Classic Wine Library
Extract: The wines of Bulgaria, Romania and Moldova, by Caroline Gilby MW
16 May 2022 by Infinite Ideas in Classic Wine Library, Extracts, Wine and spirits
The wines of Bulgaria
Bulgaria is a wine country very close to my heart – exciting and frustrating in equal measure. It was only the second wine country I visited in my professional career, when Eastern Europe was my first buying responsibility as a trainee buyer back in the late 1980s. I’ve seen this country take its first steps into a new era, just as I did myself. And I like to think that we’ve matured together, though the relationship has had its rocky moments.
That first trip to Bulgaria was eye-opening, not least because my one and only previous trip had been to Château Lascombes in Margaux. Memories have stuck fast of grim communist wineries; vast marching rows of vines supported by crumbling concrete; dining in huge, ornate ballrooms empty apart from our group; inevitable cucumber and tomato accompanied by ‘tractor fuel’ (a.k.a. rakia) at every meal and scrabbling for coins to pay for a few sheets of scratchy toilet paper from a babushka-type with bad hair-dye. I carried on buying Bulgarian wines when I was back in the UK but didn’t go back to the country for another dozen years or so.
In 2003 I returned for the first internationally judged wine competition, along with Jancis Robinson and a handful of judges from Norway, Poland and Scandinavia. So much was different; better hotels (with free toilet paper) and much better food (though cucumber and tomato are always standard fare). Usually everything was drowned in a thick fog of Balkan tobacco smoke. A mouthful of food and a puff on a cigarette wasn’t uncommon in those days (a habit that only faded with the indoor smoking ban in 2012). Winemaking was evolving, with the first few individual pioneers like Maxxima and Santa Sarah starting to appear, and privatization issues on their way to being resolved. But the larger wineries still seemed to believe that grapes grow in the back of trucks and couldn’t understand when we wanted to look at actual grapevines.
For some though, I think the proverbial penny (or stotinka) was beginning to drop as they realized that controlling fruit quality was going to be the next step for Bulgaria. Of course, problems of land ownership and vineyard neglect were still huge and have had major implications for Bulgaria.
Like all of Eastern Europe, Bulgarian wine has undergone a complete revolution from those early days of communist-scale, cheap, cheerful Bulgarian Cabernets; the ones I used to drink regularly as a student. I remember waiting with great anticipation for the arrival of Oriahovitza Reserve 1979 in Oddbins in the mid-1980s. There was nowhere else where you could get a wine with this level of maturity for the sort of price that even a student could afford. But the wine industry has undergone a complete revolution since then, through the challenges and problems of privatization, and has emerged as an exciting and dynamic scene, scattered with wines that I would be genuinely happy to recommend to anybody.
There is more to wine than just an enjoyable liquid (though obviously that’s important) and the stories behind the wine scene in Bulgaria are fascinating, though it hasn’t always been easy to get Bulgarians to genuinely open up and talk about it. And yet on the other hand Bulgarians are outspoken and blunt, and will tell you exactly what they think of you in so many words. Trust is a difficult thing for Bulgarians still, and they always seem to think there’s a catch, or a hidden agenda, so getting the wineries to tell me their genuinely personal stories has sometimes been hard. The more Latinized Romanians and even the Soviet-scarred Moldovans seem to have found it easier. And it’s a shame, because when you do get through that shell, Bulgarians and their wines are well worth getting to know.
The landscape of the Bulgarian wine industry has changed dramatically since the fall of the Iron Curtain and even more so since the completion of privatization. Accession to the EU in 2007 accelerated the pace of change, bringing with it reformed laws on winemaking as well as significant investment.
As part of the EU membership negotiations, Bulgaria agreed a vineyard area of 153,000 hectares, and official data for 2006 showed an area under vine of 135,760 hectares. However, this was never a realistic reflection of the area of viable productive vineyards and was most likely a political decision to give the industry maximum possible planting rights (which were extremely limited within the EU, basically requiring like for like replacement). Vineyard area continued to fall and the Ministry of Agriculture’s Annual Agrarian Report stated there were just 46,145 hectares in production in 2011, which fell further, to 36,551 hectares, by 2016.
Nearly half of Bulgaria’s vines are more than thirty years old, but in the last five years 6,000 to 8,000 hectares have been renovated each year. This almost certainly reflects purchase of land and planting or replanting of vineyards by large wineries, as well as the emergence of small and medium-sized new wineries with quality aspirations. Today, the majority of wineries have their own vineyards supplying all or part of their needs, and where they don’t own vines, longer term contracts specifying fruit quality and vine management are typically in place.
Vineyard development is likely to continue. Bulgaria had established a government-funded wine sector programme, worth nearly €70 million from 2014 to 2018, to support further conversion and restructuring of vineyards, plus investments in wine cellars and green measures. The change in attitude from technology towards the land shows the major mental switch that the industry has undergone. However, there is still a need to get to grips with the next step, which is to understand what the right locations for specific varieties are, and not just plant vines wherever a winery has been able to buy a plot of land. Look at France for examples of where the link from people to land has been uninterrupted for centuries (unlike Bulgaria where the link between land and individual people was largely destroyed over the years of communism). There are long established reasons why Pinot and Chardonnay grow in continental Burgundy while Cabernet and Sauvignon Blanc reign in the Atlantic climates of Bordeaux and the Loire, and Syrah and Viognier suit the baking heat of the Rhone. It’s worth noting how little varietal overlap there is too, unlike in Bulgaria where many of these grapes are found together in the same vineyard. The alternative way of looking at this is that Bulgaria is experimenting with freedom from prescriptive laws about what to plant where.
There are two aspects to quality: the first is freedom from faults and off flavours, while the second relates to the individuality and complexity derived from a location that imparts its unique character. Bulgaria needs to learn from the mistakes of her New World competitors. Frequently vines have been planted without considering the suitability of the variety for each site, with winemakers putting their faith in the power of technology and modern winemaking to overcome any disadvantages, such as the wrong soil or excess heat, and ending up with uniform and even boring wines. In the early years of the new era, it was such a challenge to put together enough land in Bulgaria for a commercial vineyard that owners may have rushed into planting without thinking through what grapes might work best. Terroir may determine character and complexity, but the human factor determines quality level.
New vineyards have their place, and young vines do get older and better balanced in time, which is starting to happen now in Bulgaria with the first wave of new era vines. The earliest investments from the early to mid-2000s are now getting over this problem, and the wines are better for it, showing ripeness at lower and better balanced alcohol levels. Just as an example Bessa Valley Reserva 2006 was 15.7% abv and the latest release is a more harmonious 14.3% abv. But the industry should not forget the old vines – especially gnarly, ancient things planted decades ago. Such vines are often naturally in balance with roots reaching deep into the soil, but importantly, they are not the modern clones that are increasingly widespread, which suggests they have survived because they suited Bulgaria’s conditions. I would love to see someone taking cuttings before this potential treasure trove disappears in a sea of French or Italian clones. And the myth that old vines are automatically better is often disproved by the reality here. Older vineyards from communist times were planted for quantity, on vigorous rootstocks and fertile soils. Just getting old will never completely solve that problem, and in many older vineyards there are missing and sick vines, as well as a few that are overcropping, so giving very inconsistent results.
