Krug is a remarkable Champagne House which only makes prestige cuvées. The wines – with their distinctive rich, complex, oxidative style – are some of the region’s best.

Krug - producer

Krug is a remarkable Champagne House which only makes prestige cuvées including Krug Vintage, Krug Clos du Mesnil, Krug Clos d’Ambonnay and Krug Collection

Krug Champagne and the House's prestige cuvees

About Krug

Krug

Cos’è Krug? 
 Krug è una delle più famose Maison di Champagne al mondo. È insolita perché produce solo cuvée di prestigio ed è apprezzata dagli amanti del vino raffinato, considerata da molti come l’apice dello Champagne di alta qualità – in competizione con nomi come Cristal e Dom Pérignon. Quando è stato prodotto per la prima volta Krug? 
 Joseph Krug fondò Krug & Compagnie nel 1843 insieme a un amico commerciante di vini, Hyppolyte de Vivès. Nato a Magonza nel 1800, Johann-Joseph Krug era figlio di un macellaio. Abbandonò il nome Johann, si trasferì a Parigi nel 1834 e lavorò come contabile presso Champagne Jacquesson prima di iniziare a miscelare i suoi primi vini con De Vivès, prove che avrebbero portato al progetto Krug. Krug è ancora di proprietà della famiglia Krug? 
 No – anche se la famiglia è ancora molto coinvolta. 
 Quando Joseph morì nel 1866, suo figlio Paul prese in mano l’attività. Nel 1868 trasferì l’azienda al numero 5 di Rue Coquebert a Reims, indirizzo che ospita ancora oggi Krug e le sue storiche cantine. L’azienda passò al figlio di Paul, Joseph II, nel 1910, ma fu la moglie Jeanne a prendere le redini quando Joseph II fu fatto prigioniero di guerra durante la Prima Guerra Mondiale. Il nipote di Joseph II, Jean Seydoux, divenne co-direttore dopo la guerra, e l’attività passò a Paul Krug II (figlio di Joseph II) nel 1959, poi a Henri e Rémi Krug, che entrarono in azienda negli anni ’60 e la rilevarono nel 1977. 
 I fratelli Henri e Rémi furono fondamentali nello sviluppo della Maison – ampliarono la gamma, ne costruirono la reputazione internazionale e ne supervisionarono la vendita al colosso del lusso LVMH nel 1999. Anche se continuarono a gestire la Maison, il supporto finanziario di LVMH permise a Krug di prosperare. Nel 2009, Olivier Krug – sesta generazione della famiglia – divenne Direttore della Maison e ancora oggi è al suo comando. Qual è lo stile Krug? 
 Spesso di colore dorato intenso, Krug è rinomata per l’uso del legno, scegliendo di fermentare tutti i suoi vini base in vecchie botti di rovere da 205 litri, permettendo la micro-ossigenazione. Questo, unito a un lungo affinamento sui lieviti (minimo sei anni per i non millesimati e dieci per i millesimati), produce uno stile potente, ampio e riccamente autolitico, con strati di pane, biscotto e brioche. L’enorme numero di componenti usati per la Grande Cuvée crea un vino non millesimato – o, come preferiscono chiamarlo, multi-vintage – particolarmente complesso. La Maison tende inoltre a vendemmiare leggermente in anticipo per mantenere freschezza nei vini. Il dosaggio è medio, con i vini etichettati come Brut, e si aggira normalmente sui 5–6 g/l nelle versioni moderne. 
 È interessante notare che Krug considera il Meunier un elemento importante nei propri assemblaggi (talvolta considerato un vitigno minore dalle altre Maison), apprezzandone la generosità di metà palato che dona ai vini. Il Meunier rappresenta spesso il 15–25% dei blend millesimati della Maison. Quali sono i diversi vini Krug? 
 Joseph Krug aveva idee molto chiare su come realizzare il miglior Champagne e le descrisse nel suo famoso taccuino di pelle color bordeaux (oggi esposto nella sede della famiglia Krug). Dichiarò che la Maison avrebbe prodotto solo due cuvée, concepite per essere di pari qualità. La Cuvée n. 1 era un vino non millesimato, pensato come “la più completa espressione dello Champagne ogni anno” (oggi incarnata dalla Grande Cuvée), mentre la Cuvée n. 2 avrebbe espresso ciascuna annata. Credeva anche fermamente nell’importanza del terroir, scrivendo: “Non possiamo ottenere buoni vini senza buoni elementi e buoni terroir.” 
 Per molti anni, la Maison continuò a produrre solo due vini, ma la gamma si è da allora ampliata. Sebbene i vini non millesimati e millesimati fossero concepiti per essere di pari qualità, i vini millesimati oggi raggiungono prezzi più elevati. 
 La gamma Krug comprende sei vini: 
 Krug Grande Cuvée: La Grande Cuvée è il vino di punta non millesimato (o multi-vintage, MV) di Krug, la moderna Cuvée n. 1, precedentemente conosciuta come Private Cuvée (fino al 1978, vedi sotto). Ogni imbottigliamento contiene fino a 200 componenti provenienti da oltre 10 annate (la più giovane di sei anni, la più vecchia oltre 20). Sebbene oggi sia il vino “d’ingresso” della Maison, Krug riserva per esso molti dei suoi migliori vini delle annate top. Affina per almeno sette anni sui lieviti prima della sboccatura, con un ulteriore anno in bottiglia prima della vendita. A differenza di molti non millesimati, l’obiettivo non è la totale coerenza tra le versioni, ma “la più completa espressione dello Champagne”. Dal 2011, ciò è stato ufficializzato con l’introduzione del Krug ID su ogni bottiglia (vedi sotto). Nel 2016, la Maison ha aggiunto anche un numero di Edizione a ogni release, partendo dalla Edizione 163 (base 2007). Alcuni collezionisti ricercano edizioni specifiche della Grande Cuvée, come la 164 (base 2008) o la 168 (base 2012). Le mezze bottiglie non riportano il numero di edizione in etichetta, quindi serve il Krug ID per identificarle. 
 Krug Rosé: L’altro vino non millesimato della Maison, Krug Rosé, fu creato da Henri e Rémi Krug negli anni ’70, con la prima uscita basata sull’annata 1976, rilasciata nel 1983. Il vino è un assemblaggio di vini bianchi con circa l’11% di Pinot Noir rosso fermo, combinando da 20 a 70 componenti di cinque annate, con un affinamento minimo di sei anni sui lieviti. Come per la Grande Cuvée, nel 2016 Krug aggiunse il numero di Edizione anche all’etichetta del Rosé, iniziando con l’Edizione 21 (base 2008). 
 Krug Clos du Mesnil: Clos du Mesnil è uno Champagne Blanc de Blancs millesimato da un unico vigneto, ed è uno dei vini di punta di Krug. L’esperto Richard Juhlin lo descrive come “il miglior vino del mondo”. Henri e Rémi Krug acquistarono sei ettari di Chardonnay a Le Mesnil-sur-Oger nel 1971 e scoprirono un appezzamento murato di 1,84 ettari nel cuore del villaggio. Sul muro si legge: “Nell’anno 1698 questo muro fu costruito da Claude Jannin e Pierre Dehée Metoen e nello stesso anno le viti furono piantate da Gaspard Jannin, figlio di Claude.” Reimpiantarono il sito e inizialmente l’uva fu utilizzata nei blend della Maison, ma il microclima più caldo – circondato da edifici – produceva un vino distintivo, che decisero di imbottigliare separatamente. La prima annata fu il 1979, rilasciata nel 1986 – quando un vino da singolo vitigno e singolo sito era un concetto pionieristico. Affina per almeno dieci anni sui lieviti ed è prodotto solo nelle annate di qualità eccezionale. 
 Ad oggi, le annate di Clos du Mesnil prodotte sono: 1979, 1980, 1981, 1982, 1983, 1985, 1986, 1988, 1989, 1990, 1992, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 e 2009. 
