Louis Gaspard d’Estournel purchased Cos Labory in 1847 and in tribute to this history, the Reybier family (owners of Cos d’Estournel today) acquired the Saint-Estèphe estate and its 35 hectares of vines in 2023.

1200px-Cos Labory, Saint-Estèphe, France (48029808103)

Discover the wines of Ch. Cos Labory, vineyard and winery in Saint-Estephe, Bordeaux, purchased by Cos d’Estournel’s Reybier family in 2023

Explore Ch. Cos Labory wines, Saint-Estephe

Ch. Cos Labory 

The key words that spring to mind when describing Clos des Papes are ‘elegance’ and ‘consistency’. Whilst the common perception of Châteauneuf-du-Pape is (usually correctly) one of power and richness, Clos des Papes possesses a restraint and an almost Burgundian character that very few other wines from the region do.  The consistency of Clos des Papes wines is largely thanks to the stability behind the scenes, and that over the decades there have only been minor tweaks in the approach and philosophy of this great domaine in the Southern Rhône. Winemaker Vincent Avril took over from his father Paul in 1987 and is currently on his 38th vintage. ‘I have changed very little of what my father did. The biggest change has been a deeper focus in the vineyard, as I would say that 80% of the work is done in the vineyard itself. And, of course, the soils are key: we have 24 different plots and 24 different soil types, which is a blessing.’ Clos des Papes possesses a restraint and an almost Burgundian character There has only ever been one red and one white cuvée produced here, with Avril showing no interest in following the trend for cuvée speciale, which all too often can be even more powerful and weightier than the traditional cuvées. One of the more significant changes has been the changing grape mix in the vineyard, with less Grenache and more Mourvèdre. ‘Chateauneuf is the most northern outpost for Mourvèdre in France, and it gives a brightness and wildness and spice to the wines in their youth. We now have around 55% Grenache, 30% Mourvèdre, 10% Syrah and the balance is Counoise and Cinsault.’ According to Avril, the most important thing for his wines is tannin and phenolic maturity. He never picks on sugar content but on tannin ripeness. ‘If your tannins aren’t ripe then you will feel the alcohol far more. If the tannins are ripe then you will automatically have better balance and alcohol integration. I also believe that the quality of tannins is fundamental for the ability to age. For that reason, I also only use old foudres and never any new oak; I don’t want oak tannins in the wine, I want to taste the grapes, the soil and the place.’ At Clos des Papes, the reds are always co-fermented with two varieties together. When I ask what this brings, Avril explains that ‘the wines are just more complete when fermented and blended from the beginning. My father and I did trials every year of single ferments and co-ferments and then we tasted the results; we always chose the co-ferments, they are deeper and more complex.’ As this vertical tasting demonstrated, they are certainly wines with profundity, complexity and an incredible capacity for ageing. On the issue of climate change, it was interesting to hear Avril’s thoughts on the impact it has had on Clos des Papes over the decades. ‘This really hasn’t had a huge amount of difference, especially not compared to places like Burgundy. We are now only harvesting on average two to three days earlier than we were 30-40 years ago. But what we have are more peaks, so we may see a huge downpour of 100mm of rain in an hour, and we certainly see less rainfall in summer. So it is more extremes but not necessarily warming.’ One effect on the winemaking as a result of these changes, however, was the decision made in 1992 to totally de-stem the fruit. With less rain in the summer, the stems do not get fully ripe and therefore would potentially add a greenness to the wines, thus undoing all the hard work of the judicious tannin management. The white wines are somewhat atypical in terms of Châteauneuf for several reasons. Firstly, they are a blend of six varieties, all contributing in different ways. Grenache and Rousanne give richness but can lack acid, Clairette and Picardin add elegance and the freshness comes from Bourboulenc and Picpoul. Secondly there is no oak or malolactic fermentation and the wines are bottled very early, normally in February following harvest. For Avril, the whites nearly always follow the same maturity: ‘The young wines show peach, anis, white flowers, grapefruit and a salinity. As they age, they become more mineral and almost show a Riesling like petrol note. And then heading towards 20 years we see honey, dried apricots and quince appear.’ These are whites that do have a freshness that many other whites from the appellation do not have, yet never at the expense of the textural richness that is integral to their identity. I consider Clos des Papes wines to be extremely good value for money The tasting demonstrated perfectly the trajectory that Clos des Papes wines tend to follow as they age. In their youth, they offer very attractive drinking for two to three or so years after bottling with primary fruit and a suave feel as demonstrated by the 2021, 2022 and 2023. The wines then tend to shut down in bottle, as seen with the 2019, which whilst having a spellbinding nose was quite tight on the palate but with such balance. The 2016 was still somewhat tight but just beginning to unfurl and open up, while the 2010 was drinking just beautifully yet clearly with great potential to develop further. The coup du coeur for me was the quite magnificent 2005, which still maintains such tannic structure and grip but with beautiful fruit, texture and minerality. Again, this seemed to be dipping into a quieter phase as well and I expect it will age gracefully for another 20 years. Clos des Papes is a wine that should be on every Rhône lover’s radar. Firstly, I consider them to be extremely good value for money. They are wines that offer so much pleasure over such a long period of time yet can still be enjoyed in their youth. Each vintage really does speak of the year yet with the hallmark of Clos des Papes, as Avril explains, ‘I compare my job to that of a painter. At the beginning of the year, I get a blank canvas and the weather is what gives me the colours with which to paint the best picture possible. Each year the resulting painting will be different but always with the same signature beneath.’ Vincent Avril is a man that makes it all sound so simple, yet the wines are anything but and offer incredible complexity, elegance and refinement.