To explore the idea of terroir a bit further, three factors need to come together. First is the place itself – the soil, climate, microclimate, aspect, rainfall, wind, sun, altitude and nearby water – and of course vine varieties that suit all these factors. Second is competent winemaking, which allows what the place gives to shine through. It mustn’t dominate, either with faults, or through being too technical and manipulative. Third and arguably most important is the human factor – the passion to aim for high quality and to experiment. And yes, this may mean winemakers being prepared to put their reputations on the line and admit they got it wrong sometimes (and I know this is not something that comes easy to proud Bulgarians). There also needs to be a dose of realism, as there must be a market place to sell these wines into. Recent years have seen several Bulgarian producers embracing ‘terroir’ in a move to be recognized for fine wines. As Yuson Jung points out in her 2014 paper: ‘Terroir is a compelling narrative to legitimize the premium quality of their wines and enter the ranks of fine wine in the global wine hierarchy,’ adding that, ‘wine is not simply an alcoholic drink but a cultural commodity and a symbol of identity’.
Local or international – does Bulgaria need a flagship variety?
For the international market, local grape varieties are a good way of gaining interest and starting conversations, though selling a grape no one has heard of from a country with little reputation for quality wine can be a big ask. If a grape only comes from Bulgaria, it is – by definition – a wine of its place, and such local varieties can also be used to add Bulgarian character to blends. In some cases, the fact is that local grape varieties have remained local because they only suit specific local conditions or because they are too ethnic or rustic to gain wider attention. Shiroka Melnishka Loza for instance, only really suits the Struma Valley and its wines can be challenging to drink without modern winemaking. Grapes like Pamid appear totally unsuitable for producing quality wine that will appeal to modern drinkers.
In other cases, with a more knowledgeable approach to viticulture and winemaking there could well be some gems to discover. At the moment, Mavrud seems to be leading the way as Bulgaria’s red flagship, and today it is the most widely planted of the quality native grapes. By no means does everyone agree that this is the only choice, with supporters for Rubin, Melnik 55 and even Gamza. However, as Radoslav Radev (head of NVWC) pointed out to me, the situation is the opposite in the domestic market, where young people often associate local grape varieties with what their parents and grandparents drank. International grapes are the ones with glamour for new drinkers rebelling against their parents.
Finding the balance point between these conflicting demands is a challenge. There is also a valid argument that showing the world what Bulgaria can do with well-known grape varieties helps buyers understand what quality the country can offer. Adriana Srebrinova (owner of Maxxima and Borovitza) explains, ‘I think we will have a better chance of showing the unique qualities of Bulgarian wines through the place where we grow our grapes, because wine lovers in the world know how a Cabernet Sauvignon from Napa or a Bordeaux tastes, it is easy for them to discern the difference in a Bulgarian Cabernet.’
Extract from The wines of Bulgaria, Romania and Moldova © Caroline Gilby (Infinite Ideas, 2018)
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Extract: The wines of Germany, by Anne Krebiehl MW
16 May 2022 by Infinite Ideas in Classic Wine Library, Extracts, Wine and spirits
Mosel – a cosmos unto itself
Not only are the valleys of Mosel, Saar and Ruwer unique; they seem like a different universe. Here, grape, climate, soil and topography combine in such a fashion that the ancient contract between humans and vine, between sweat and fruit, is driven to its extreme. It is here that the greatest effort leads to the greatest lightness; that Riesling climaxes with absolute transparency, exactitude and expression. Nowhere else is it more apparent that it is light, not heat, that ripens grapes. Take the legendary south-facing Scharzhofberg in Wiltingen. You climb to its ridge and look at the shrub on its shaded, north-facing side: barely an apple would ripen there.
Until 2007 the Mosel region was still called ‘Mosel-Saar-Ruwer’, also crediting the valleys of the smaller tributaries. These subregions now go under the Mosel umbrella but are as distinct as ever. This region covers the final, brief stretches of three river valleys: the Mosel on its meandering path before it joins the Rhine at Koblenz, the Saar and Ruwer before they run into the Mosel at Konz and Trier, respectively. While the river Mosel rises in the French Vosges mountains and flows north past Metz and Schengen, the German wine region begins at the Luxembourg border. This is the relatively unknown Obermosel where Elbling and white Pinot varieties on Triassic formations dominate. What is commonly understood to be the Mosel region proper begins in Trier and follows the snaking river bends which take 237 kilometres to cover the 96 kilometre distance to Koblenz. By grinding its way into the 400-million-year-old sediments of the Rhenish Slate Massif between 15 and 2.5 million years ago, the river created this spectacular topography, curve by winding curve. The Mittelmosel, where all the most famous vineyards are, runs from Trier to Briedel. Its villages from south to north read like a wine menu: Leiwen, Piesport, Braunberg, Bernkastel, Graach, Wehlen, Traben-Trarbach and Enkirch. Driving along the Mosel in this narrow valley is confusing: the road follows the river but on alternating banks, so after one or two loops and bridges you lose all sense of direction. However, driving early in the morning allows you to see how the rising sun hits some knolls and slopes first, some dells and troughs later. At dusk some parcels are still sunlit while others have been shaded since noon. This mix of exposure, gradient, relative distance to the river and altitude already accounts for many differences in the wine. Add elements like varying subsoils, vine genetics, viticulture and winemaking and you have a perfect matrix of infinite possibility. This alone inspires awe, let alone the vertigo-inducing steepness of the rocky vineyards. The experience is much enhanced by the white lettering proclaiming the famous vineyard names from afar.