 Krug Clos d’Ambonnay: Pinot Noir puro da un appezzamento di 0,68 ettari, Clos d’Ambonnay è l’altro vino millesimato da singolo vigneto di Krug. Henri e Rémi scoprirono il sito ai margini del villaggio di Ambonnay, sul versante sud-orientale della Montagne de Reims, nel 1991, e riuscirono ad acquistarlo nel 1994. Come il Clos du Mesnil, il sito è recintato, con muri risalenti al 1766, anche se le viti furono piantate solo nel XX secolo. La prima annata del Blanc de Noirs fu prodotta nel 1995 e rilasciata nel 2007. Come il Clos du Mesnil, subisce un lungo affinamento sui lieviti (minimo dieci anni) ed è prodotto solo quando le condizioni dell’annata lo consentono. Data la dimensione del vigneto, Clos d’Ambonnay è particolarmente raro. 
 Ad oggi, le annate prodotte di Clos d’Ambonnay sono: 1995, 1996, 1998, 2000, 2002, 2006 e 2008. 
 Krug Clos d’Ambonnay Rosé: La prima annata del Krug Clos d’Ambonnay Rosé verrà rilasciata nell’autunno 2025, l’annata 2008. È la prima nuova cuvée dalla creazione di Clos d’Ambonnay, un rosé dallo stesso vigneto, con il 15% di vino rosso fermo nel blend. 
 Krug Vintage: L’altro vino concepito dal fondatore Joseph Krug, la Cuvée n. 2, era un millesimato che la Maison produce ancora oggi. È realizzato solo in annate ritenute degne e affina per oltre 10 anni sui lieviti prima della sboccatura. 
 Le annate recenti di Krug Vintage sono: 1988, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 e 2011. 
 Krug Collection: Negli anni ’80, Krug introdusse la sua Collection – una versione a sboccatura tardiva di vini maturi, generalmente offerta circa 25 anni dopo l’annata. Questi vini sono stati conservati nelle cantine della Maison, in condizioni perfette. Le uscite fino ad oggi includono: 1981, 1982, 1985, 1988, 1989, 1990 e 1995. Cos’è la Private Cuvée? 
 Private Cuvée era il precedente nome della Grande Cuvée, il vino non millesimato della Maison, etichettato così dal 1862 al 1978. L’esperto di Champagne Richard Juhlin osserva che lo stile cambiò con il cambio di nome: la Grande Cuvée risulta un po’ più leggera, più incentrata sullo Chardonnay e più sfaccettata, mentre la Private Cuvée era più simile a un vino millesimato, con maggiore corpo. “Lo stile dagli anni ’20 agli anni ’60 è sorprendentemente costante e, se trovate una bottiglia in buone condizioni e a un prezzo accessibile, è un’occasione da non perdere”, scrive Juhlin a proposito della Private Cuvée. Quanto Champagne Krug viene prodotto? 
 La produzione della Maison è tenuta strettamente riservata, ma si stima che vengano prodotte circa 425.000 bottiglie all’anno. Cos’è il Krug ID? 
 Questo codice a sei cifre appare sull’etichetta posteriore di ogni bottiglia di Krug e consente di scoprire informazioni specifiche su quella bottiglia, con le prime tre cifre che indicano il trimestre e l’anno della sboccatura. È possibile consultare l’ID sul sito web o sull’app della Maison per scoprire il blend, i vini più giovani e più vecchi, le note di degustazione e i suggerimenti di abbinamento con cibo e musica. Il Krug ID è stato introdotto nel 2011, quindi compare solo sulle bottiglie rilasciate dopo tale data. Krug possiede vigneti? 
 Storicamente, l’esperienza di Krug risiedeva nella vinificazione e nell’assemblaggio, operando sempre come négociant, come era consuetudine per le Grandes Marques in Champagne. Krug acquistava uve da siti accuratamente selezionati per i propri vini, ma Henri e Rémi acquistarono i primi vigneti della Maison nel 1971 – tra cui il celebre Clos du Mesnil. 
 Oggi Krug possiede 21 ettari di vigne, che rappresentano circa il 20% della produzione, integrando il resto con uve acquistate. Krug si approvvigiona di Chardonnay, Pinot Noir e Meunier dai villaggi di Ambonnay, Aÿ, Le Mesnil-sur-Oger e Trépail. Tutti i contratti riguardano parcelle specifiche, spesso basati su relazioni di lunga data, con il contratto più antico risalente al 1876. 
 Krug si è concentrata sempre di più sulla sostenibilità, non utilizzando erbicidi né pesticidi nei propri vigneti, e quelli di proprietà sono certificati biologici a partire dalla vendemmia 2024. Chi produce Krug? 
 Come in ogni azienda vinicola, un ampio team è coinvolto nella produzione di Krug – inclusi i coltivatori che forniscono l’uva e il personale della cantina. Eric Lebel è stato per lungo tempo il chef de cave, dal 1999 al 2019, passando poi il testimone a Julie Cavil, che aveva lavorato al suo fianco per 13 anni prima di assumere la direzione all’inizio del 2020. 
 Per quanto riguarda la decisione sui blend, esiste un comitato di degustazione guidato da Cavil e solitamente con Olivier Krug. Il comitato si riunisce ogni giorno tra la fine della vendemmia e marzo, degustando 15 campioni al giorno (un massimo rigoroso per evitare l’affaticamento del palato). Durante questo periodo, l’obiettivo è degustare tutti i 400 campioni due o tre volte in totale. Ogni degustatore deve descrivere ogni campione con una sola parola, che non può essere duplicata da altri – un metodo che, secondo Cavil, aiuta a ottenere un quadro complessivo più accurato dei vini. Come viene prodotto Krug? 
 Come già menzionato, tutti i vini base di Krug sono fermentati in vecchie botti di rovere. Si utilizzano botti da 205 litri, con un’età media di 20 anni, spesso ritirate dal servizio intorno ai 40 anni. Non si blocca la fermentazione malolattica, ma non la si incoraggia neppure, quindi alcuni vini la svolgono naturalmente. Dopo la fermentazione, i vini vengono trasferiti in serbatoi di acciaio inox (non vengono affinati in legno, come accade ad esempio da Henri Giraud). I blend vengono decisi dal Comitato di Degustazione della Maison (guidato dalla Chef de Cave Julie Cavil) tra la fine della vendemmia e aprile, prima dell’imbottigliamento, e restano almeno sette anni sui lieviti (dieci per i millesimati). Dove viene prodotto Krug? 
 Per quasi due secoli, i vini sono stati prodotti nella storica sede di Krug a Reims, ma dal 2024 la produzione si è spostata nella nuova cantina Joseph, situata proprio accanto al Clos d’Ambonnay. Qual è la storia di Krug e Burning Man? 
 Krug suscitò alcune polemiche quando, nel 2011, girò una campagna pubblicitaria durante il festival Burning Man a Black Rock, in Nevada. Lo shooting e il marchio furono criticati dall’organizzazione del festival per non aver rispettato i suoi principi, commercializzando l’evento e la sua comunità. Perché la bottiglia di Krug ha una forma diversa? 
 La caratteristica bottiglia a collo stretto di Krug fu introdotta nel 1978, contemporaneamente al cambio di nome da Private Cuvée a Grande Cuvée. In precedenza, la Maison utilizzava bottiglie standard di Champagne. Oltre a rendere le bottiglie di Krug più distintive, il collo stretto è pensato per ridurre lo scambio di ossigeno durante l’invecchiamento. Come invecchia Krug? 
 Krug è rinomato per il suo potenziale di invecchiamento – tutti i vini della Maison, comprese le cuvée non millesimate, sono progettati per evolversi in bottiglia. L’esperta di Champagne Essi Avellan MW osserva: “Tutti i Krug beneficiano dell’invecchiamento. Cinque anni dopo la loro uscita, tendono ad aprirsi magnificamente, mostrando maggiore espressione e un carattere armonioso. Le Grand Cuvée sono una vera delizia dopo 10–15 anni dal rilascio, spesso al culmine della loro espressività. I millesimati sono tutti longevi; dopodiché dipende dall’annata (e ovviamente dalla singola bottiglia) come evolveranno. Se conservati correttamente, tutti dovrebbero invecchiare almeno 15 anni dopo la loro uscita, e i migliori per diversi decenni.” Scopri tutte le etichette Krug, incluse le nuove uscite di Grande Cuvée e Rosé, o leggi di più su Champagne e vini spumanti.