Written for Club Oenologique in 2025, Alistair Cooper MW reports on a vertical tasting of Clos des Papes with winemaker Vincent Avril, highlighting some of the best wines from the estate over the last 20 years and explaining why they are must-haves for Rhône collectors.

Written for Club Oenologique in 2025, Alistair Cooper MW reports on a vertical tasting of Clos des Papes with winemaker Vincent Avril.

Clos des Papes 2005-2023

What springs to mind when you think of Bordeaux? Probably châteaux the size of medieval palaces, formal dinners, and rows and rows of pristine vines, neatly manicured rose bushes the only other signs of plant life. What you’re unlikely to be imagining are cow horns stuffed with manure buried in the ground, or horse-drawn ploughs churning through earthworm-rich soil. ‘In the past, in Bordeaux, you were scared to say you were growing biodynamically,’ says Corinne Comme, who manages 10ha of biodynamic vines at Château du Champ des Treilles in Entre-Deux-Mers with her husband Jean-Michel. ‘Now it’s trendy.’ An engineer and geologist, Jean-Michel Comme was behind the first transition of a grand cru classé estate on Bordeaux’s Left Bank to biodynamics. Although he and Corinne first came across the concept in the mid-1990s, he didn’t begin to advocate for the approach at Château Pontet-Canet in Pauillac until the early 2000s. ‘Corinne was scared,’ he recalls. ‘She thought they would fire me.’ "Behind the more esoteric elements is a series of principles that have been shown to improve soil health and vine strength" Originally laid out in a series of lectures by Austrian philosopher, scientist and social reformer Rudolf Steiner in 1924, biodynamic farming emerged as a holistic approach to agriculture before quickly evolving into formal certification movements. At its core, biodynamic farming centres on soil health and biodiversity; most distinctively, it operates according to the lunar calendar, with practitioners timing agricultural activities around specific ‘fruit days’, ‘root days’, ‘leaf days’ and ‘flower days’ to align with cosmic rhythms believed to influence plant growth and agricultural processes. For many in Bordeaux – Jean-Michel Comme included – this all sounded a bit wacky. ‘I was young, full of expectations about chemistry; the way biodynamics was presented was so remote that I felt it was crazy,’ Comme says. ‘But with experience, we did change our minds.’ Why? Because behind the more esoteric elements is a series of principles that have been shown to improve soil health and vine strength. In vineyards, biodynamic farming means specific practices such as hand-harvesting, using natural composts made with specific herbal and mineral preparations, avoiding chemical fertilisers and pesticides, and treating the entire vineyard as a self-sustaining ecosystem. In the cellar, there’s an emphasis on minimal intervention, using native yeasts, avoiding commercial additives, keeping sulphur use to under 70ppm, and employing gentle pressing and ageing techniques that respect the wine’s natural development. While biodynamics took root in regions like the Loire and Burgundy in the 1990s, biodynamic winemaking in Bordeaux largely began in the new millennium, with just two early St-Emilion exceptions: Château Meylet, which has been practising it since 1987, and Château Fonroque, experimenting since 1995 with direction from Loire legend Nicolas Joly. This delay largely stemmed from two factors. First, Bordeaux’s humid maritime climate means that vines are especially vulnerable to both downy and powdery mildew, making the avoidance of synthetic fungicides a risky business. Second, large châteaux with multimillioneuro operations were reluctant to abandon the technological viticulture and winemaking that had built their global reputations in the first place. Comme, however, was convinced of the virtues of biodynamics. He began by seeking the assistance of François Bouchet. The Loire Valley winemaker was one of the first in France to pioneer biodynamics, also consulting for Domaine de la Romanée-Conti, Domaine Leroy and Domaine Leflaive in Burgundy. Bouchet guided the transition to biodynamics at Comme’s Château du Champ des Treilles; then, he persuaded Château Pontet-Canet owner Alfred Tesseron of its merits. In 2004, it was trialled on 15ha (about 20% of the estate’s