The stretch of river from Zell to Koblenz is called Terrassenmosel as the valley becomes a little warmer but much steeper, so vineyards are usually terraced. This is where Germany’s, and possibly Europe’s, steepest vineyard is, the Bremmer Calmont. The Mosel is of course synonymous with slate but there are variations of it as well as other formations. The fact that the Germans like to use the term Schiefer, or slate, freely causes much confusion so caution is advised. The oldest formations are Devonian shales, or Tonschiefer. Depending on colour they are named Blauschiefer or Grauschiefer and are the dominant formation in all three valleys. The same era also left some quartzite, especially in the Terrassenmosel as well as volcanic diabase in the Saar. The Permian era left rhyolite, red with iron oxide, which is often called Rotschiefer; the Ürziger Würzgarten is famous for it. All these formations are weathered to varying degrees; some are so fine you can crumble them in your hand. The dialect word ‘Lay’ means slate, explaining why this term crops up in so many vineyard names. In the Ruwer valley, just outside Trier, vines are more difficult to spot because the vineyards are choice, south-facing, singular slopes not on the Ruwer itself but on tiny tributaries, like Eitelsbach, Weschbach or Kundelbach. They are at slightly higher altitude and don’t benefit from the moderating effect of a sufficiently large body of water, so they are cooler than the Mosel valley. The same is true for the Saar, which is altogether more spacious, more remote and wilder. Merely its last 25 kilometres from just south of Serrig to its confluence with the Mosel at Konz constitute its world wine fame. Few vineyards are directly on the Saar and rise to 300 metres and beyond, both accounting for their coolness. These slopes are much more exposed to the elements. You realize how marginal the area is when you spot signs for the Viezstrasse, or cider route, which also is a speciality here. Saar vineyards are monumental in a different way from those in the Mosel. The good distances between them, their relative isolation and altitude seem to afford them lofty majesty and grandeur that underscores their individuality. The mere mention of sites like Kanzemer Altenberg, Ockfener Bockstein, Saarbuger Rausch, Ayler Kupp and Scharzhofberg will send shivers of pleasure down the spines of Riesling lovers.
But history also plays its part. Neither poetry nor artefacts leave any doubt that viticulture has been a central part of Mosel life since at least Roman times. The Mosel’s ‘rising, natural theatre of vines’ was described as early as the fourth century by Roman poet Ausonius, who had been summoned to Trier, or Augusta Treverorum, an important Roman settlement and garrison, to teach the sons of Emperor Valentinian. Remnants of Roman wine presses in Piesport and Brauneberg bear witness to active, early wine culture. After the invasion of the Franks, Trier emerged as an early centre of Christianity whose archbishops united worldly and ecclesiastic powers, expanded their territory and rose to become powerful electors in the twelfth century. The electorate of Kurtrier was an important church state and wine was central to its economy as countless records document: vineyards are named, Fuders bought and sold, trade regulated, and prices listed. In the tumultuous centuries surrounding the Thirty Years’ War, conflict was never far away, but viticulture, then still dominated by Elbling and field blends, always revived. In 1787 Elector Clemens Wenceslaus decreed that within the coming seven years all lesser varieties were to be grubbed up and replaced with quality vines like Riesling. Much is made of this famous edict but as later records show, it was never fully put into practice, especially since the French occupation of the left bank of the Rhine disrupted the political order once and for all. As one writer noted, the entire Mosel, ‘from its source to its confluence with the Rhine, became a French river.’ The area of Mosel, Ruwer and Saar which Napoleon’s troops had occupied since 1794 became the French Département de la Sarre in 1797. Secularization followed, as did the Code Civil, and former church possessions were sold off. Estates like Scharzhofberg and Maximin Grünhaus can trace their history to these transactions. It is believed that almost half of all vineyards changed hands at that time, a cataclysmic upheaval after centuries of feudalism.
By 1815 however, with Napoleon defeated, the area fell to Prussia. An initial period of prosperity was swiftly followed by disaster: the scrapping of protective tariffs combined with poor harvests spelled hunger and misery. The poverty he encountered among Mosel Winzer moved a young Karl Marx to pen several articles railing against Prussian injustice. Around the same time another social reformer, Ludwig Gall, introduced the idea of Nassverbesserung, literally ‘wet improvement’. Based on the ideas of Jean Antoine Chaptal in France, who had introduced ‘Chaptalization’, i.e. the enrichment of musts with sugar, Gall’s idea was the improvement of musts with sugar solution (sugar dissolved in water) which killed two birds with one stone: it enriched must and diluted acidity. Nassverbesserung thus made unpalatable, sour wine at least drinkable and therefore marketable. Needless to say, the method was and remained controversial, but became so widespread that gallisieren entered the vocabulary – no doubt the practice also helped to entrench the naturrein principle of unadulterated wine firmly in the German wine psyche. Yet this western backwater of Prussia remained desperately poor. Landowners with other income streams could survive, but for farmers especially reliant on viticulture in this narrow valley without much space for other arable crops, each vintage spelled either feast or famine. The Mosel flooded at regular intervals, too, creating more misery. If you look carefully you can see the high-water marks of past floods on doorways and bridges. Thorough as ever, the Prussians commissioned their cadastral inspector and tax councillor Franz Josef Clotten to create a vineyard site classification. Based on the site evaluations of Mosel, Saar and Ruwer vineyards conducted by the Prussian tax authorities between 1816 and 1832, this map was published in 1868 and graded vineyards into three classes. The best vineyards – mostly the same as today – were marked out in dark red and not only served tax purposes but also became a handy guide for wine merchants. A string of good vintages in the 1860s meant that Mosel wines were going up in the world. Geopolitically, Europe was changing, too. Prussia was in the ascendant, threatening the carefully calibrated European power balance of the Vienna Congress. France declared war in July 1870 and by February 1871 the Prussians were victorious. While the Franco–Prussian War set the scene for the creation of the Deutsches Reich in 1871, it also emphasized the strategic importance of the Mosel region. This formerly French and remote province now received a railway line that connected Berlin, Koblenz, Trier and Metz in the newly annexed region of Lothringen/Lorraine. Steamships had already eased transport, but the Mosel then was not navigable year round. Trains meant that wines could now go to market easily. Indeed, if you look closely at old Mosel labels you will see an unusual number of steamboats or locomotives signalling ready transport links. By the 1870s Mosel wines started to become highly fashionable. The English writer Henry Vizetelly described them in 1875 as lacking ‘the robustness of their brethren of the Rhine’ but noted that they were ‘at any rate light and delicate, and possessed of a fresh and at times even a decided flavour, rendering them highly palatable.’ While Rhine wines were drunk with bottle age, Mosel wines were drunk young. The wine chapter in the official catalogue of the Deutsches Reich for the 1900 World Exhibition in Paris gives a nod to this fashion by describing Mosel and Saar wines as ‘by now popular’. It was their marked difference to the revered, mature Rhine wines that set them apart. Conscious of the need to support the populace of a border region, in 1896 the government in Berlin started founding not one but three Staatsdomänen, or state domaines, in Avelsbach, Serrig and Wiltingen: this way the state could benefit from the profitable wine business while also providing research and teaching centres serving as model domaines for best practice.