Krug è un nome che va ben oltre gli amanti del vino, l'etichetta dorata e la forma iconica della bottiglia sono immediatamente riconoscibili. Con l'uscita delle ultime edizioni di Grande Cuvée e Rosé, abbiamo compilato una guida privilegiata su questa leggendaria casa di champagne e sui suoi vini

Everything you need to know about Krug Champagne – the luxury House and its iconic Grande Cuvee, Rose, Clos du Mesnil, Clos d’Ambonnay and vintage wines

Your essential guide to Krug Champagne 

Tutto quello che devi sapere su Krug

Highlights of the programme: Daniel Johnnes (right) and Brunello Cucinelli (middle) introduce the programme and present Michel Troisgros (left) as the guest chef of La Paulée in Solomeo. A vertical tasting of Castello di Solomeo, featuring the 2018, 2019, 2020 and 2021 vintages, was led by Michele Baiocco (enologist), Pietro Grelloni (winemaker) and Riccardo Cotarella (consultant winemaker) on the first night. From left to right: Cristian Rimoldi (Champagne Salon and Champagne Delamotte), Olivier Krug (Champagne Krug), Guillaume d'Angerville (Domaine Marquis d'Angerville), Saskia de Rothschild (Château Lafite Rothschild and Château L'Évangile), Brunello Cucinelli, Pierre-Henry Gagey (Maison Louis Jadot), Daniel Johnnes (La Paulée) and Jacky Rigaux (University of Burgundy) at the winery at Castello di Solomeo. View over the vineyards from the winery at Castello di Solomeo, inspired by a Renaissance garden. Sir John Hegarty tasting the 2022 vintages of Château Lafite-Rothschild, Château Duhart-Milon and Château L’Évangile. Brunello Cucinelli's CEOs, Riccardo Stefanelli (left) and Luca Lisandroni (right), at the tasting in the hamlet of Solomeo. Guests are gathering at the Cucinelli Theatre in Solomeo, waiting for the conference to begin. Olivier Krug, sharing how Champagne Krug embodies quality, innovation and a deep respect for tradition, while staying true to its enduring family values. Brunello Cucinelli (left) with Michelin-starred chef Michel Troisgros (right), who traveled from Roanne to Solomeo with his esteemed kitchen team led by César Troisgros. The remarkable lineup for the final dinner (from left to right): 2010 Chevalier-Montrachet, Grand Cru, Les Demoiselles, Maison Louis Jadot (from jéroboam) 1986 Château Cheval Blanc 2017 Volnay, Premier Cru, Clos des Ducs Monopole, Domaine Marquis d’Angerville 1988 Château Lafite Rothschild (from double magnum) 2018 Castello di Solomeo (from magnum) Champagne Krug Rosé 21ème Edition (from magnum) 1988 Château d’Yquem 2013 Champagne Salon Champagne Delamotte Brut (from jéroboam) All images by Enrico Galletti (Brunello Cucinelli).

FINE+RARE, in partnership with Brunello Cucinelli and La Paulée, hosted an exceptional gathering on 13th and 14th of November 2024. This exclusive event, inspired by Burgundy’s traditional end-of-harvest celebration, was held in the breathtaking village of Solomeo, Umbria—home to Brunello Cucinelli.

In November FINE+RARE invited to an exceptional gathering inspired by Burgundy’s traditional end-of-harvest celebration in Solomeo, Umbria.     

Castello di Solomeo Welcomes La Paulée

What is Cristal – and who makes it? 
The Grande Marque Champagne Louis Roederer produces Cristal. Founded in 1833, Roederer is the largest independent, family-owned Champagne house today. Cristal is their prestige cuvée – the very best wine they produce, only made in the finest years. Always a vintage wine, it's a blend of Pinot Noir and Chardonnay. The current Chef de Cave (and Executive Vice-President) at the house is Jean-Baptiste Lécaillon, who is responsible for the entire Louis Roederer range. When was Cristal first made? The wine is considered the first and original “prestige cuvée”. It was first made for Tsar Alexander II in 1876, after he asked Louis Roederer to reserve the house’s best wine for him and his court. At the time, Roederer was one of the few house’s to own its own vineyards (a legacy that continues today). A gold capsule and label was used to indicate that the wine was the best in the range, as was common at the time. Reportedly, the Tsar lived in fear of assassination – and as such requested that the wine be bottled in clear glass, so that he could see if it had been poisoned, and with a flat bottom so that bombs couldn’t be contained in the punt (the traditional indent in the base of Champagne bottles). The glass used was lead-crystal – giving the wine its name, “Cristal”. When the Russian Revolution took place in 1917 and the Tsars were no more, Roederer continued to make the wine – releasing it commercially for the first time in 1945. Although the wine would originally have been sweet, the dry style of Champagne gradually became more popular (made initially for the English market) and Cristal evolved with the fashion. Today it is one of the most sought-after Champagnes in the world, alongside other prestige cuvées such as Taittinger’s Comtes de Champagne, Dom Pérignon, Krug, Pol Roger’s Sir Winston Churchill, Veuve Clicquot’s La Grande Dame and Bollinger’s Grande Année. How is Cristal made? Until 1999, Cristal was blended solely on taste. Different parcels from Roederer’s estate vineyards were tasted blind and the best-possible wine created. From 1999 onwards, however, Jean-Baptiste Lécaillon took over and started using the same 45 plots, all mid-slope with chalky soils across seven different Grands Crus. These plots have all been farmed biodynamically since 2012. Only fruit from vines more than 20 years old is used for the prestige cuvée, with any younger-vine fruit declassified to the Collection bottlings (the estate’s vintage, Blanc de Blancs and rosé wines all come from specific vineyards). Typically, it’s a blend of around 40% Chardonnay and 60% Pinot Noir. The base wines are mainly fermented in stainless steel, with a proportion in oak. The wine undergoes secondary fermentation and is aged on lees for a minimum six years, then aged for at least eight months after disgorgement prior to release. With climate change and general trends in Champagne, the dosage has been reduced – from 12-13 to around 8g/l today. The final blend is still blind-tasted by the family to ensure the wine is up to scratch. Around 300,000 to 400,000 bottles of Cristal are made a year. 
What does Cristal taste like? Cristal is an incredible Champagne – and one of the most age-worthy. With vibrant acidity and refined minerality, it is a linear and precise style of Champagne that rewards time in bottle. Complex, expressive and aromatic, critics have awarded the wine multiple 100-point scores over the years – notably the 2002 and 2008 vintages. To further emphasise its ageability, in 2017 Louis Roederer released the first of a new series of Vinothèque bottlings – aged both longer on lees and then for a further 10 years on cork. The first Vinothèque wines were from the 1995 vintage, but wines from 1996, 1997, 1999 and 2000 have since also been released. These are available in extremely limited volumes, but offer a taste of the wines with maturity. They tend to have a slightly lower dosage than the earlier-released wines. Is Cristal rosé? Yes and no. The original prestige cuvée is a white wine, however a rosé sibling was introduced with the 1974 vintage, created by Jean-Claude Rouzaud. The wine celebrates old-vine Pinot Noir from Grand Cru vineyards in Aÿ, historically from three sites (Bonotte Pierre Robert, Gargeotte and Côte du Moulin), but now also from La Villers. Pinot Noir typically represents 55% of the blend, complemented with Chardonnay from Pierre Vaudon in Avize and Montmartin in Le Mesnil. Cristal Rosé is made using the saignée method – pressing the grapes to extract colour, with the Pinot and Chardonnay then co-fermented (rather than blending). From the 2008 vintage, the Pinot Noir sees a cold-soak "infusion" with no punching over/pumping down, for up to 10 days. Around 20% of the base wine is aged in oak. The wine goes through secondary fermentation in bottle and is aged on lees for around eight years prior to release. Why is Cristal wrapped in plastic? The trademark gold cellophane wrapper is to protect the wine from UV light. As the wine is bottled in clear glass, UV light can cause “light strike” – a fault that causes cabbage or rotten-egg aromas in the wine. As such, the plastic should be kept on the wine until it is served. Cristal’s street cred and controversy Cristal was once the choice of hip-hop’s most famous names. “Cristal forever/Play the crib when it’s mink weather,” raps the Notorious B.I.G. on Jay-Z’s Brooklyn’s Finest. Raekwon, 50 Cent, Big L and many more were all fans. Tupac even created a cocktail with Cristal called “Thug Passion”, a combination of Cristal and Alizé Gold Passion liqueur. In 2006, however, Frédéric Rouzaud – seventh-generation of the Roederer family and CEO – was asked in an interview about the wine’s association with a “bling” lifestyle. In response he said, “What can we do? We can’t forbid people from buying it. I’m sure Dom Pérignon or Krug would be delighted to have their business.” Jay-Z responded: “It has come to my attention that the managing director of Cristal, Frédéric Rouzaud, views the ‘hip-hop’ culture as ‘unwelcome attention’. I view his comments as racist and will no longer support any of his products through any of my various brands, including the 40/40 Club, nor in my personal life.” Others followed, and soon Cristal was replaced by other wines and spirits. Jay-Z’s own brand of Champagne, Armand de Brignac, was launched later that year – thought partly to be a retaliation. Browse all Cristal listings or read more Editorial 