total growing area) of the fifth growth at which Comme was also technical director. A severe mildew outbreak in 2007 led to the use of pesticides, undoing three years of progress, but it then became a crucial lesson that strengthened their long-term commitment to biodynamics. ‘They believed the fruit had more expression, more brightness,’ says the current technical director at Pontet-Canet, Mathieu Bessonnet, who reveals that they converted the whole of the growing area soon after. ‘It’s obviously much more difficult, time-consuming and expensive, so it was very risky,’ he adds. Since then, biodynamic farming has become a significant and growing practice across different classed growths in the region, with some of the most prestigious estates – such as Château Latour and Château Palmer – adopting biodynamic methods (the latter certified). ‘The link between the wines and the place where the fruit came from had become less and less obvious,’ says Château Palmer’s technical director Thomas Duroux, commenting on the region’s turn to the trend. He notes that, since the noughties, many have adopted organic practices in a bid to reverse this perceived drop in terroir definition. ‘Biodynamics is, in a way, the same story as organic farming, but with a larger vision,’ he adds. This shared perspective has led to more cooperation between practitioners. Every spring, the Médoc branch of the Biodynamic Agriculture Movement gathers at Château Ferrière. After unearthing a thousand manure-filled cow horns and replacing them with silica-filled ones (a process reversed in autumn to produce preparations 500 and 501, required for Demeter certification), participants share wines and gardengrown salads. The humus removed from the cow horns is stored in a cold, damp facility and made available to members. ‘We do that for free,’ says Claire Lurton, owner of Château Ferrière. ‘It’s a community.’ Though ‘community’ might be too strong a word for some, these gatherings symbolise a deepening professional exchange that has emerged among estates of all sizes through the practice of biodynamic winemaking. In fact, the shift among the classed growths has happened at the same time as these practices have been adopted by smaller growers arriving in the region. Christophe Landry of Château des Graviers, for example, returned to Arsac in the 1990s and began practising biodynamics around the same time as Comme at Pontet-Canet. He’s consulted for the Lurton estates and other properties. Originally from Minervois in Languedoc, Michel Théron established Clos du Jaugueyron nearby and has been certified biodynamic since 2008, while Laurence Alias and Pascale Choime – who are both from southwest France – established Closerie des Moussis, a patchwork of sites across 2ha, including a 170-year-old pre-phylloxera plot leased from Théron. On the Right Bank, other producers began switching lanes even earlier. Le Puy, owned by the Amoreau family, began practising in 1998, with certification since 2013, and Château Gombaude-Guillot in Pomerol has been certified biodynamic since 2006. While larger estates like Latour and Palmer collaborate on issues like mildew, smaller producers tend to engage more with one another. Shared biodynamic practices, however, are definitely helping to break down barriers. For example, Château Haut-Bages Libéral maintains regular communication with its neighbours at Château Latour, and the son of Théron at Clos du Jaugueyron interned at Château Palmer for two months. Can we speak of a unity of praxis? Not exactly. There is considerable variation in which aspects of biodynamics winemakers emphasise, regardless of estate size. The primary aim across the board is achieving living soil with rich biodiversity to promote deep-rooted vines. In pursuit of this, some winemakers emphasise tree growing or cover cropping (like Haut-Bages Libéral, which also recently planted a variety of local and fruit trees). Others, such as Le Puy, let nature take its course, allowing a diverse array of plants and flowers to sprout from the earth. Whether certified or not, biodynamic practitioners throughout Bordeaux use homeopathic treatments like nettle teas for the vines – they are believed to stimulate soil health, enhance plant immunity and improve nutrient uptake. More important than any of this, however, is the