It was also in the nineteenth century that Riesling’s predominance was cemented in the Mosel. In 1845, Servatius Muhl reports lots of field blends in Saar and Mosel, noting Kleinberger, i.e. Elbling, and a hotch-potch of varieties. He notes that Elbling is often co-planted with Riesling, quoting the local wisdom: ‘Kleinberger brings much wine, Riesling makes it good.’ He also remarks that Riesling is planted in some places where it will not ripen in weak and average years. Fifty-three years later in 1898, Koch and Stephanus note that as a development of the past 20 years Riesling had become the predominant variety – but they also point out that in lesser sites Riesling is mixed with Silvaner, Pinot varieties and Traminer. Occasionally there are references to red wine – made from Spätburgunder and Portugieser. They also emphasize the viticultural progress. It was at that time that several harvest passes were made in the best Riesling vineyards, and grapes of the same ripeness were fermented to create different wine styles. Mosel wine was thus at its zenith at the turn of the century – and would remain so until the First World War. In this golden age these wines were amongst the most expensive and desirable in the world. The decades that followed the war were marked by difficulty. The tough conditions of the Versailles Treaty, the economic crisis and inflation of 1929, the ascent of Nazi Germany that ended in devastation, loss and misery. Yet, when German chancellor Konrad Adenauer negotiated the release of the last German prisoners of war still captive in the Soviet Union with Nikita Khrushchev in 1955, he took precious Berncasteler Doctor Riesling from the 1950 vintage with him.
Recovery was slow in the immediate post-war years, but vineyard expansion was rampant from the 1960s to the 1980s. The fact that Nassverbesserung, that relic of the nineteenth century, was still allowed, coupled with the 1971 invention of Grosslagen, or collective sites, meant that much Mosel wine became a parody of itself. One of the most grotesque examples of a Grosslage is the Piesporter Michelsberg, or PiMi in bulk wine circles, with 1,106 hectares – larger than some German wine regions! The figures tell the story: in 1879 there were 6,144 hectares in the Mosel, of which 42 per cent were Riesling; by 1906 there were 7,484 hectares of which 88 per cent were Riesling. In 1964 there were 9,835 hectares of which 79 per cent were Riesling; in 1979 there were 12,298 hectares, of which 58 per cent were Riesling and 22 per cent Müller-Thurgau. All this rode on the coat-tails of former glory and culminated in the 1980s when several scandals broke: amongst them that of inverted sugar syrup in 1980, which centred on the Mosel, where sugar was used to create fake Prädikat-level wines from poor wines, and the diethylene glycol scandal of 1985, where this substance was added to wines to mimic the viscous mouthfeel of rich, sweet wine. Domestic and export markets collapsed and even blameless estates suffered. The region’s reputation lay in tatters. Various parcels on the steep slopes fell fallow.
It took the Mosel until the turn of the millennium to start recovering. Climate change has helped: ‘Mosel, Saar and Ruwer have benefited because there are no more sour wines. Viticulture is much better today. We want to maintain the delicacy, the positive lightness. Vineyards which used to be abandoned because they were too cool are being recultivated, we go higher up, we go into the lateral valleys,’ explains Johannes Selbach of Selbach-Oster. And now Spätburgunder is also winning plaudits. The past twenty years have seen a flowering of quality where old vineyards and vines are valued; where young winemakers invest their futures in this region; where visionaries like Ernie Loosen, Markus Molitor and Roman Niewodniczanski of van Volxem created a dynamo effect with their respective investments and achievements; where arch traditionalists like Egon Müller, Maximin Grünhaus and Joh. Jos. Prüm hold fast to their historic values. Once again Germany and the world are conscious of the uniqueness of Riesling that can be achieved here. The slopes are still as steep, but the counsel from an old book, ‘that no bread in Germany is earned harder, nor sliced more frugally, than in the Mosel,’ is thankfully consigned to history – even though the wines are far too cheap across the board for the effort that goes into growing them. It is a delicious contradiction that such monumental effort should lead to such weightlessness and delicacy. Today the stylistic spectrum of Riesling in this region alone is mind-blowing. If you wonder about the differences between Mosel and Saar Riesling, here are the opinions of two experts. Nik Weis of St Urbanshof says that ‘the particular conditions of the Mosel are even more heightened in the Saar,’ while Hanno Zilliken of Forstmeister Geltz Zilliken notes: ‘The difference between Mosel and Saar is the different weighting of constituents. A Mosel Riesling is carried by its fruit accompanied by acidity. A Saar Riesling is carried by its acidic structure accompanied by fruit.’ Fans should not miss two annual events: Mythos Mosel and Saar Riesling Sommer which draw an enthusiastic and young crowd.
Extract from The wines of Germany © Anne Krebiehl (Infinite Ideas, 2019)
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Extract: Biodynamic Wine by Monty Waldin
26 January 2022 by Rebecca in Classic Wine Library, Extracts, Wine and spirits
The origins of biodynamics
Biodynamics dates from 1924 and is the oldest alternative agriculture movement. Biodynamics pre-dated the global organic agriculture movement whose founding organization, the UK’s Soil Association, dates from 1946. In fact the very word ‘organic’ was derived from the biodynamic ideal that each farm or smallholding should always work towards becoming a self-sustaining organism in its own right.
The particular feature of biodynamics – and where biodynamics differs from organics and indeed all other forms of alternative agriculture – is the use of nine so-called ‘biodynamic preparations’. These are made from cow manure, the mineral quartz (also called silica), and seven medicinal plants: yarrow, chamomile, stinging nettle, oak bark, dandelion, valerian and Equisetum arvense or common horsetail. These nine preparations are applied to the land or crops either by being first incorporated into a compost pile or by being diluted in water as liquid sprays.
Biodynamic preparations are used in homeopathic quantities, meaning they can produce an effect in extremely diluted amounts, but they are not homeopathic treatments per se. Their purpose is to make the farm and farmer, its crops, animals and wild habitat, self-sufficient, self-sustaining and socially, economically and spiritually robust. These concepts may seem woolly in our world of smartphones and space exploration, but would have seemed less so to 1920s Europeans coping with the ravages of both the First World War and then its even deadlier successor, an influenza pandemic.
The methods used to make some of the preparations may seem strange initially but are neither high tech, expensive, costly to the environment nor potentially harmful. Anyone, from children to grandparents, can (and do) make these preparations. The biodynamic preparations are not patented so they can never realistically be made purely for profit, and they seem to get good results for farms and vineyards.
Sceptics, however, claim the biodynamic preparations produce no measurable changes to either farm health or crop quality; thus there is no ‘biodynamic effect’. Such sceptics argue that biodynamic winegrowers owe the high quality of their wine either to having a top-quality vineyard terroir in the first place, or that vineyards which improved after ‘going biodynamic’ did so because the winegrower learnt to become extra attentive in the vineyard by following a biodynamic ‘prevention rather than cure’ mindset (e.g. better pruning, recalibrating spray machinery so sprays are more effective), and not because the vines were treated with biodynamic sprays or composts. Nevertheless, increasing numbers of winegrowers are using these preparations which are essential to biodynamic agriculture. Their regular use is the fundamental requirement of Demeter, the non-profit organization which has overseen and certified biodynamic agriculture worldwide since 1928.
