltes barrels to finish three parcels of nine-year-old single malt. In typically self-deprecating fashion, Eunson says: “The stars aligned basically. We had released our Sherry-cask finished Cuatro and were looking at alternatives and these wine casks became available. When the cooperage told me about them, I asked them to hold the casks and got straight on Google.” The cask finishing trend has been one of the biggest changes Eunson has witnessed in his career. He says: “It used to be, ‘Well if it was a tree at some point in its life then you can use it for maturing whisky’, whereas now there is so much more care and attention put into it. “Some of the companies I have worked for… Allied, no longer exist, so I can say what I want about them. They had codes on their stock system for seven-fill and eight-fill casks. By the time you’ve filled it seven or eight times, there’s not a lot of flavour going to come from the wood.” While Eunson says he’d never say the cask is the most important part of the process, he is not shy in professing it is the most influential. “What a lot of companies are doing now, ourselves included, is look at the raw materials – different barley varieties, different types of malt, different yeasts, different lengths of fermentation times, different cut points in the stills – you can play around with all of that but it is still only going to arguably contribute 25 to 35% of the final flavours. Seventy to 75%, even 80%, will come from the time spent in the cask during maturation. “So that is where we have to put the attention to detail because it’s going to have such an impact going forward onto the final character of the whisky we produce.” Computerisation is another huge change in the industry. And not one Eunson thinks is strictly positive. “It’s a good thing in that if you’ve got a computer and sensors running the pumps, setting the temperatures and suchlike, there is less room for human error and you get more consistency of spirit. So you know what your new-make spirit is going to be like but at the same time, that human error can sometimes lead to exceptionally unusual whiskies. You become almost a generic whisky, so we need to be careful to keep the individual characteristics there.” The Tomatin Distillery is semi-automated. It is still up to the Stillmen to decide when to make the cut and how fast to run the stills by controlling the steam valves. Whether it’s technology or trends, Eunson says the one constant in the Scotch whisky industry is change. “We are always changing and trying to be innovative and look at different ways of doing things while still trying to stick to the traditions that have been there and the rules and regulations as well." The industry might constantly be evolving but Eunson says the people within it are far more permanent. “We have a Head Warehouseman who’s been working with us since he was 18 and he’s now 67. He has more or less done the same job in the same distillery for 50 years. He is showing absolutely no intention of retiring and he’s probably the fittest guy we have on site in reality.” And how about Eunson? “I can’t see myself retiring at 60,” he says. “There is way too much that I want to do in the industry to even consider that. I’d probably think about retiring at 65… or maybe 66,” he quickly adds. We’ll believe it when we see it. Browse all Tomatin listings or read more Editorial 

After three decades in the whisky industry Tomatin’s Graham Eunson is more energised than ever. He tells Holly Motion why his latest role is the best yet

Tomatin’s Distillery Operations Director on the pace, and people, that keep him in the industry after more than 30 years working at the coalface.