Cristal is one of the world’s most sought-after wines – but how did Champagne Louis Roederer’s prestige cuvée come to be, and what makes it so special? Here’s everything you need to know about the wine

Everything you need to know about Cristal – Champagne Louis Roederer’s cult prestige cuvée, from its Russian beginnings to hip-hop credibility

Your ultimate guide to Cristal Champagne

Everything you need to know about Cristal Champagne

For the aperitif For Domaine Long-Depaquit’s Matthieu Mangenot it is the energy and power of Champagne Brut Nature Les Marnes Blanches from Jeaunaux-Robin, that makes it his choice at Christmas. “I can't say for sure if it is the 100% Chardonnay selection or the very elegant vinification in Burgundy barrel that is this Champagne’s (hidden) tribute to our region but there is absolutely no ‘make up‘ with this Champagne. With no dosage it is a true expression of Chardonnay and terroir. To me, it is the best sparkling to get you ready for Christmas dinner!”  Klaus-Peter Keller (Weingut Keller) and his family love Champagne Bérèche & Fils or Krug, “but we will definitely enjoy some sparkling wines from Germany too!” he adds. Gianlorenzo di Neri from Montalcino’s Casanova di Neri is also choosing something local, with a 2002 Trentodoc – Giulio Ferrari Riserva del Fondatore, as well as a family favourite, Champagne Egly-Ouriet’s Blanc de Noirs. Saskia de Rothschild (Ch. Lafite-Rothschild) breaks the mould and prefers to drink ice-cold Sauternes as an aperitif rather than sparkling wine. She is still toying on whether to go young or old, deciding between a 2017, an 2007 or 1989 from Ch. Rieussec. The whites White Burgundy seems the overwhelmingly popular choice for the Christmas table. Francisco Baettig (Viña Errázuriz, Viñedo Chadwick and Baettig wines) opting for a bottle of Pulingy-Montrachet Les Combettes from Etienne Sauzet. “I love the elegance and balance of this appellation, and the purity of the wines from this producer.” Neri is saving his last bottle of 2005 Bourgogne Blanc by Coche-Dury alongside a 1991 Terlano Rarita, a Pinot Bianco blend released 25 years after it was made, proving the incredible ageing potential of top whites from Alto Adige. Mangenot has also opted for a rarity for the special day – a magnum of 2012 Nuits-Saint-Georges Blanc from Château-Gris (Albert Bichot). Chardonnay accounts for just 2% of the Nuits-Saint-Georges appellation. “The wine has a lot of richness and a beautiful tension due to the altitude of the vineyards,” says Mangenot: he is pairing it with cod fillet and citrus cream. Keller is bucking the trend and unsurprisingly opting for dry Rieslings, specifically from the 1990s, along with an eagerly awaited bottle of 1959 Mosel Piesporter Schubertslay. In 2008, Keller (although based in Rheinhessen) took over 0.7 hectares of this incredibly steep slope in the Mosel and he is using his Christmas dinner to do some research on this Mosel site with some serious bottle age. The reds Keller is not holding back on the reds: he’s got a 1966 Ch. la Mission Haut-Brion and a 1991 Clos de la Roche Grand Cru from Hubert Lignier lined up. Gianlorenzo di Neri is also opting for a Clos de la Roche, although his is a 2006 from Armand Rousseau. At the Neri household they love to compare Grand Cru Burgundy with their Brunellos, “It should be amazing to taste our 2006 Tenuta Nuova alongside.” Beyond Brunello and Burgundy, they will also be enjoying some top Nebbiolo, but it’s not an easy choice. “For Barolo we love so many producers, Elio Grasso’s Runcot – 2008 should be delicious now – or possibly Giacosa’s 2007 Barbaresco Asili Riserva.” For Mangenot, “The middle of winter is a good period to open a bottle of sunshine like Cornas Vin Noir 2012 from Domaine du Tunnel (my wife loves it!) – concentration, density, beautiful complexity, silky tannins… And a bunch of aromas that turns your dinner into a summer journey in a convertible car with your nose in the wind!” Beattig is also opting for Northern Rhône Syrah from his favourite producer Pierre Gonon, a Saint-Joseph. “I love the complexity of aromas, the spiciness. The structure of the wine, but at the same time the polished tannins. The mix of freshness, complexity and depth... love it.” At the Rothschild household it will of course be Lafite: “1988 or/and 1996: two absolute favourites of mine these days,” Saskia explains. “The 1988 is pure Lafite, extremely complex and evolving and the ’96, thanks to its perfect balance, is just so easy to drink that you’ll finish the bottle without even noticing it.” Jean-Guillaume Prats (CEO of Domaines Barons de Rothschild Lafite) is staying pretty loyal too, opting for Pomerol’s Ch. l’Evangile 2010. To finish Finally the sweets and fortifieds: there is never a better time to open aged Ports to go with the cheese and desserts of Christmas. For Lafite’s Jean-Guillaume Prats it will be Dow’s 1977 – in his words, “perfection”. Mangenot is also going for Vintage Port: Graham’s Quinta dos Malvedos 2001, “to go with a homemade chocolate mousse, and the rest of the bottle definitely to enjoy slowly by the fire with the family… Fruits, flowers, creamy character, it is a treat for the nose and the palate I wouldn't miss it at any price.” Keller decides on the sweet wines more spontaneously: “One of our favorite combinations is matching 40 and 50-year-old Ausleses with game dishes. It can taste so great. The anticipation is already great.” If fortifieds are not your thing, then take Jean-Sébastien Philippe of Lafite’s recommendation: he’ll be having a glass (or two) of Cognac de Lafite Très Vieille Réserve. He believes it is one of the most astonishing selections of old eaux-de-vies in Cognac. Browse our full range

There’s no better time than Christmas to open a treasured bottle or two. Ahead of the big day, we asked a handful of our favourite winemakers – from Saskia de Rothschild to Klaus-Peter Keller – to tell us what they’ll be uncorking

We find out the special bottles some of our favourite winemakers and distillers are uncorking this Christmas