The biodynamic preparations were created by an Austrian called Rudolf Steiner (1861–1925) shortly before he died. His motivation was to remedy what he sensed was the arrested spiritual development of his contemporaries. Steiner believed the forces people needed to kickstart their spiritual development would come from digesting food imbued with these desirable and necessary forces, and that getting these forces into food required a new way of growing food: biodynamic agriculture. For this Steiner developed nine biodynamic preparations to moderate and regulate biological processes in nature. This is the ‘bio’ part of biodynamics. The ‘dynamic’ part comes by understanding the preparations’ role in enhancing and strengthening forces that form or shape material substance, both on the farm and within both the farmer and the crops. These forces are referred to in biodynamics as ‘etheric formative forces’. Like gravity, they are unseen but have a tangible effect on both soil and on crop plants as well as on the animals or humans who digest those plants. Steiner’s nine biodynamic preparations can therefore be thought of as spiritual remedies for the human being which are administered indirectly through the healing process of the Earth. Biodynamic farmers accept that there is no substance or matter without spirit, and equally no spirit without matter. So the point of growing biodynamic food and drink is not only to provide the substances (vitamins, carbohydrates, protein, fats, minerals) to nourish the human body but also to provide the forces needed to form and nourish the human spirit.
The spiritual side of biodynamics is the one most open to misinterpretation, misrepresentation and ridicule. One common misconception is that apart from encouraging you to start wearing sandals and paying less attention to personal hygiene, growing or eating biodynamic food will also turn you into a religious fruitcake. I discovered biodynamics in 1993 but had struggled to find many redeeming features in organized religion from the age of seven (1974) onwards. I am not a fan of sects. I do consider myself spiritual in the pantheistic sense of feeling my spirit lift palpably when I feel a connection with the natural world. This can happen when standing euphorically on the top of a mountain or, more mundanely, when looking at pigeons fluttering around under the eaves of the railway station my train is about to depart from.
In my experience winegrowers – be they biodynamic or conventional – who come across as fundamentalist proselytizers tend not to make the best wines, often because they are inflexible and unwilling to compromise. This may be fine when churning out widgets on a production line but is not adapted to a product like wine, dependent on the vagaries of nature. Fortunately, the fundamentalist proselytizers tend to be in the minority.
Most winegrowers newly adopting biodynamics start by seeing it as I did initially: as a sensible, doable, interesting, inexpensive tool to produce tastier grapes to nourish the human palate – and if they also provide the formative forces to nourish the human spirit, so be it. Biodynamic ultras argue that this purely ‘substance rather than forces’ way of looking at biodynamics means missing the real reason we should be biodynamic. I would argue that materialistic and only vaguely spiritual people like me – meaning exactly the kind of people Steiner developed his biodynamic preparations for – first have to understand and accept how the biodynamic tool works, and only then can we perhaps appreciate that our spiritual development may have lacked something to begin with after all.
Extract from Biodynamic Wine © Monty Waldin (Infinite Ideas, 2016)
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Extract: The wines of South Africa by Jim Clarke
21 January 2022 by Rebecca in Classic Wine Library, Extracts, Wine and spirits
Wine styles in the Western Cape
South Africa is the first New World country to develop a designation for its traditional method sparkling wines that does not ride the coattails of Champagne. Today, Methode Cap Classique, or, more informally, MCC, is the fastest growing wine category in the country, doubling every five years. Not only is quality very high, especially in relation to price; bubbly is also more profitable for the country’s struggling wine growers. They can typically pick grapes for these wines earlier, pulling the maximum output from the vineyard when waiting longer might cost up to 10 percent in crop volume due to dehydration.
The history of sparkling wine production in South Africa is not a long one. The first example came from Frans Malan at Simonsig in 1971 (there are occasional mentions of “Champagne” earlier, and there were definitely sparkling wines of some sort, but there’s no evidence these were methode champenoise wines). In 1935 the so-called Crayfish Agreement with the French had forbidden the use of French wine terms on labels. Consequently, Simonsig called the wine “Kaapse Vonkel” – “Cape bubbles” in Afrikaans, expecting that this would become the accepted name for the category.
Simonsig and other estate producers were largely unconcerned with the export market at the time, so an Afrikaans name seemed reasonably marketable. Simonsig became more serious about bubbly production in 1978; Villiera and Boschendal followed, using the term methode champenoise, which they considered a description of the technique and not a geographical reference. By the time the French protested, more than a dozen producers were using the term. Export markets were just beginning to open when, in 1992, the Cap Classique Producers Association formed. South Africa’s bubblies gained a more marketable, romantic, and French name that also avoided the use of any protected French wine words.
There are over 200 producers making Methode Cap Classique wines, although many do so only in small amounts for wine club members, tasting room sales, and so forth. Pieter Ferreira of Graham Beck estimates total production to be approximately 7.7 million bottles. As of 2021 using the designation requires 12 months of lees aging; association members are already adhering to that minimum, but changing the actual regulations has dragged on, so for now the legal requirement on the books is only nine months. Beyond that, prerequisites are fairly bare-bones: wines must contain at least three bars of pressure, and must go to market in the same bottle that the second fermentation occurred in. The association recommends the traditional Champagne varieties Chardonnay, Pinot Noir, and Pinot Meunier, but other varieties are permitted. Several producers are making Chenin Blanc-based examples, and Pinotage makes an appearance in some examples such as Simonsig’s Brut Rosé.
Growth has presented challenges for the Cap Classique category. With many producers making bubbly but not specializing in it, some are concerned about consistency within the category. The Cap Classique Producers Association is working hard to encourage best practices in-cluding extended lees aging, hand-harvesting, and whole bunch pressing. There is also move-ment toward some sort of reserve designation. As imagined at the time of writing, this would prescribe a minimum 36 months on the lees and limit wines to the three traditional Cham-pagne varieties and possibly Chenin Blanc and Pinotage.
The success and quality of Cap Classique wines often surprises people who associate the style with Champagne’s cooler growing conditions. Ferreira says growing grapes for sparkling wine in warmer areas calls for carefully shading the grapes through row direction and canopy management. Robertson has become a key source for Cap Classique wine grapes, Chardonnay especially, thanks to its limestone soils and a good diurnal temperature shift. Franschhoek is also a leading source. Most of the more successful producers pull from those two districts and perhaps elsewhere. Charles Fox, which uses estate fruit from their farm in Elgin, would be a rare exception.
Vintage Methode Cape Classique is not necessarily a higher-tier product than non-vintage. Given that vintages are not as variable in South Africa as they are in Champagne, many pro-ducers don’t feel the need to blend vintages and choose to produce vintage-labeled wines as their mainstay. Some, however, such as Colmant, consider multi-vintage blending to be fun-damental to creating complex, consistent, high-quality bubblies; the reserve wine is not a tool to compensate for variation, but a flavor and textural component. Blancs de blancs of 100 percent Chardonnay are fairly common; blancs de noirs less so. In fact, the designation blanc de noirs under SAWIS regulations indicates a white wine of any sort made from red grapes, not just sparkling wines. On a related note, Boschendal introduced a still white/pale rosé Chardonnay–Pinot Noir blend, essentially a non-sparkling Cap Classique blend, in the early 1980s, and several other producers have also adopted the style.