concept of energy. How can the energy of the plant be retained as its raw material transforms into wine? Every winemaker I visited was at least intrigued by the concept – and most were captivated. After a few days in the sometimes eerily flat Médoc, I drive through the verdant hills of St-Emilion to Le Puy, arriving with a raised spirit. Standing before a 5,000-year-old Celtic cromlech, Harold Langlais, the estate’s director, tells me, ‘Le Puy is a place of energy and life,’ pointing to its deep history as an intersection of water springs. At modern-day Le Puy, this philosophy extends from the vines to the cellar. Indeed, many others I speak to express that, since adopting biodynamics, the most striking change in their wines has been an increase in ‘energy’. It’s a term without a precise definition, but according to Château Palmer’s makers, something shifted with the 2015 vintage, the second year after full conversion. ‘You cannot measure it,’ Thomas Duroux says. ‘You can just feel it.’ At Château Durfort-Vivens, where the vineyard was operating under biodynamic principles by 2013 (with full conversion by 2016), owner Gonzague Lurton recalls the 2014 vintage as ‘the first where you really feel the energy of biodynamics’. It’s tactile and warming, with a sophisticated grip and charm. ‘It’s what I love – the linearity of tannins, never weak from start to finish. With many of the estates I visited, their wines showed an immediate appeal, vibrant even in their youth. Is energy just another way of describing freshness? Laurence Alias at Closerie des Moussis trained as an agricultural engineer; for her, energy and vitality are tied to the physical properties of grapes grown biodynamically. ‘We have more acidity, that’s an analytic fact,’ she tells me, standing in front of a newly acquired plot of vines bordered by forest. It might be romantic to think of energy as something ineffable, but it’s also rooted in what remains within the grapes. ‘Our idea of energy is based more on Einstein than Steiner,’ Langlais later qualifies. ‘Energy is matter.’ Biodynamic winemaking in Bordeaux: five to follow Château Pontet-Canet At the 55ha Pontet-Canet estate in Pauillac, an immensely smooth operation is palpable. Winemakers here have spent almost two decades honing their biodynamic craft, continually moving towards a goal of self-sufficiency for the estate. Sturdy Comtois horses, introduced in 2008, now work half the vineyard, preventing soil compaction. Vineyards are sprayed over a single day using compost and herbal teas produced from plants grown in and around the property and processed in the state-of-the-art infusion room. Biodiversity-boosting fruit trees and hedges have been planted. The estate even employs a carpenter who repurposes wood from vats used on the property. Ageing involves custom-made wooden eggs and qvevri-style amphorae, with no fining and minimal filtration. The result? A Pauillac with untypical levels of energy and minerality, and a plush, velvety texture. But it’s more than that – according to Bessonnet, thanks to a low-intervention approach across the board, ‘you can really feel the soil.’ Château Palmer Thomas Duroux’s conviction in biodynamics is based in what he calls a ‘holistic vision’. ‘We started to see the entire place as a living organism,’ he says of Château Palmer, one of the most storied and historically significant third-growth estates in Bordeaux. When converting (a process that started in 2009), the Margaux estate was initially guided by François Bouchet’s son Matthieu, but now it follows its own evolving philosophy, integrating cover crops, animals for fertilisation and estate-grown vegetables and meat. ‘It’s just going back to agricultural common sense,’ Duroux says. ‘That was the way to grow anything before World War II.’ This respect for nature results in wines that are deeply tied to their terroir. ‘If I had to describe the wines how they are today, compared to how they were before, I’ll just say that it’s not a revolution, but we have the feeling that the wines have a better identity,’ says Duroux. He likens biodynamics to restoring an old painting: ‘Suddenly, you see small details that you were not able to see because of the dust.’ The estate uses stainless-steel vats for fermentation and temperature-controlled rooms for barrel-ageing, combined with nativeyeast and low-sulphur winemaking, to produce its esteemed Alter Ego and Château Palmer cuvées; both have been increasingly celebrated among critics and drinkers since the turn to biodynamics. ‘We just think it does help to go a little bit further in the interpretation of the place,’ says Duroux. Château Durfort-Vivens Standing over a rustic sorting table explaining how it used to work, Gonzague Lurton is visibly passionate about the savoir-faire of the past. This sensibility is reflected in the current winemaking practices, too, and in the second-growth Margaux estate’s reputation (and critics’ scores) increasing year on year. The thing to emphasise is that what began with a biodynamic approach in the vineyards led to a series of domino effects that changed the character of the wines. In search of what Lurton calls greater ‘singularity’, the proportion of Cabernet Sauvignon had already risen to over 90% by 2014 (from around 75%); and with the use of indigenous yeasts during fermentation and the reduction of sulphur levels over time (initially sparked by Demeter’s upper limits of 70mg/l), the wines have become more aromatically complex and expressive. The introduction of amphorae by Italian producer Tava has allowed for microoxidation without overextraction, contributing to a more delicate balance of flavours, with the 2019 estate wine a blend aged one third in amphorae and the rest in barrel. ‘It’s not a big wine,’ says Lurton. ‘And it’s what I was looking for with biodynamics, in terms of style.’ Château des Graviers Christophe Landry’s pioneering status in Margaux stems from an instinct refined over decades at his own estate. He grows medicinal plants — horsetail, absinthe, calendula, chamomile — for vineyard treatments, as well as using the manure from his own cows. ‘What we need to remember is that biodynamics isn’t just a practice,’ he tells me. ‘It’s about finding your own path to self-sufficiency.’ His precision extends to the cellar, where he uses concrete tanks, amphorae and oak barrels (produced according to the biodynamic calendar) tailored to each of the five cépages’ oxygenation needs, then ages the wines for different lengths of time. Timing is everything, with harvest choices also following the biodynamic calendar. Obsessive care for the vines’ life cycles goes hand in hand with the level of precision in the cellar. The outcome is two phenomenal wines that are, as Landry puts it, ‘thirstquenching’. Château des Graviers and Quintessence — which contains a higher proportion of Petit Verdot and is aged longer in barrel and amphorae — are aromatically expressive, velvety and strikingly lively, with the latter offering more depth and an enveloping finish. Expanding to 18ha, Landry has also turned his focus to Clos Dufourg, cultivating vines on previously wild land nearby and hand-building a striking new cellar with cement tanks painted with clay from the surrounding earth. Le Puy For technical director Harold Langlais, the Le Puy estate’s significance lies in how it challenges Bordeaux’s conventional identity. Outside of the region’s traditional focus on appellations and classifications, Le Puy sits on a plateau near St-Emilion. The estate’s land is unusual, with no topsoil but a deep limestone bedrock beneath red-brown clay, which forces the vines to develop deep roots to access the earth’s natural water and nutrients. This is further supported by horse-ploughing and biodynamic sprays made from horsetail, buckthorn and nettles, which grow on the property. ‘Our approach focuses on rooting the vine deep,’ Langlais explains, ‘encouraging it to search out hidden nutrients.’ A vigorous wind circulates around the vines, and Langlais explains the effects of the elements. ‘The beauty of Le Puy is that it’s an acid factory. The whole place creates acidity in the berries.’ The biodynamic philosophy extends to the winemaking, with two different processes applied to their 100% Merlot cuvées. Cuvée Emilien uses a ‘decantation method’, or ‘fermentation by infusion’, while Barthélemy is produced with zero sulphites and a process of lees-stirring called ‘dynamisation’, which is done on fruit days and involves a specific motion to create a vortex in the old barrels it ages in. ‘Barthélemy is much more intense,’ Langlais says. ‘All the matter taken by the plant is in there.’