Tomatin’s Graham Eunson on a life in whisky

Graham Eunson: a life in whisky

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

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

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

Distilling dreams

Ch. Haut-Brion is one of the oldest and best-known names in fine wine. The Bordeaux First Growth estate was created by Jean de Pontac, back in 1533, and its wines were among the first to be exported. Records detail 169 bottles of the wine (then as “Hobriono”) served to guests in 1660 by King Charles II. Just a few years later, on 10th April 1663, Samuel Pepys wrote in his diary that he had drunk “a sort of French wine called Ho-Bryan [sic] that hath a good and most particular taste I never met with”.   
While Ch. Haut-Brion is the oldest known estate in Bordeaux to bottle and label its wine as a Grand Cru, bearing both name and terroir – the name “Haut-Brion” has an historic attachment to a fair few other winemaking estates in the Graves region. The name Haut-Brion roughly translates as hillock and refers to the raised gravel hills found in the surrounding vineyards. It is these distinct raised, Günzian gravel soils that have provided such ideal conditions for grape growing over the last 500 years or so – providing the vines with much-needed drainage in Bordeaux’s marshy flatlands. Below the deep gravel lies a bedrock of clay which locks in the moisture, releasing it only when required in the drier summer months. This terroir is the secret behind the vineyards’ historic levels of consistency. 
Other famous châteaux that share the Haut-Brion name are all situated in the Graves region, just south of Bordeaux’s city centre. Ch. la Mission Haut-Brion, situated immediately across the road from Ch. Haut-Brion, with neighbouring vineyards, is the most famous, while Ch. les Carmes Haut-Brion is situated just to its north and Ch. la Tour Haut-Brion to its south.
Controversially Ch. Larrivet Haut-Brion is not close to the other properties, but further south, near Ch. Smith Haut Lafitte. The property changed its name from La Rivette to Ch. Haut-Brion Larrivet in 1874, and it was only following a lawsuit, filed by Ch. Haut-Brion in 1949, that the château was forced to change its name to Larrivet Haut-Brion. (Neither Les Carmes de Haut-Brion or Larrivet Haut-Brion have a connection to Ch. Haut-Brion and the wider Clarence Dillon portfolio.) 
Today, Ch. Haut-Brion and neighbouring Ch. la Mission Haut-Brion are the two flagship estates of Domaine Clarence Dillon. Clarence Dillon was an American immigrant, who made his fortune as a financial broker on Wall Street in the 1920s. With French ancestors and a passion for French gastronomy (which included him taking an introductory course at the famous Paris cooking school, Le Cordon Bleu), he spent much of his spare time in France. In 1935, he eventually persuaded the current owner, André Gilbert, to sell him Ch. Haut-Brion, his favourite wine estate, and the property has remained in Dillon the family ever since. 
Clarence Dillon’s granddaughter, Joan Dillon, and her second husband Philippe de Noailles, Duke of Mouchy, expanded their holdings in the region, when they purchased Ch. la Mission Haut-Brion and Ch. la Tour Haut-Brion in 1983. It was following this acquisition that some famous neighbouring châteaux were absorbed into the portfolio and some wines discontinued, with the fruit instead used for Haut-Brion or La Mission Haut-Brion. 
The range as it stood in 1983 included the Grand Vins Haut-Brion and Haut-Brion Blanc, La Mission Haut-Brion and their famous white wine, Laville Haut-Brion. In addition to this, Ch. Haut-Brion produced a second red wine called Bahans Haut-Brion and a second white wine called Les Plantiers Haut-Brion. At Ch. La Mission Haut-Brion they produced a second red wine called La Chapelle de la Mission Haut-Brion and also the red wine of Ch. la Tour Haut-Brion. 
In 2008 the fourth generation of the Clarence Dillon family, Prince Robert de Luxembourg took control of the estate, and a flurry of name changes took place, however the fruit sources have remained stable. From the 2008 vintage, Les Plantiers Haut-Brion was renamed La Clarté de Haut-Brion, while Bahans Haut-Brion became Le Clarence de Haut-Brion from the 2007 vintage. Laville Haut-Brion, La Mission’s famed white wine, was returned back to La Mission Haut-Brion Blanc from the 2009 vintage. 
For the Prince, the name changes were mainly a way to simplify the range for collectors. In fact, La Mission’s top white had originally been called La Mission Haut-Brion Blanc when first produced in 1923, however the winery didn’t feel the quality was on a par with the red and so changed the name to Laville Haut-Brion (after the lieu-dit where the white grapes were grown) in the 1930s. Bahans Haut-Brion had also taken its name from its lieu-dit; the name change reflected that it had become a second wine, not a cuvée from a separate vineyard (and paid tribute to Prince Robert’s gread-grandfather). 
Perhaps the biggest casualty in the development of the Haut-Brion properties was the discontinuation of Ch. la Tour Haut-Brion – with the last vintage 2005. Before Clarence Dillon bought the property in 1983, a portion of the grapes of the four-hectare estate went into the Grand Vin of La Mission Haut-Brion, while the rest was bottled as La Tour Haut-Brion.  Clarence Dillon bottled fruit from all four hectares of the property separately for a time, and it gained its own strong following – known for consistently producing memorable, age-worthy wines that defied its relatively low price point. But, in 2005, Domaine Clarence Dillon decided to put all the fruit into the second wine of La Mission Haut-Brion – La Chapelle de la Mission Haut-Brion – and Ch. La Tour Haut-Brion was no more. 
Between the 1950s and 2012, an additional wine – Domaine de la Passion Haut-Brion or Domaine Allary Haut-Brion – was made. The wine has an interesting story, relating to a parcel of vines in the heart of the Haut-Brion vineyard, but owned by the Allary family. The Allary family didn’t make wine, but rented the vines to Haut-Brion, who paid them back by bottling some wine – which otherwise would have been Haut-Brion’s Grand Vin or second wine – under a special label, Domaine de la Passion Haut-Brion.  This was produced from 1954 to 1978. In 1979, EU law forbid the same wine to be bottled under a different label, so between 1979 and 2007, the fruit from these vines went into the second wine of Haut-Brion (then known as Bahans Haut-Brion). From 2008, the Allary family took back control of the vines and produced their own wine. Made by a different winemaking team managed by Stéphane Derenoncourt, the wine was bottled under a new label, Domaine Allary Haut-Brion. This lasted just five vintages until 2012, when Clarence Dillon finally bought the land from the family and the wine was discontinued. 
In 2011, the fourth generation of the Dillon family, Prince Robert de Luxemburg, branched out beyond the Graves region to buy Ch. Tertre Daugay in Saint-Emilion along with the vineyards of neighbouring Ch. l’Arrosée. From the two estates, he created Quintus. Ideally situated next to Ch. Bélair-Monange and Ch. Angélus, the vineyards are situated on a limestone hillock in the south-western end of the Saint-Emilion plateau.  In 2021, Domaine Clarence Dillon bought Ch. Grand Pontet, another 14 hectares of top Saint-Emilion terroir to further expand the Quintus estate. With the viticulture and winemaking at Quintus all under the control of the talented Haut-Brion team, it’s not surprising that Quintus has quickly gained its own following of collectors. Alongside the Grand Vin, a second wine Le Dragon de Quintus (first produced in 2011) and a third wine Saint-Emilion de Quintus (first produced in 2014) are made.