Methode Cap Classique sweetness designations conform to E.U. standards; most are bruts. Outside of the Cap Classique category there are a large number of Charmat or force-carbonated wines, generally in more budget price ranges.
Sweet and fortified wines
South Africa’s most famous sweet wine, Constantia, has been resurrected by the producers in the ward of the same name. Klein Constantia introduced their recreation, the Vin de Con-stance, starting from the 1986 vintage. Groot Constantia followed with the Grand Constance from 2003. Despite its prominence, there is no regulated definition for the ward’s dessert wines. Both Klein and Groot Constantia use late harvest grapes, free from botrytis, but Groot Constantia uses red Muscat de Frontignan in its blend rather than just white, creating a clear contrast in color and aroma. Neither is fortified.
Today South Africa designates unfortified dessert wines (known as “natural sweet”) into a few categories. Aside from the late harvest wines exemplified by Constantia’s wines, botrytized, noble late harvest wines play an interesting historical role as well. Regulations dating from 1957 prohibited naturally sweet wines with more than 30 grams per liter of sugar, but Günter Brözel, the cellarmaster at Nederburg, was dead-set on making a botrytized wine akin to those he knew from his birthplace, Germany. Given the generally warm, dry conditions, botrytis is not a common occurrence in the Cape. Brözel proceeded anyhow, producing South Africa’s first botrytis wine in 1969. Named Edelkeur, it brought home more than a dozen gold medals in international competitions but could not be sold locally. The next vintage of the wine was 1972. Nederburg took sales into its own hands by founding the Nederburg Auction in 1975, sidestepping regulations and the regular retail market by using the auction to sell and highlight the wine. Much to Brözel’s dismay, the Edelkeur Noble Late Harvest sold for the same price as Lieberstein, the massive SFW off-dry Chenin blend, but soon the wine’s reputation took off. The wine has consistently been one of the most expensive items in the auction ever since. The auction itself, renamed in 2019 as the Cape Fine & Rare Wine Auction, remains a stage for featuring some of the Cape’s most exclusive, high-end wines from Nederburg and the other producers invited to take part.
Today, a number of producers also make Noble Late Harvest wines, from several different grape varieties. Paul Cluver, in Elgin, makes a Riesling; Ken Forrester’s “T”, named for his wife Teresa, is a Chenin Blanc. South Africa’s final expression of natural sweet wines would be those made from grapes dried either on straw beds after picking, or desiccated on the vine by crimping the stems and leaving the bunches to hang. De Trafford’s Chenin Blanc Vin de Paille is a notable example.
Historically, fortified wines played a much bigger role in the industry than they do today, and made up the bulk of production until 1953, when natural (i.e. unfortified) wines caught up with them. The latter had begun to grow as early as the 1880s, aided by a burgeoning temper-ance movement that favored them. The Western Cape was the main consumer of the “newer” style of wine, suggesting that fortification was important at least in helping the wines travel well. Today, annual production of fortified wine hovers at just above one million liters per year, compared to over 500 million liters of still wine. Nonetheless, the history shines through in the quality established by long tradition.
Many of these fortified wines were long known by Iberian names – Port, Sherry, etc. – but in 2000 South Africa signed agreements with the E.U. to respect such terms; both “Port” and “Sherry” disappeared from South African exports in 2002, and from the domestic market a decade later. Today, the word “Cape” has, in essence, taken the place of “Port” on labels: a Cape Vintage is a vintage fortified wine, Cape Tawny has the maderized nutty taste one would expect, and so forth. Sherry-style wines bear the stylistic indicator – Amontillado, for example – without the geographically-specific word “Sherry”.
Fortified wines made from the various sorts of Muscat live their own lives, free from Europe-an naming controversies. They are labeled “Muscadel” if they are made from white or red Muscat de Frontignan, or “Hanepoot” if from Muscat d’Alexandrie. Jerepigo (or jerepiko) is unfermented but fortified grape juice, most commonly made from Muscat; it is typically very sweet and decidedly grapey.
Today Calitzdorp, in the Klein Karoo, is home to several producers who continue to offer Port-style wines that can compete with Iberia’s best; Boplaas, Bayly, and Axe Hill are all top examples. The Swartland is home to a few like-minded producers as well. The Muscat-based fortified wines are a specialty of many of the higher-yielding areas, including the Northern Cape. For many co-ops and large operations such as Badsberg or Orange River Cellars their perennial prize winner is a Hanepoot, Jerepigo, or Muscadel.
Sommeliers studying for their exams seem to obsess over the term “Boberg”, a W.O. once used to designate a fortified wine from Paarl, Franschhoek, Wellington, or Tulbagh. There have been preciously few of these since the 1970s, and the term was officially repealed in February 2019.
Extract from The wines of South Africa © Jim Clarke (Infinite Ideas, 2020)
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Extract: The wines of Southwest U.S.A. by Jessica Dupuy
20 January 2022 by Rebecca in Classic Wine Library, Extracts, Wine and spirits
The advent of winemaking in the Southwest
While most American history is first associated with British colonization along the east coast of the country at the beginning of the seventeenth century, New Mexico was first colonized by the Spanish. Second to Florida, New Mexico is one of the oldest state names in the country. It was proclaimed Nuevo Méjico in 1565 by Spanish explorer Francisco de Ibarra in his expeditions north of Mexico.
New Mexico also has the distinction of having the longest history of wine production in the United States. As early as 1629, vineyard plantings were recorded among the Franciscan friars who established missionary settlements northward along the Rio Grande. The missions were the result of Spanish exploration by Don Juan de Oñate, the son of a wealthy silver baron in Zacatecas, Mexico in the late sixteenth century, who charted a new route up through the Chihuahuan Desert which later became known as the El Camino Real, or Royal Road, and would become the major trading route from Mexico to the New World. His initial quest was in search of gold for the Spanish monarchy, but he was also charged with establishing a settlement for the Christian colonization of the native Puebloan tribes of the region. Along with him, he brought colonists, Franciscan monks, soldiers, and cattle to establish a foothold in the area. In 1598, he established the settlement of San Juan de los Cabelleros, taking over the existing Ohkay Owingeh Pueblo, which was located 30 miles (48 kilometers) north of present-day Santa Fe. Although the area did provide excellent land for livestock grazing and relatively fertile soils for crop farming, because of the lack of gold or any other precious metals the endeavor ended up costing the Spanish crown more than it cared to continue investing. In 1608, with the settlement in danger of abandonment, Friar Lázaro Ximénez traveled to Mexico as an ambassador for Oñate to plead for the continuation of the establishment.