Written for Club Oenologique in 2025, Joel Hart visits Bordeaux to track the region’s belated embrace of biodynamic winemaking. While other French regions ploughed ahead, Bordeaux had its reasons for delayed adoption. Yet now the practice is booming, and Hart gauges its employment across estates.

Written for Club Oenologique, contributor Joel Hart visits Bordeaux to track the region’s belated embrace of biodynamic winemaking. 

Taking root: the rise of biodynamic winemaking in Bordeaux

Because of the technical demands of its wines, Champagne has often been associated more with the skill of the people and technology behind the bottles than with the land itself. Yet in the 1980s, amid a period in the wine world dominated by industrialisation, a handful of quality-focused grower-producers began championing terroir-driven Champagne, laying the foundation for the nuanced, expressive wines we celebrate today. Thanks to them, the names of Champagne’s grands crus are firmly etched in the minds of today’s connoisseurs. We can now delve even deeper into individual lieux-dits through an ever-expanding array of single-vineyard Champagnes. For decades, Philipponnat’s 1935-initiated Clos des Goisses from Aÿ’s monumental slope stood alone. The modern single-vineyard boom began in 1979 with Krug’s Clos du Mesnil, and the growth since the 1990s has been exponential. Through site-specific Champagnes, we have learned to thirst for such terroirs as Ambonnay Les Crayères, Cramant Le Bâteau, and Le Mesnil-sur-Oger Les Chétillons. The modern single-vineyard boom began in 1979, and the growth since the 1990s has been exponential Elevating the ‘autres crus’ Equally significant is the rise of Champagne’s autres crus, the once-overlooked villages without premier cru or grand cru designation. Montgueux and the Côte des Bar in the south have become particularly dynamic regions. Thanks to vigneron Emmanuel Lassaigne’s work at Jacques Lassaigne, Montgueux’s majestic Chardonnays are in high demand – not only by the major houses, which prize their structured elegance, but by discerning consumers seeking unique expressions. Another quickly rising village is Les Riceys – Champagne’s largest cru, with well over 800ha (1,980 acres) – where Olivier Horiot and Domaine Alexandre Bonnet showcase Pinot Noir’s distinctive power. If the classification were reassessed today, neither of these villages would remain autres crus. Following in the footsteps of the consistently magnificent Cédric Bouchard Roses de Jeanne Champagnes, the list of exciting producers in the Côte des Bar continues to expand, reflecting the subregion’s dynamism. Recently, I’ve been impressed by the bright, transparent non-interventionist style of Domaine de Bichery (Neuville-sur-Seine) and the sheer expressiveness of Clandestin (Landreville). The Champagne septet Chardonnay always remains in fashion in Champagne, but it is thrilling to see more regional expressions emerging. Among the most striking are Ulysse Collin’s single-vineyard wines from the up-and-coming Coteaux du Petit Morin, just south of the Côte des Blancs. The Sézannais and Vitryat regions are establishing themselves strongly, as is Montagne de Reims, which offers a wealth of exceptional Chardonnay sites. One of my personal favourites is Rilly-la-Montagne’s chalky Les Blanches Voies terroir, where both Vilmart & Cie and Huré Frères craft magnificent wines. Meunier, long out of fashion, has enjoyed a remarkable resurgence thanks to the passionate growers of the Vallée de la Marne. Once again in the spotlight through the work of, for example, Tarlant, Jérôme Prévost and Egly-Ouriet, today producers such as Nicolas Maillart, Gounel-Lassalle and Laherte Frères are elevating Meunier to unprecedented heights. Despite this progress, I believe Meunier still has vast untapped potential to reveal. In Champagne’s Pinot Noir heartland of the Grande Vallée de la Marne, houses such as Bollinger and Philipponnat are cementing their authority with a string of pure Pinot Noir releases. But what’s notable today is that the new wave of blancs de noirs is no longer chasing cult benchmarks like Bollinger’s Vieilles Vignes Françaises and Krug’s Clos d’Ambonnay – bottlings famed for their unapologetic richness. Instead, the spotlight is shifting to a fresher, more contemporary interpretation of Pinot Noir. Consider the precision of Nicolas Maillart’s Montchenot or the electric verve of Domaine La Borderie’s De Quoi Te Mêles-Tu?; these are wines embodying a new aesthetic that privileges finesse over power. In a nod to its past, Champagne is tentatively reviving its forgotten heritage grapes Arbane, Petit Meslier, Pinot Blanc and Pinot Gris. Let’s not overstate the trend – plantings of these cépages still account for just 0.4% of the region’s vineyard area, up only a fraction from 0.3% a few years ago – but the trajectory is undeniable: over the past two decades, these varieties have expanded by 45ha, now covering 136ha in total. The south of Champagne has quietly kept the flame alive, where Arbane, Petit Meslier, Pinot Blanc and Pinot Gris continue to offer an unmistakable local accent. Domaine Alexandre Bonnet’s Blanc de Blancs, for instance, is half Pinot Blanc, half Chardonnay. Arbane may remain an infamously meagre producer, yet vignerons such as Laherte Frères see real promise in Petit Meslier, particularly in the era of climate change, thanks to the piercing freshness it brings to the glass. Evolution, not revolution Freshness, rather than ripeness, has become Champagne’s new obsession. With harvests creeping into August and fruit coming in under a blazing sun, the challenge now is to preserve acidity, not to coax maturity. The old orthodoxy of 100% malolactic fermentation is giving way as more producers choose to let a streak of crisp malic acid sharpen their blends. Even the sacred formulas of brut Non-Vintage cuvées are being