These various lost properties and wines are becoming harder to find, but offer a fascinating way to explore the full DNA of the modern-day Haut-Brion, La Mission Haut-Brion and Quintus. 
Your quick guide to the Haut-Brion wines
 Allary Haut-Brion (Domaine): made between 2008 and 2012 by a separate winemaking team from a parcel of vines in the heart of the Haut-Brion site (which is now owned by Haut-Brion) Bahans Haut-Brion: the second wine of Ch. Haut-Brion, first made in 1976 and renamed Le Clarence de Haut-Brion from the 2007 vintage Haut-Brion: the Grand Vin (red) of Ch. Haut-Brion, which dates back to the 16th century Haut-Brion Blanc: the Grand Vin (white) of Ch. Haut-Brion, first made in 1916  La Chapelle de la Mission Haut-Brion: La Mission Haut-Brion’s second wine, introduced in 1991 La Clarté de Haut-Brion: the name for the second white wine of Ch. Haut-Brion from the 2008 vintage (previously Les Plantiers Haut-Brion Blanc) La Mission Haut-Brion: the Grand Vin (red) of Ch. la Mission Haut-Brion which has been made since the 16th century La Mission Haut-Brion Blanc: the Grand Vin (white) of Ch. la Mission Haut-Brion, first made in 1923 under this name, before being renamed Laville Haut-Brion in the 1930s, and reclaiming its name once more from 2009  La Passion Haut-Brion (Domaine de): a bottling of Haut-Brion or Bahans Haut-Brion under a different label (from 1955 to its last vintage in 1978) La Tour Haut-Brion: a separate property owned by Clarence Dillon since 1983 (last vintage 2005); the fruit is now used for La Mission Haut-Brion’s second wine, La Chapelle de la Mission Haut-Brion Laville Haut-Brion: the Grand Vin (white) of Ch. la Mission Haut-Brion, renamed la Mission Haut-Brion Blanc in 2009 (as it was originally known when first made, prior to the 1930s) Le Clarence de Haut-Brion: the name for Ch. Haut-Brion’s second (red) wine since the 2007 vintage (previously known as Bahans Haut-Brion) Les Plantiers Haut-Brion Blanc: the second white wine of Ch. Haut-Brion, renamed La Clarté de Haut-Brion from the 2008 vintage Explore all current listings of Ch. Haut-Brion, Ch. La Mission Haut-Brion, Quintus, La Passion Haut-Brion and La Tour Haut-Brion or read more Editorial 

Since the Clarence Dillon family bought Ch. Haut-Brion in 1935 and neighbouring Ch. la Mission Haut-Brion and La Tour Haut-Brion 48 years later, the properties have become some of Bordeaux’s most collectable. We explore the genealogy of these illustrious estates – and their lost wines 

Exploring the genealogy of the Bordeaux First Growth Ch. la Mission Haut-Brion and its siblings La Tour Haut-Brion