The missions achieved some success in their quest to convert native inhabitants of the region—primarily Pueblo, Apache, and Navajo—but had a major obstacle in the presentation of sacramental wine. Vineyard establishment in the New World had begun as early as 1521, in Mexico’s Valle de Parras, when noted Spanish explorer Hernán Cortés required that on the land they were granted, each Spanish settler plant 1,000 vines for every 100 natives in service to them. The effort was geared to producing sufficient wine for everyday life within the settlement. More than seven decades later, Spain’s King Philip II noticed a steep cut in the exportation of Spanish wine to the New World. At the time, grape production accounted for nearly a quarter of Spain’s foreign revenue. In an attempt to control revenues from the sale of wine and protect the Spanish agricultural industry at all costs, Spain passed a law in 1595 that prohibited grapevine growing in the New World. Instead, the missions were required to await shipments of wine from Spain via Mexico. This could entail a wait of as much as three years, assuming shipments weren’t fated to sink to the bottom of the ocean, due to frequent shipwrecks in the Gulf of Mexico. What little wine did make it to the outpost at New Mexico was often maderized and spoiled from the long, oppressively hot transport through the Chihuahuan Desert.
As a result, and in defiance of the Spanish order, Jesuit priests of Parras, Mexico began planting grapevines at the turn of the sixteenth century and making wine for sacramental use. The idea—and most likely a handful of vine cuttings—made its way to the Piro Pueblo of Senecú, near what is now the city of Socorro, where Franciscan monk Fray Garcia de Zúniga and Capuchín monk Antonio de Arteaga also planted grapes at the mission church, and through the churches of the Rio Grande in 1629. But these vineyards were not long-lived. Throughout the seventeenth century, a combination of harsh winters, massive flooding along the Rio Grande, and frequent skirmishes between the Spanish settlers and the warring native Apache tribe all but destroyed most of the vineyards as well as the entirety of the Senecú Pueblo.
The grape mission
It is unclear exactly which grape variety was planted by the Franciscan monks in 1629, since there are no remains of the original vineyard plantings. However, many believe that it was the Mission grape. According to research from the Centro Nacional de Biotecnologica in Madrid, it was the earliest Vitis vinifera grown in the western hemisphere. It is also believed to be the first grape variety planted in the Valle de Parres, Mexico, which is likely where cuttings for the early New Mexico planting originated. Of course, it wasn’t known in Spain as the Mission grape. In its native country, it was Listan Negro, or Listan Prieto, a native Spanish grape that was known for its thick skin and sturdy, hardy trunks. It proved resilient in transfer to the New World as well as productive in the dry, mineral-rich soils of New Mexico. The variety has been genetically linked to Listan Blanco, or Palomino Blanco, the primary grape in Sherry production.
Mission grapes form large, loose clusters that allow air to move through the grapes, greatly reducing the risk of rot and mold. The result is a cluster that can take more time to ripen on the vine. Depending on growing conditions, the vines can easily produce more than 10 tons per acre (22.42 metric tons per hectare) if yields are not managed. They were probably allowed to push for the higher quantities for the Spanish mission sacramental wines in the New World.
In terms of wine production, there’s a reason Mission isn’t topping the list of the wine world’s most planted grapes. Though it has rather thick skins, the fruit rarely develops much concentration either in color or phenolic content. Wines tend to lack structure, depth, and acidity. Though it served its purpose for sacramental wine, it generally falls short in expectation compared to the international varieties that are planted throughout the western hemisphere today.
Today, Listan Negro is rarely seen in Spain, aside from some plantings on the Canary Islands. But it seems to have found a home in the Americas. In South America, in particular, it is grown for bulk wine production and in recent years for serious table wines. Argentina grows it under the name of Criolla, Peru calls it Negra Criolla, in Bolivia it is Missionara, and in Chile, it’s País. While not widely planted in the United States, you can find it in California’s Santa Barbara regions as well as further north near Sacramento.
You can also find it at Tularosa Vineyards Winery in the small town of Tularosa in Southern New Mexico, just east of the Rio Grande. With elevations ranging between 4,500 and 6,800 feet (1,372 and 2,072 meters), the Tularosa Basin, where the town is situated, first saw vineyards in the 1860s from Mission vine cuttings brought by Spanish settlers.
An article in the Alamogordo News in September 1932, describes the town of Tularosa in 1870:
Grapes were planted, and wine was made to supply the local requirements. The principal product was a native sour wine locally known as “cerque” and was freely used by many residents. The usual method of manufacture was very primitive and crude, and in present times would be condemned as unsanitary and unfit for human consumption. The grapes were emptied into rawhide containers; sack like affairs (tinas) suspended on forked posts, which in turn carried square frames of poles to which the rims of the tramping sacks were lashed. Men in their bare feet tramped them to a pulpy mass, sinking to their knees in the process. The “pummies” were then skimmed from the surface as they rose to the top of the fermenting wine. After 10 days without disturbing, the sediment collected in the bottom, and cool fermentation was allowed to complete. The wines were deemed ready 30 days from the second draining. Some wines produced were a well-flavored stimulating beverage, while others made a vinegar-like product that intoxicated and sickened with a nauseating flavor. The most palatable was, of course, in greater demand and brought a better price, but the inferior stuff was still consumed at a profit to the producers.
A century later, Tularosa Vineyards Winery was founded in the late 1980s by New Yorker David Wickham and his wife, Teresita. Following a tour of duty in the U.S. Air Force, the Wickhams settled in the quaint New Mexico small town in the late 1970s and stumbled into the hobby of grape growing and winemaking. This endeavor would later lead to the planting of 10 acres (4 hectares) of vineyard in 1985 and the opening of their winery in 1989. In 1989, Wickham planted a small vineyard of Mission grapes from the cuttings of a vine he found in the backyard of a man named Ben Chavez in La Luz, New Mexico. The vine was estimated to be a little more than 100 years old. With a trunk diameter of approximately 30 inches (76 centimeters), the single vine is said to have yielded more than 300 pounds (136 kilograms) of grapes in different years. To preserve the historical relevance of the grape within New Mexico, Wickham has cultivated an acre of Mission vines from which he produces in an off-dry style.
In the following decades, Wickham served as a mentor to other pioneering farmers who were interested in trying their hand at grape growing, buying their yields for his expanding wine production. In 1995 his son took on the role of winemaker, adding Tularosa Vineyards Winery to the growing list of multi-generational family wineries in New Mexico. Today, the winery still operates at a small capacity but produces more than 3,500 cases annually.