rewritten. Previously, reserve wines were prized for softening edges and adding richness, but today they are reimagined as a safeguard for vitality. Louis Roederer has gone so far as to reinvent its flagship Non-Vintage, now called Collection, introducing a perpetual reserve stored in gigantic vats – a safeguard of freshness that now defines the wine’s very DNA. Simultaneously, it has evolved from an ‘ageless’ Non-Vintage, with no reference to its base year or disgorgement, into a collectable, complete with edition numbering, like the Jacquesson 700 series or Lanson Création. The moment has finally arrived in Champagne to stop concealing the base year and other technical details and instead to celebrate them with pride. Falling sugar levels and minimal intervention The shift in Champagne’s taste profile goes hand in hand with a steady trimming of dosage. Despite the buzz in sommelier circles and wine-press headlines, the ultra-dry styles remain a statistical footnote: barely 3.6% of exported Champagnes carry less than 6g/l (extra-brut or brut nature). Yet the broader reality is unmistakable: sugar levels are falling fast. Dom Pérignon’s 2015 Vintage, for example, sits at just 4.5g/l. It’s not only prestige cuvées chasing purity; the entire region is recalibrating as even the world’s most popular Champagne, Moët & Chandon Impérial, is dropped down to a record low dosage of 6g/l. The old rationale of softening searing acidity with sugar has lost its purpose. In today’s warmer vintages, the dash of sugar is ‘seasoning’, tempering phenolic bite and extending the wine’s length and deliciousness. Few regions have leaned on sugar as heavily as Champagne. Traditionally, it has been added three times: first to enrich the must for higher alcohol (chaptalisation), then to spark the second fermentation in bottle, and finally as the sweetening dosage. Today, however, the pendulum is swinging towards authenticity, and sugar is a villain there. In a move pioneered by Agrapart in 2007, some vignerons are replacing industrial sugar with preserved grape must from the previous harvest to ignite the second fermentation (or, if bottling later, with the juice of the new season). Since the 2019 vintage, Fabrice Pouillon of Champagne R Pouillon & Fils has gone a step further, crafting his Champagnes entirely without external sugar. Even when dosage is applied, it comes from grape juice itself. It’s a small revolution – one that redefines purity in a region that was once synonymous with sweetness. If the first wave of Champagne’s game-changers sometimes veered into excess with bone-dry bottlings, overpowering oak, and (too) low sulphites, the next generation has found its stride with impressively sound and exciting wines, often achieved through minimal-intervention techniques. With offerings that are precise, vibrant and true to site, producers such as Jules Brochet and Domaine de Bichery exemplify this new, confident minimalism. For those chasing innovation, Famille Moussé is a must-visit. Cédric Moussé, a true inventive force, equips his ultra-sustainable winery with every tool and gadget imaginable. In the village of Cuisles, he has even launched Champagne’s first cooperative to cultivate vineyards with the aid of robots. For a greener future At the same time, Champagne is getting greener. Comité Champagne is pushing for a collective effort, while the grandes maisons are turning corporate ambition into vineyard action. The EPI Group trio (Piper-Heidsieck, Charles Heidsieck and Rare Champagne) were the first in the region to achieve B Corp certification. Pernod Ricard’s houses – GH Mumm and Perrier-Jouët – are championing regenerative viticulture. Ruinart, the sustainability flagship of LVMH’s Champagne empire, houses a landmark vitiforestry project across its vast Taissy holdings. But the movement is not confined to big brands – for example, Aurélien Lurquin and Domaine La Borderie are doing impressive work. And while small houses remain Champagne’s most visible champions of organics and biodynamics, it is Louis Roederer that has rewritten the scale: with 130ha now certified organic, it alone represents almost 6% of Champagne’s total organically certified vineyard area (2,240ha as of the end of 2024). As transportation makes up the lion’s share of Champagne’s carbon footprint, producers are finally looking at rationalising their packaging. Cédric Moussé recently developed the lightest bottle so far, which will enter the market in two years’ time. He also transitioned from traditional metal capsules to recyclable paper ones, which reportedly have a carbon footprint just 20% of that of aluminium. Ruinart deserves high praise for its Second Skin bottle cover, moulded to the contours of the bottle. Fully recyclable and made from 99% paper, the case is marketed as nine times lighter than its predecessor. Beyond the sustainability gains, it elegantly addresses a quality concern: Ruinart’s hugely popular Non-Vintage Blanc de Blancs in clear glass is now protected from light-strike – a phenomenon that can rapidly degrade Champagne yet is overlooked by consumers and the trade alike. Moving away from clear glass is not just a matter of quality, it is also a sustainability imperative, as these bottles require new, rather than recycled, glass for production.The Champagne landscape has never been more thrilling. Beyond the classic offerings, you’ll find late-disgorged gems, rosé de macération, clos and other site-specific expressions; perpetual reserves; and cuvées aged in a multitude of vessels from oak and sandstone to glass and clay amphorae, each promising a fresh take on the region’s tradition. Today’s younger buyers crave brands that marry luxury with ethics, and Champagne is responding. The rules are changing, the classics are evolving, and the next sip could redefine everything you thought you knew. Browse all Champagne listings 