What winemakers are drinking this Christmas

Making Champagne is different. More than any other wine, it’s a long-term game. The region’s cellar masters don’t see the fruits of their labour for years, even decades, depending on the wine; their work closer to that of a master distiller rather than most winemakers.  “It humbles you – you are not the superstar. The superstar is definitely the Champagne,” Elise Losfelt – who took over as Cellar Master at Champagne Charles Heidsieck earlier this year – tells me. She has just done her first blends for the prestigious House, with wines selected by her predecessor, Cyril Brun – and those blends won’t be tasted by the rest of the world for as long as eight years, when it comes to the vintage wine.   With three young children (aged three, four and six), Losfelt’s home life is very much about the here and now, but the world of Champagne gives her the chance to slow down; “Putting myself in a timeline – not just in today,” she explains. Losfelt has big shoes to fill, following in the footsteps of Brun, who arrived at Charles Heidsieck in 2015 and helped steer the House into a new, more prosperous era, including the re-introduction of the property’s Champagne Charlie cuvée. He has since caused a stir in the world of sparkling wine by being the first Champenois ex-pat to move to Italy, taking on a new role at Ferrari (one of the top names in Trento DOC).  Similarly to Brun (who came from Veuve Clicquot), Losfelt arrives from one of the Moët Hennessy properties, Moët & Chandon. Also like Brun, wine runs in her blood – she’s the seventh generation to make wine, with her mother at the helm of the family estate, Ch. de l’Engarran in the Languedoc.   Losfelt spent over a decade at Moët & Chandon, a business which became “a place that feels like family”; but when the phone rang and it was a job offer from Charles Heidsieck… “I had to grab it,” she tells me. Not only has she always loved the Charles Heidsieck Champagnes, but it was over a glass of 1995 Blanc des Millénaires that she and her husband first connected, back in 2014.  For the majority of her time at Moët & Chandon she was the Head of Vinfication, preparing the wines for the cellar master, responsible for much of the winemaking – almost everything but the final blend. It was the scientific side of winemaking that had attracted her originally, but the lure of this unexplored artistic side of the job, combined with her emotional tie to the wines, made the opportunity impossible to resist. It was, as she told me, time to leave her “first family” to take on a new challenge.   For her, Charles Heidsieck stands apart from others for its endless complexity. “It’s a Champagne that doesn’t offer you just one facet, doesn’t offer you just one aroma, or just one characteristic of aromas… it’s everything together,” she explains. While the brief for something like Moët Impérial is to craft a consistent and fresh, vibrant wine, her brief at Charles Heidsieck is for “profoundness”. Even at the non-vintage level, she is looking for wine that would meet many Houses’ vintage standards; the aim is to consistently exceed quality expectations.  Talking about trends in the region today, I enquired whether there were any plans for Charles Heidsieck to follow in the footsteps of Louis Roederer, Krug or Jacquesson – creating numbered non-vintage releases, highlighting the base vintage and variation between years, rather than the consistency historically seen as desirable. There are no plans for imminent changes, but the House has – since the 1990s, under Chef de Cave Daniel Thibaut – had the “mis en cave” date, the year in which the bottle was laid down in the cellar for secondary fermentation to get underway. As for adding tirage or disgorgement dates: “This is a question for me in five years,” Losfelt says, with an unrushed shrug.  For this new Chef de Cave, it is only the beginning – with much to learn, test and try before any changes are made. Losfelt’s job is a little like the now-famous Patek Philippe advert, she tells me; she’s just keeping the seat warm for the next generation, inheriting the work of her predecessors and creating the tools for those that will follow her. As she tells me, “Every step of the way, one choice makes a difference.”  As we await the first releases bearing her fingerprint, there’s no doubt she’ll be working tirelessly to preserve and further Charles Heidsieck’s legacy. “Until it’s tasted, and it's good, I will not rest,” she says, a clear sense of responsibility for the weight on her shoulders. We, like Losfelt, will just have to wait and see.   Explore all current Charles Heidsieck listings, or read more about Champagne

Earlier this year, Champagne Charles Heidsieck announced that Elise Losfelt would be replacing Cyril Brun as Chef de Cave. We sat down with her to talk about her journey and why patience is most certainly a virtue when it comes to crafting fine Champagne

We spoke to Elise Losfelt, the newly crowned Chef de Cave for Champagne Charles Heidsieck, about why patience is a virtue when it comes to making Champagne

Talking to Charles Heidsieck’s Elise Losfelt

A waiting game: Champagne Charles Heidsieck

“Ero con il cuore spezzato,” dice Tim Mondavi, con gli occhi che brillano al ricordo di come la sua famiglia sia stata costretta a lasciare la loro azienda, la Robert Mondavi Winery, 20 anni fa. Il vino scorre nelle vene della famiglia Mondavi. Cesare Mondavi – il nonno di Tim – fece la sua prima annata nel 1919, e la famiglia acquistò la Charles Krug Winery nel 1943, prima che Robert si separasse per fondare la Robert Mondavi Winery nel 1966. Per fortuna, quando Constellation rilevò l’azienda, i Mondavi se ne andarono con “un sacco di soldi” – qualcosa, dice Tim sorridendo, che è meglio di avere il cuore spezzato e essere al verde. Andò in cerca di “un nuovo amore”, e così costruì Continuum. 
 Il concetto era semplice: “mirare alle stelle”, mi dice Tim, e creare un vino che potesse rivaleggiare con i Premier Cru di Bordeaux – oltre a proseguire l’eredità della sua famiglia a Napa. Avendo visto come l’azienda di famiglia era cresciuta, cambiata e infine finita in mani corporate, lui e sua sorella Marcia volevano mantenere le cose semplici. Le prime annate furono prodotte con uva proveniente da Robert Mondavi, in gran parte To Kalon – vigneti su cui Mondavi aveva lavorato per 30 anni e conosceva a menadito. Ma sapeva che il luogo era tutto, e pensando ai migliori vini di Borgogna, guardò alle colline – desideroso di trovare la sua fetta di terroir “Grand Cru”. Così “calcò molta terra” – e nel 2008 trovò qualcosa. A monte di Dalla Valle, sopra la linea della nebbia e confinante con Colgin, un biologo marino di nome Leighton Taylor aveva piantato viti su Pritchard Hill negli anni ’90. Era un amante del vino e vedeva le radici che metteva in questi suoli rocciosi e vulcanici come il suo piano di pensionamento. I suoi figli non condividevano la sua passione, e decise di vendere: entrano in scena i Mondavi. Tim Mondavi capì all’istante il potenziale del sito e acquistò la proprietà di 173 acri. Esposta a sud-ovest, con scarso strato di suolo e la luce solare intensa che offre questa altitudine, la chiamò Sage Mountain Vineyard, dal profumato rosmarino selvatico diffuso in tutta la proprietà. 
 L’area era stata coltivata in modo convenzionale e necessitava di lavoro, e Mondavi portò due dei suoi vecchi collaboratori nel progetto. Insieme lavorarono per realizzare il potenziale di questi 70 acri rocciosi di vigna, innestando, ripiantando e affinando la gestione agronomica – attingendo a pratiche biologiche e biodinamiche. Gradualmente, iniziarono a usare l’uva del sito per Continuum e, dalla vendemmia 2012, il progetto fu esclusivamente “estate-grown”, tutto proveniente da Sage Mountain Vineyard. Nel 2013 completarono la costruzione di una cantina in loco – il che significava che tutto era fatto internamente dalla loro squadra – una prima volta per la famiglia. Per Tim fu un grande momento. L’annata coincise con la sua 40ª vendemmia, oltre che con il 100º anniversario della nascita di suo padre Robert – e l’etichetta porta una colomba in suo tributo, che vola sopra le viti. Robert non era solo il patriarca della famiglia ma dell’intera valle. Morì nel 2008, appena un mese dopo che Tim gli aveva mostrato Sage Mountain Vineyard. Era una forza della natura, che non solo costruì l’impero familiare ma mise Napa sulla mappa, lottando instancabilmente per la regione sulla scena mondiale. È difficile immaginare che fosse un uomo facile da avere come padre. “Non esisteva ‘troppo’,” dice Tim. “Ma non esisteva nemmeno ‘abbastanza’.” Robert era, mi dice Tim, “vai, vai, vai” – ed è chiaro che Tim vuole qualcosa di diverso per la sua famiglia. Con Continuum, voleva un progetto che potesse fornire una vita equilibrata – più piccolo del progetto più piccolo alla Robert Mondavi. I figli di Tim non sono scappati dal loro destino né dall’azienda di famiglia. Hanno tutti lavorato in Continuum a un certo punto: i figli Carlo e Dante hanno dato vita a Raen, il loro progetto di Pinot Nero sulla Sonoma Coast nel 2013, mentre Chiara si è unita al padre ed è saldamente al suo posto come enologa in Continuum. I Mondavi possono essere la nobiltà di Napa, ma sono anche agricoltori – e sono più consapevoli delle sfide che il cambiamento climatico porta di chiunque altro. “Madre Natura ha così tanti modi per ricordarci che non ci siamo presi abbastanza cura di lei,” dice Tim con rammarico. Gli incendi del 2017 lo portarono più vicino a casa di quanto avrebbero voluto. Il team di Continuum era a due terzi della vendemmia quando Tim vide il bagliore all’orizzonte da casa sua. Chiamò immediatamente per annullare la vendemmia, e assicurarsi che tutti stessero ben lontani da cantina e vigneti – ma il suo direttore di vigneto lo ignorò e guidò direttamente su per la tenuta, per controllare che nessuno della squadra fosse già sul posto in anticipo rispetto alla loro raccolta mattutina. Per fortuna la squadra stava bene – ma quegli incendi riempirono Tim di paura. Non fecero una vendemmia 2020, quindi l’ultima uscita – la 2021 – è la prima dopo due anni. Hanno gradualmente aumentato la percentuale di Cabernet Franc nell’assemblaggio, e il 2021 ha la percentuale più alta finora (rappresentando oltre un terzo del blend). È, dice Tim, “il nostro sforzo migliore” – qualcosa che attribuisce non solo alle condizioni dell’anno, ma a oltre un decennio trascorso a conoscere ciascuno dei 44 appezzamenti di Sage Mountain Vineyard. “Per essere davvero grandi, bisogna capire il sito,” dice. Il vino è elegante e puro, con una mineralità salina e terrosa che è l’impronta della proprietà – qualcosa che attraversa ogni annata. 
 Tim fa vino da 50 anni ormai, ma sa di essere in un’attività generazionale. Continuum può essere il suo nuovo amore, ma non l’ha costruito per sé – è per i suoi figli. “Le nostre aspirazioni sono abbastanza grandi da contenere la ricerca dell’eccellenza,” dice. L’ambizione non è mai mancata nel sangue dei Mondavi – ma, come prova Continuum, è sostenuta non solo da buoni istinti ma dalla spinta, dalla grinta e dal duro lavoro per trasformare quei sogni in realtà. 
 L’ultima uscita di Continuum è disponibile ora

I Mondavi hanno plasmato la Napa che conosciamo oggi, ma ora Tim Mondavi sta costruendo un nuovo futuro per la sua famiglia con Continuum. In occasione dell'uscita dell'annata 2021, Sophie Thorpe ha parlato con Tim del progetto, e di come vada ben oltre il vino.