Extract from The wines of Southwest U.S.A. © Jessica Dupuy (Infinite Ideas, 2020)
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Extract: Luxury Wine Marketing by Peter Yeung and Liz Thach MW
19 January 2022 by Rebecca in Extracts, Lifestyle, Wine and spirits
Luxury wine: luxuriously defined
The French term elevage, meaning to be grown or reared, with regard to winemaking is a good starting point for understanding what luxury wine is. The wine world at the highly commercial end is made up of manufactured commodities, wines made by formula and at industrial scale, often to great effect, but manufactured more than grown. The other extreme is the small farmer, meticulously tending to his or her small plot and “raising” the wines from the vineyard to the cellar to the bottle. Though luxury wine is the opposite of a commercially manufactured product, that still does not fully encapsulate the definition of luxury wine.
In order to define luxury wine, it is useful to begin with some basic definitions of the term “luxury.” Merriam-Webster provides the following:
1. a condition of abundance or great ease and comfort: sumptuous environment // lived in luxury
2. a: something adding to pleasure or comfort but not absolutely necessary //one of life’s luxuries
b: an indulgence in something that provides pleasure, satisfaction, or ease // had the luxury of rejecting a handful of job offers
These definitions showcase that luxury should provide a sense of a sumptuous lifestyle, refinement, privilege, and pleasure. However, it is also instructive to examine luxury from an economic standpoint. In his book Macroeconomic Analysis, Hal Varian states that “a luxury good is a good for which demand increases more than proportionally as income rises.” This definition adds the element of high price and scarcity to the mix. Therefore, when all of these concepts are combined, some boundaries are created around what luxury wine is.
Definition of luxury wine: Luxury wine is of the highest quality, coming from a special place on earth, has an element of scarcity, an elevated price, and provides a sense of privilege and pleasure to the owner.
The six attributes of luxury wine
The above definition can be further explained by delving more deeply into the six attributes of quality, place, scarcity, price, privilege, and pleasure.
1. Highest level of quality – globally recognized for producing a wine of the highest quality that can age and is suitable for cellaring. Must have achieved this for a long period of time with consistency – at least twenty years – proving the unique heritage of the brand.
2. Coming from a special place – recognized as coming from a special wine-grape-growing region with cultural significance. High-quality grape vines can only be grown in unique places in the world that have a special climate and soil. Many of these locations have long been recognized as supreme wine-grape-growing areas and have a strong sense of heritage.
3. Sense of scarcity – part of the branding component of luxury wine is that it is difficult to obtain, which can be developed through actual scarcity (hard to find), perceived scarcity (barriers to purchase), or price (so expensive it feels scarce). Often luxury wine has the ability to achieve higher prices on the secondary market.
4. Elevated price point – a foundational element of luxury wine, high price creates a barrier to purchase, higher perceived quality, and, if sustainable, higher willingness to pay by consumers. Generally speaking, luxury wines should be $100/bottle or greater in US retail.
5. Provides a sense of privilege – part of the exclusivity of luxury, be it from price, scarcity, or the symbolic nature of the brand and product is the status it confers on the owner, or in this case, drinker. This provides a sense of privilege to be able to partake in a wine that few others may have the opportunity to enjoy. The bottles in the cellar are the envy of other wine geeks globally. Luxury, by its definition, is a privilege, and wine is no exception.
6. Provokes pleasure – provides an aesthetically pleasing experience by viewing the bottle/collection and showing it to others. Also provides a hedonistic experience through consumption.
The growing importance of sustainability
Having both the highest level of quality and coming from a special place, luxury wines exhibit a character common amongst many luxury products, which Kapferer and Bastien describe in Luxury Strategy as “timeless” – the ability to be relevant decades from when the product was produced. When this is applied to wine, several elements come into play. The ability to improve with age and be of consistently high quality are both fundamental elements of luxury wine. Being relevant over a sustained period of time, to produce the highest quality, creates the special places where luxury wine is grown. For all those attributes to flow into luxury wine, both the viticultural and winemaking practices must be increasingly sustainable, often incorporating elements of organics, biodynamics, and environmentally sustainable practices. If they are not, the land and the vines will no longer have the energy or the nutrients to consistently, continually, produce the quality necessary for a luxury wine. Interestingly, most luxury wines do not aggressively market themselves as organic or biodynamic, though most utilize those practices, in order to focus on their brand and the quality of their product as opposed to the farming methods.
A similar case can be made for economic sustainability as well. Without generating strong enough returns to survive, the winegrower will no longer be able to continue producing top-quality wine. For luxury wine, this is embedded in the elevated price, as crafting luxury wine with meticulous care often requires a great deal of investment in facilities, tools, and labor.
What luxury wine is not
Just as important to understand what luxury wine is, is to understand what it is not. The world of wine is privy to trends like the fashion industry, technological revolutions on par with the digital revolution for an agricultural industry, and instantaneous hits similar to food fads – yet luxury wine separates itself as being classic and timeless. It may be easy to consider wines marketed with a luxury lifestyle component – advertisements set on yachts or in high-end clubs – as luxury wines, but more often than not they fail to live up to the definition of luxury wine.
The luxury lifestyle
Often, the term luxury and luxury wine are directly associated with a luxurious lifestyle. Many aspiring luxury wine brands believe they must appear to fit in with a lifestyle of private jets, yachts, and twenty-thousand-dollar watches to be a successful luxury wine. However, the two are not always related. Many top Burgundian producers will often profess that their wines are not luxury, that they are farmers, and their wines are merely an expression of the land. In their way, their marketing focuses on the special place where their wines are grown and their focus on making wines of the highest quality. These wines also happen to cost hundreds of dollars, are limited in production, are scarce, and are sought after by a global set of wine collectors. They fit the definition of luxury wine more easily than other wine brands with multi-million-dollar marketing budgets.
The luxurious cult
A common and confusing subset of fine wine is the notion of cult wines. Cult wines have a rabid, loyal following and are generally very small in production, often with fewer than 2,000 cases produced a year. However, it is possible, given enough time and with consistent high quality over a long period of time, that a cult wine can become a luxury wine. Two good examples of this are Napa Valley’s Screaming Eagle and Harlan Estate, which have built their history and heritage and now firmly belong in the luxury category. They meet all the criteria – high quality, from a special place, elevated price, scarcity, aesthetically pleasing, and imparting a sense of privilege. However, there are equally as many cult wines that do not meet the definition but do have scarcity from low production and a loyal following. This could apply to Frank Cornelissen’s wines from Mount Etna in Sicily and Clos de la Roilette in Beaujolais. Their wines are unique, small production, and high quality, but generally not with an elevated price and are generally appreciated by specific niches of consumers. For example, Cornelissen’s wines are natural with no sulfur dioxide used in winemaking and Roilette is a sommelier favorite, partially due to its relative value as a Cru Beaujolais, and would not meet the definition of a luxury wine.
Extract from Luxury Wine Marketing © Peter Yeung and Liz Thach MW (Infinite Ideas, 2019)
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