The lost wines of Haut-Brion

We learn a lot from winemakers around the world but often it extends well beyond their vocation. No more so than with Champagne Henri Giraud winemaker Sébastien Le Golvet, whose philosophy as a vigneron extends far beyond the vineyard. Under the mentorship of his father-in-law Claude Giraud, Sébastien believes a total immersion in one’s surroundings is essential to better understand it. Working with something that is alive, Sébastien believes, requires the nurturing of a symbiotic relationship between himself, his vines and more broadly with the natural world.  Henri Giraud, one of Champagne’s most celebrated producers, takes this immersion philosophy to the extreme, from tasting their own soils to identifying varying terroirs of oak within the Argonne forest that produce the barrels for their barrel-fermented Champagnes. Sébastien guides us through the extraordinary lengths they go to, his determination to reconnect with nature, and learning to trust one’s senses.  Inquisitive wine drinkers are eager to extrapolate why doing something in the vineyard or the winery leads to the flavours in the glass. When speaking to a vigneron it is rare to receive straightforward answers, but as Sébastien explains, it is a succession of small details. In Henri Giraud’s case, a minimum of 10 years of activity and adjustments go into a single glass of Henri Giraud Champagne, as well as a lifetime of experience to help guide decisions throughout the process.  Sébastien compares his winemaking philosophy to climbing a mountain: there are many ways up and some options are more difficult than others, some can even lead to a fall, but each time he tackles that mountain, he claims he emerges with a better understanding. He remembers the pitfalls of previous vintages, or fermentations that go wrong, he takes inferences that might have led one way and chooses a different direction. Slowly finds the right path while remaining humble to the many routes available.  The multitude of factors at play in growing grapes and making wine, explains Sébastien, means a vigneron has to learn to trust one’s own sensibilities. His inferences are broad and multifaceted and not necessarily linked to winemaking. He talks about how important childhood memories of picking fresh cherries as a young boy, or the smells of his mother’s cooking, are, all providing him with a memory bank of senses that he refers to today.  100% barrel fermentation The domaine has had a fascination with oak from the Argonne forest, east of the Champagne region, since Claude Giraud took over from his father in the 1980s. Its top cuvee is even named after the forest (home to their barrels) of which 100% new oak is used in fermentation of their Argonne cuvee. Oak plays a central role across the range, with the sole exception the amphora-fermented Dame Jane Rose.  Since 2016 they have stopped using any stainless-steel tanks at all in the winery, even with their “Esprit” entry-level cuvee. Historically there were more than 150 coopers working in the Argonne forest producing barrels for Champagne production, but with the introduction of stainless-steel fermentation tanks, this tradition almost completely died out in the region. The cheaper more efficient effects of stainless steel led to most Champagne houses giving up on barrel fermentation. The obsession with oak at the domaine was not a whim. Initially, Claude Giraud invested in stainless steel to test and compare the effects of different fermentation vessels on the wine. They also tested extensively with different types of amphora including cement and terracotta before eventually opting for sandstone jars, offering the right amount of porosity to imprint texture and flavours, they are looking for. The problem with stainless steel, in Sébastien’s view, is that it doesn’t retain the tension in the wine in the same way as oak barrels; they don’t believe it translates their beloved Aÿ terroir. The reasons might not be clear cut, but their evidence in extensive tasting was enough to convince.  Sébastien states that the exchange during fermentation is much quicker in stainless steel, just two months, whereas in barrel it is between six to 12 months. This long exchange of solids, yeast and lees, according to Sébastien, creates much better equilibrium in the wine, more texture and more complexity. The small volume vessel (the barrels are just 228 litres) also creates more power and intensity in the wine.  Dealing with smaller vessels, according to Sébastien, also means more control of the product and less concerns with oxidation lowering the need for additions of sulphites (anti-oxygen agents) as well as giving Sébastien so many more options when it comes to blending. Each vintage he is managing over 1,000 barrels. While it sounds like a lot, in Champagne terms this would typically amount to four or five large tanks (maximum 10 smaller tanks) which when considering the Henri Giraud domaine has over 200 different separate vineyard plots, fermenting these all together in stainless-steel tanks would lose the specific terroir inferences that remain a vital element to the Henri Girard philosophy.  The terroirs of the Argonne Forest While Krug, Bollinger and Selosse are strong advocates of oak barrel fermentation in Champagne, perhaps the most unique element about Domaine Henri Giraud is the lengths they go to in determining what oak they use. Henri Giraud believes the terroir of the forest plays an essential role in the final effects in their wines. The wood is sourced from the Argonne forest but within the forest based on the varying soils, different parts of the forest offer different expressions. The domaine has identified at least 10 distinct terroirs within the Argonne forest. The three main regions they predominantly source from are Les Châtrices, La Contrôlerie and Les Haut-Bâtit. What is important about these specific terroirs, according to Le Golvet, is the geological positioning of the tree and the specific soil: a very poor, dry soil, causing the trees to grow very slowly producing wood with the tightest grain in the forest.  