How Tim Mondavi is building a new future for his family with Continuum, a special wine estate on Pritchard Hill in California’s Napa Valley

Exploring Tim Mondavi’s Continuum wine estate

Un sogno duraturo: Continuum

Jean-Baptiste Lécaillon is a legend of the industry. When he took the helm at Louis Roederer in 1999, he became Champagne’s youngest Chef de Cave, aged just 33. In a rare move for the time, he fought to ensure he was in charge of both the vineyards and winery – knowing that the former would define the wines he produced. Since then he’s continued to push boundaries in the name of quality.  The house is one of the last to remain family-owned and – even more rarely for a Grande Marque – it owns an impressive 242 hectares of vines, providing enough fruit for around 70% of its production. Lécaillon transformed the way Roederer farmed, pushing first for an organic, then biodynamic approach – with half the vineyards now certified organic and half worked biodynamically, and no herbicides used at all. The results speak for themselves – with the house’s prestige cuvée Cristal arguably the finest and most sought-after in the region.  And the man himself is as effervescent as the wines he crafts. Lécaillon is clearly still enchanted by the world of wine –absorbed by its complexities and totally excited by it. Talking to him at a recent tasting, he explains his aim simply: “We are going beyond the bubbles.”  For him, Champagne has traded on its fizz for too long. The wines were once sweet and served with dessert, they then became dry and were used as an aperitif, before becoming inextricably tied to celebrations – a curse that has limited the way Champagne is seen, and savoured. The industry has capitalised on its occasionality, but behind those bubbles – Lécaillon insists – is “a real terroir, a real wine”. It is this exact sentiment that is behind the Grower movement – something that Lécaillon clearly identifies with – however the movement also poses a threat to those trying to source fruit. For the little fruit Roederer doesn’t grow themselves (30% of their production), Lécaillon picks specific plots from around the region and tries to encourage growers to use a sustainable approach. The team will visit the vineyards in spring and summer, and choose the picking date with the grower. While today it’s sometimes tricky to persuade growers to change the way they farm, Lécaillon anticipates a generational shift will take place as more sustainability-invested children take over from their parents. Roederer used to buy fruit from Anselme Selosse, but – naturally –the star vigneron now keeps it all for himself. The fear is that the new generation won’t want to sell their fruit – leaving the Grandes Marques only lesser sites, farmed without the same stringency.  Everything Lécaillon has done at Roederer has been about championing site. He arrived at the house in 1989, but set off instantly for the property’s projects in Anderson Valley, California and then Jansz in Tasmania, returning to Champagne in 1994. Between 1996 and 1998, he worked on a soil study of the house’s vineyards, as well as an archive study – tasting wines back to 1876. When he took over in 1999, he separated all the plots – with 45 specific mid-slope chalky sites dedicated exclusively to Cristal, fruit for the Blanc de Blancs coming from their La Côte estate in Avize and the vintage wine based around Pinot Noir from their La Montagne estate in Verzy.  Changing the viticulture was the next step. In the 1970s, ’80s and even ’90s, Champagne’s soils were a literal dumping ground – with Paris’s rubbish used as “fertiliser”. Lécaillon is one of many that has pushed for change in this area. He feels that organic farming produces better fruit with more dry extract and concentration, but also healthier vines that are stronger and more resistant to the vagaries of vintage – and climate change. Half the property’s vines are now farmed biodynamically – including all the plots used for Cristal.  In a bid to further champion their terroir, Lécaillon established the region’s first private nursery in 2015. He wanted to gather different massale selections from the Roederer vineyards – cuttings from pre-clonal vines that he feels have adapted to climate change and will be key to the house’s (and Cristal’s) future. He claims that it’s the biggest private collection of Pinot Noir in France, and they’ve now expanded the nursery to include not just Chardonnay and Meunier, but all seven of the region’s permitted varieties – including the little-planted Arbane, Petit Meslier, Pinot Gris and Pinot Blanc. The Chef de Cave feels that field blends with these varieties could be the future with climate change – adding freshness to the wine. Over the last two decades, Lécaillon’s work in the vineyard has brought further freshness and precision to the wines – and the introduction of Collection was the latest step in that direction, a move to “bring [the wine] closer to the terroir”.  Cristal might be the jewel in the house’s crown, but a non-vintage blend is any house’s calling card – representing the most significant volume produced (75% at Roederer) and the wine that reaches the most people. It is, Lécaillon says, always the hardest to produce, the most complex to blend – and yet also the one that receives the least attention.  Roederer’s Brut Premier was introduced in 1986, but back then Champagne was more marginal, viticulture and winemaking less advanced, and the battle was for ripeness. In vintage years, the fruit was actually ripe; the art of non-vintage blends was correcting the under-ripeness of the other years with reserve wines. Now, with climate change and the evolution of farming, Champagne has riper fruit than ever before, and an increasing number of vintage-quality years. “The battle now is not for ripeness, but for freshness,” Lécaillon explains. Collection 242 was released in September 2021, with many initially mourning the loss of Brut Premier; people, however, have been won round. As has become fashionable (along with the likes of Krug or even Nyetimber), the wine is “multi-vintage” or “MV” rather than “NV” or “non-vintage”. In Lécaillon’s view, “NV” is “corrective”, whereas, “MV is the story of the new Champagne”. Their aim is no longer consistency, but to make the best possible wine in that year.   He points to 2002 as a pivotal year in the journey to Collection. It was a stunning growing season, with every plot producing wine of vintage quality – but to build a consistent non-vintage wine, they had to “destroy” the quality of each. While Lécaillon feels Brut Premier was an “outlier” in the range, Collection is “more Roederer”, “more Champagne” – which, for him, has to have an oyster-shell salinity.  A key part of developing Collection was creating a perpetual reserve. Held in an enormous 10,000hl stainless steel tank, this reserve is a constantly evolving blend of Pinot Noir and Chardonnay. Started in 2012, it contains wine from every harvest since, stored without oxygen, in the depths of their cellar where the temperature is cool and stable. This, Lécaillon feels, brings extra texture, depth and a “vintage dimension” to Collection – without the heaviness that he saw in Brut Premier.  The blend also includes more traditional reserves aged in oak (around 10% of the final blend), all with fruit from the younger vines in plots otherwise dedicated to Cristal (only 20-year-old vines make it into the prestige cuvée). The most important element here is that the toasting of the barrels is very light, what Lécaillon describes as a “white toast”, so that it doesn’t dominate the terroir.  Collection 242 was followed by 243 last year – and they are two extremely different wines, the 243 riper and richer versus 242’s more mineral expression. This – for Lécaillon – is what makes an “MV” approach so much more interesting, for both him and wine-drinkers. It is, he tells me, “a blank page every year”.  With everything from zero-dosage experiments to rootstock trials, Lécaillon is constantly looking for ways to improve – with a relentless zest and enthusiasm. For this vigneron, a blank page isn’t daunting – it’s a chance to express his terroir.  Explore all listings from Champagne Louis Roederer or read more Editorial 

The man who crafts Cristal, Jean-Baptiste Lécaillon, is one of Champagne’s most pioneering winemakers. We sat down with the man himself to look back at his journey so far – and discuss why it’s high time people started taking Champagne seriously.

The man who crafts Cristal, Jean-Baptiste Lécaillon, is one of Champagne’s most pioneering winemakers. 

Jean-Baptiste Lecaillon of Louis Roederer

Jean-Baptiste Lécaillon: Champagne “beyond the bubbles”

To Kalon. For any Californian winemaker, those two words represent the Holy Grail. This vineyard in Oakville, Napa, is undeniably the region’s most famous. Perched at the foot of the Mayacamas, west of Highway 29, this site has been recognised for producing fine wine since the 19th century. Literally translating as the “highest beauty” or “highest good” from Greek, today To Kalon is home to some of Napa’s oldest vines and best Cabernet Sauvignon. “This is a Grand Cru – a premier property,” Paul Hobbs tells me, a winemaker who has a long history with the site. As a grad student at UC Davis, Hobbs would swipe the second crop from a vineyard on Walnut Drive – what happened to be BV4, Beaulieu Vineyard’s original block of To Kalon. At Mondavi – the largest holder of the hallowed site – he got to walk the rows more legitimately, and used those holdings to build Opus One – the company’s joint venture with Ch. Mouton Rothschild (although the association with the site has generally been played down). Under his own label, he’s been making wine from the Beckstoffer section of the vineyard since 1999 – and his wines, along with those from Schrader, were some of the early bottlings that put the vineyard firmly on the fine wine map, earning high scores – and lots of attention. Indeed, it was a Paul Hobbs wine that made Tor Kenward believe the vineyard was truly special. André Tchelistcheff had spoken to Kenward about BV4, but it was one of Hobbs’s bottlings that made him realise its potential. He started working with Beckstoffer plots from 2005. 
“It’s not visually impressive; it doesn’t have that ‘wow factor’,” Kenward tells me. But start digging below the surface, and you realise that you’re in the “tenderloin of Napa”, with old creek beds that run through the site. It’s an alluvial fan that runs down from the Mayacamas, sitting almost on a bench – with very little elevation. But the soils here are varied, with deep, well-drained gravels that make it perfect for Cabernet Sauvignon.  Andy Erickson – a winemaker whose resume includes Screaming Eagle, Harlan, Dalla Valle, Mayacamas and many more – first worked with the site in 2012, on a single-barrel charity lot for an auction at his children’s school. When Constellation (owners of Mondavi and co-owners of Opus One) called him to give him the chance to work with it again in 2016, he didn’t hesitate. That year, he made the first wine for the To Kalon Vineyard Company – a project that is a revival of the brand created by H.W. Crabb (known variously as Henry Walker, Hiram Walker or Hamilton Walker Crabb) in 1886, the vineyard’s godfather. “Most people know the recent history of the vineyard, and the acclaim of the wines from the past 15-20 years. But the vineyard was known for producing remarkable wines all the way back in the late 19th century. Clearly there is something there,” Erickson says.  But this vineyard is weighed down with controversy – its borders endlessly debated, with producers vying for use of the To Kalon name.  The history of the To Kalon Vineyard It’s impossible to look at To Kalon today without tracing its origins. H.W. Crabb came west from Ohio during the Gold Rush, spending six months digging in the Sierras before settling in Oakville in 1868, buying 240 acres of land at the corner of Highway 29 and Walnut Drive. He planted a wide range of crops, first making wine in 1872 under the name Hermosa Vineyards (“hermosa” meaning “beautiful” in Spanish). In 1881, he acquired another 119 acres from Eliza Yount (whose name lives on in Yountville). On land to the west of his plots, owned by John Davis, he planted additional vines – buying the fruit off Davis to feed his increasing production. In 1886, he gave his company a new name: “To Kalon Vineyard Company” – and the legend was born. Crabb reportedly said, “The name To-Kalon… means the highest beauty, or the highest good, but I try to make it mean the boss vineyard.”
 To Kalon Vineyard Company rapidly became one of the region’s largest – and most well-respected – wine producers. His wines started winning awards at competitions around the world, and he was the first to start selling wine along the East Coast. He had planted a huge range of grapes – around 400 different varieties, including Malvasia, Riesling, Chasselas, Muscat, Refosco and Cabernet Sauvignon, with the latter in particular thriving. In 1889, he bought 168 acres on the hillside to the south, close to where Harlan is now based, although it was never planted with vines during Crabb’s lifetime. In 1891, Crabb bought Davis’s 135 acres (from which he’d already been buying the fruit). In total, Crabb had more than 359 acres.  But his success wasn’t to last – phylloxera arrived in the late 19th century, and recession along with it. In 1898, Crabb sold the 135 acres he’d bought just eight years earlier – and died one year later in 1899. The vines were ripped out, replaced by cherry trees under David Perry Doak in 1911, who in turn purchased another 500 acres of vines from John Benson, south of the border of the original To Kalon (across Oakville Grade Road), which is now all owned by Constellation (used for Mondavi or Opus One). After Crabb’s death, what remained of the To Kalon Vineyard Company was sold to ES Churchill at auction, taken over by his widow Mary Churchill when he died in 1903. Wines continued to be sold under the label until the arrival of Prohibition in 1920. The winery reopened briefly to sell wine in bulk in the 1930s, but the winery building burnt down in 1939. Four years later, Martin Stelling bought most of the property – 337 acres – and replanted. He sold 90 acres to Beaulieu Vineyard (the block that became known as BV4 – and was the plot used by André Tschelistcheff made Georges de Latour Reserve). In 1944, Stelling bought an additional 1,700 acres – the McGill Ranch, which included the parcels owned by Doak (both Crabb’s 1891 parcel and the 500 acres area south of Oakville Grade Road). He named the entire property Tokalon Vineyards, and in 1945 planted Sauvignon Blanc in I Block – the legendary parcel that is today used for Mondavi’s prized, old-vine To Kalon Fumé Blanc.  Tragedy struck again, however, with Stelling killed in a car crash in 1950. The property was once more divided, sold off in pieces by his widow.   
Rosa Mondavi, along with her sons Robert and Peter, purchased 132 hectares in 1962 for the family winery, Charles Krug. After Robert struck out on his own, he bought 12 acres for himself in 1966 (that remained in the Stelling family) – in the northeast corner of the 1968 Crabb parcel, where the Mondavi winery and visitor centre remains today. He bought a further 230 acres in 1968, and then took the Charles Krug section from the rest of his family in 1978. The first time the To Kalon name appeared on a Mondavi label – and the first time since the demise of the To Kalon Vineyard Company – was on the 1986 Fumé Blanc Reserve. The I Block – the Sauvignon Blanc vines planted by Stelling in 1945 – were singled out for the first time in 1995, for the vines’ 50th anniversary. The first red – Mondavi’s To Kalon Reserve Cabernet Sauvignon – appeared with the 1997 vintage. The To Kalon Vineyard’s terroir As already mentioned, To Kalon is largely an alluvial fan that stretches down from the Mayacamas to Highway 29. It is, however, a large piece of land (the exact area depending on where you draw its borders – see below for more on the controversy around this) – and as such the terroir varies considerably. The soils are richer downslope, closer to the Highway; poorer and better-drained higher up (where many – including Hobbs and Kenward – prefer to be). The gravel composition varies with the subtle slope differences and underground water.  “It’s like any cut of meat – there are better parts than others,” Hobbs says. With over 300 original acres (at least), this is a substantial vineyard (for comparison, Clos Vougeot is 125 acres). “It’s great if you have the name To Kalon, but could be pretty average stuff.” The Beckstoffer section is numbered and lettered: A to F, from road to mountain, with A1 south of A2. For Hobbs, he likes the blocks closer to the mountains, and those that aren’t shaded by the huge walnut trees that line Walnut Drive (to the south). Hobbs noted how much warmer Oakville is than Yountville – something he used to notice when driving in the evening home from Oakville to Yountville. The mountains block the sea breezes, meaning that the cooling effect happens, but more slowly. This is partly what makes it such a special place. Tor Kenward similarly prefers some of the middle blocks in B and C, where there are some of the vineyard’s oldest vines, but with lower vigour, as well as the leaner soils closest to the mountains. As for the MacDonald or Horton block: “You could argue it’s every bit as good as Andy’s piece,” Kenward says. It, along with the Detert block, was planted in the 1940s – and in fact those two blocks are now home to some of the valley’s oldest vines. Even closer to the mountains, the gravel content is even higher, and the fruit is picked up to a month earlier than elsewhere in To Kalon. Although until now most of that fruit has been sold to Constellation, there will be opportunity for others to work with it as that contract comes to an end.   