The tighter the grain, the more delicate the effect and flavour of the wood has on the wine. For Sébastien, the wines of Aÿ are very delicate and while they want to incorporate the terroir of the forest into the wine, they don’t want to overpower it. These trees take up to 250 years to reach maturity and thus Henri Giraud has partnered with the French National Forestry Office to invest in replanting programmes. For Sébastien, each of the terroirs brings distinct characteristics to the wine. The oak from Les Châtrices can emphasize the effect of acidity in the final wine as well as mineral freshness. The oak from La Contrôlerie brings red fruit and apricot notes. The oak of Les Haut-Bâtit brings power and depth and is often used in cuvees that lack the balance from maturity. How this all works they do not know, but again on tasting you can identify clear differences in the effect of using different oak from different terroirs of the forest. Sébastien is keen to share this with anyone who is interested. At Henri Giraud, they make a point of making their Vin Clair wine (still Champagne wine prior to the second fermentation in bottle) available to taste for visitors at the domaine throughout the year. They have the same cuvee fermented in the different types of oak for visitors to get a direct experience of how different they taste.
 Bespoke barrel toasting at the domaine One particular skill of Sébastien, seemingly fairly unique in the wine world, is that he toasts his own barrels. Trusting only his sense of smell and how specific toasts will affect different cuvees, Sébastien sources the barrels untoasted and toasts each one. Typically wine barrels are toasted for 30 to 40 minutes but he prefers a much lower heat but for around 90 minutes – sometimes longer –  depending on each barrel and using only his nose to guide him.  When the toasting process starts, he describes the wood smelling of flour, and as it cooks further the aromas develop to white bread, then darker, wholemeal bread, the bitterness of the green tannins drops out from the barrel and croissant buttered notes develop.  He identifies the character he is looking for, depending on the different vineyard sites, to produce a delicate balancing act between fruit and wood. Even before harvest, he has already decided how he will separate his 200 separate plots of vineyards, identifying which grapes will be fermented in specific barrels. The terroir of the Grand Cru village of Aÿ Transparency is a key part of the Giraud philosophy. They were among the first Champagne houses to farm organically, their vines have been pesticide-free since 1996. But whilst they are not officially certified, they believe recording the actual amount of chemical residuals found in the soil is a more transparent approach than an organic certification. They now identify on every bottle the molecular analysis of the wine via a QR code, identifying exactly what trace elements have reached the wine.    Receiving over 5,000 visitors every year, they are keen to share their philosophy of complete terroir immersion and transparency. Not only can you taste the different terroir effects on the oak, but they are keen to extol the virtues of the Grand Cru village of Aÿ. Sébastien explains how Aÿ has a distinct terroir, identifying key factors that resonate in the glass. The vineyards of Aÿ have a thin layer of very rich topsoil with high levels of iron oxide of which below is deep chalk mixed with clay.  The south exposition brings sun intensity that “roasts” the grapes, but a small river creates a fresh breeze that blows across the vineyards, preserving freshness. There is a distinct aniseed taste from the wines of Aÿ that brings freshness; the density of chalk, its structure and flavour can be tasted in the mouth as well as providing a distinct salinity. A part of their terroir immersion at the domaine involves tasting these elements with visitors, mixing the chalk, the clay and the iron oxide with water and tasting the effects in the mouth.  It is clear, explains Sébastien, that tasting these elements helps you to understand where you feel minerality in wine – where each element sits in the palate. Sébastien’s conviction in terroir immersion and the power of one’s senses is best extolled in the raising of his children. He has three sons aged between seven and 16 and from a very early age he and his wife were keen to immerse them in nature, to encourage them to explore their senses, and to connect them to nature. They spend much of their time in the vineyards, in the forests and the kitchen.  Sébastien recounts his memories of his mother’s cooking, the picking of fresh cherries from the tree – these are smells you never forget. He wants his children to savour these childhood memories, to help them build an extensive memory bank of sights, sounds and flavours. This immersion in their senses he believes is key to becoming a good vigneron of which he hopes his children (the 14th generation of the Henri Giraud domaine) will put into practice as Henri Giraud’s vignerons of the future. Browse all Champagne Henri Giraud listings or read more Editorial 

We explore the ultimate expression of terroir with Sébastien Le Golvet, the talented winemaker at Champagne Henri Giraud 

Exploring the ultimate expression of terroir with Sébastien Le Golvet, the talented winemaker at Champagne Henri Giraud 

Henri Giraud's Sébastien le Golvet on terroir 

Terroir immersion therapy with Sébastien le Golvet

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Puligny Montrachet Premier Cru

Puligny-Montrachet

Côte de Beaune

Burgundy

France

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