The Beckstoffer plots of To Kalon Andy Beckstoffer bought Beaulieu Vineyard’s block, BV4, in 1993. He’d just lost a prized site – Liparita, on Howell Mountain – when the 89 acres of BV4 came up. He’d worked the site for years and leapt at the opportunity to buy it. “It’s a mystery to me why they sold it,” Paul Hobbs told me, although word on the grapevine was that they needed to liquidate funds – indeed, it was around the same time that Mondavi went public for similar reasons. Phylloxera was once more raging through the region thanks to the widely used, non-resistant AXR rootstock.  The BV4 block was in bad shape when Beckstoffer took it over and he had to replant the entire site. Paul Hobbs was one of the first to use fruit from Beckstoffer’s plots, starting to work with him from 1995/96. “Andy didn’t really realise he had a Grand Cru property,” Hobbs says. Hobbs was given free rein to pick his plots, opting for four or five plots on the western side, furthest from Highway 29. The vineyard produced its first fruit in 1997; 1998 was a difficult year; but in 1999 Hobbs was able to produce his first To Kalon bottling (although it couldn’t say so on the label). “I was loathe to tell people how young it was – but the quality was so good,” Hobbs says, still starry eyed thinking about it. “It was only four years old, but producing stunning wines.” Most fruit is sold on its weight, by the ton, but Andy Beckstoffer created a different model – one that is intricately tied to the vineyard’s name and reputation – and arguably has increased its reputation. Producers who use his fruit pay him 175 times the bottle price per ton, with a ceiling at $50,000/ton; tying the value of the fruit to the value of the final wine. “For producers like me in those days, when I didn’t have the land or ability to buy land, Andy was a saviour of sorts,” Hobbs tells me. “Because I had access to one of the top vineyards in all of Napa. I had to pay – but at least I had access.”
  The To Kalon controversy: how big is it? And is it a brand or a place? Mondavi trademarked the name “To Kalon” in 1988, and “To Kalon Vineyard” in 1994. This gave them the right to use the name on any wine from anywhere – even beyond California – and meant that no one else could use the name, even if they had plots in what was considered the original To Kalon vineyard. The first Beckstoffer bottlings only mentioned the name on the back label; but in 2000, Schrader decided to put it on the front label. The now famous lawsuit commenced. “They shouldn’t have been able to trademark it,” Hobbs tells me. “Anyone from the original To Kalon estate should have the right to the trademark as well.” In 2002, Mondavi sued Schrader for using the name on their Beckstoffer bottling. Countersuing ensued, from both Schrader and Beckstoffer (the latter arguing that Mondavi was misleading clients by using the name for wines made with fruit from beyond the vineyard’s original borders). A settlement – the details of which remain a mystery – was made in 2003, but wines made from the Beckstoffer section can now bear the name “Beckstoffer To Kalon”.  Constellation bought Mondavi in 2004, and then Schrader in 2017. Reportedly attempts were made to trademark “To Kalon Wine Company”, “To Kalon Vineyard Company” and “Rooted in To Kalon” – something, unsurprisingly, that Beckstoffer objected to. The legal battle continues today, with a fight over the naming of To Kalon Creek, and The Vineyard House – owned by Jeremy Nickel, which sits on the 1889 hillside section – arguing for the use of the name as well.  The borders of the vineyard are a constant source of debate – and given the history above, you can see why.  Andy Beckstoffer considers the original To Kalon to be only the parcels bought by Crabb in 1868 and 1881. The 1889 parcel was never planted by Crabb, so most aren’t inclined to include it as “original To Kalon”. The Detert and MacDonald plots, however, aren’t acknowledged by Beckstoffer, but were planted – and, albeit more briefly than other plots, owned by Crabb. Then there’s the “Stelling extension”, the southern section added after Crabb’s death under Martin Stelling, that Mondavi considers part of the original vineyard, but some others do not. Given the sums fruit – and wine – bearing the To Kalon name command, it’s unsurprising that its usage is so disputed.  
To Kalon: what does the wine taste like?  So what makes the wine so special? Why do winemakers fight for the fruit, and consumers for the bottles they produce? Despite the sheer variety of the site, Tor Kenward is adamant that there’s a continuity, with a profile that that site gives Cabernet. He describes it as “wall-to-wall carpeting”, a plushness to the mid-palate, a softness, that means the Cabernet isn’t hard-edged. “There’s something about the ground there,” Andy Erickson agrees. For him, To Kalon has a distinct tannin texture – not as rugged as hillside sites, but richer, with a generosity in the wines. “They are dark, aromatic, but very broad and polished,” he says. “I think the vineyard brings forward many of the complexities of Cabernet Sauvignon, but delivers it in a very approachable and elegant package.” “It’s very identifiable,” Paul Hobbs says. “It’s a structural and textural thing mostly. It’s a freshness to this sort of tannin. It has grip, but it has this uplifting character.” He explains it like a skipping stone – you think you’ve got it, then another wave comes, the wine shifting on the palate. For him, one of the most distinctive things is that Cabernet sings alone here – much better than blended with other varietals. “It didn’t need the help of its brothers,” he says. “It’s a wine that’s at peace with itself… It doesn’t shock you, except in its beauty.”
 Who owns what today in To Kalon? Robert Mondavi: From the original 12 acres, Mondavi now owns 328 acres of To Kalon, including the Stelling extension. Has the rights to use the To Kalon name.  Opus One: The 35-acre Q Block was sold to the joint venture by Mondavi in 1981, with K block acquired in 2008. Although under Constellation’s ownership they could likely use the To Kalon name, Opus One doesn’t trade on this. (To Kalon Vineyard Company uses fruit from Constellation’s holdings, both Opus One and Mondavi plots.) UC Davis: a research block that was key in developing phylloxera-resistant rootstock
Beckstoffer: 89 acres, with fruit sold to a range of producers (currently 23), including Paul Hobbs, Tor Kenward and Schrader. Producers can use the name “Beckstoffer To Kalon” on their labels. MacDonald (sometimes referenced as Horton): Graeme and Alex MacDonald are the current generation, owning 21 acres of the 1891 parcel. When their great-grandparents bought the site in 1954 (along with the Detert plot – see below – from Caroline Stelling, Martin Stelling’s widow) it was planted with cherry trees. Advised by Robert Mondavi, the MacDonalds planted vines. From 1966, they sold grapes to Mondavi – holding some back for personal use from 2004, with the first MacDonald commercial release in 2010 (just 92 cases). Although historically 75% of production here has been sold to Mondavi, I’m led to believe that the contract is coming to a close and won’t be renewed. The MacDonalds can’t use the To Kalon name on their wines currently. Detert: Today owned by Tom Garrett, a cousin of the MacDonalds. This 25-acre plot was bought in 1954, along with the MacDonald parcel – divided between the buyers’ children giving the two plots today. There’s more Cabernet Franc in this section. Most of the fruit is sold to Mondavi (with the contract, as for MacDonald, coming to an end soon), and Detert can’t use the To Kalon name on their wines. The Vineyard House: Many dispute whether or not this is original To Kalon; it’s on the hillside area purchased (but not planted) by Crabb in 1891. This plot is owned by Jeremy Justin Nickel, who is the son of the late Far Niente proprietor Gil Nickel. It’s thought to have first been planted with vines in 1980. They can’t use the To Kalon name on their wines, but have taken court action over the issue.  Wineries with To Kalon bottlings  NB Not all of these will bear the To Kalon name on the label Mondavi Winery, Opus One, To Kalon Vineyard Company, MacDonald, Detert, Alpha Omega, Amici, Alejandro Bulgheroni Estate, AXR, Bacio Divino, B Cellars, Boich Family, Bounty Hunter, Cain Concept, Carter cellars, Ch Boswell, Jacquelynn, Kitchak, Cliff Lede, Morlet, Realm Cellars, Tor Kenward, Paul Hobbs, Schrader Cellars Read more Editorial 

The Napa Valley has many incredible vineyards, but To Kalon undoubtedly sits at the top of the tree. As the To Kalon Vineyard Company releases their latest vintage, Sophie Thorpe delves into the story of this iconic site – from its 19th century origins to the fight to use its hallowed name

Explore the history of To Kalon vineyard – and what makes it such an iconic site today. We spoke to Andy Erickson, Paul Hobbs and Tor Kenward to find out more

The tale of Napa’s iconic To Kalon vineyard

The tale of To Kalon

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