Can Champagne evolve while preserving the traditions that define it? Writing for Club Oenologique in 2026, Essi Avellan MW draws on her recent tastings to explore the trends and exceptional wines shaping Champagne today and redefining luxury for a new generation of connoisseurs.

Writing for Club Oenologique in 2026, Essi Avellan MW draws on her recent tastings to explore the trends and exceptional wines shaping Champagne today.

Terroir vision: the future of Champagne

Chianti Classico’s Gran Selezione serves as a fascinating case study in how to elevate (or, arguably, re-elevate) a region’s wines to fine-wine status. From a mere 33 producers when the category was first introduced ten years ago to 169 today – making 213 Gran Selezione wines between them – the category has seen explosive growth to 5% of total regional production, giving the region an almost unprecedented glow-up. It hasn’t always been a smooth road: ‘the Gran Selezione had a rather complex birth,’ says Dr. Marco Pallanti of Castello di Ama – who was president of the Chianti Classico Consorzio when the Gran Selezione was proposed and approved. He recounts that many producers wanted to participate in the drafting; what ultimately emerged was a kind of parcellation carried out by the producer and not by external bodies. "The Gran Selezione category has seen explosive growth" On paper, one might argue the requirements were moderate: the wines had to be estate-grown and -produced, aged for slightly longer (30 months, of which three had to be in bottle) with slightly higher alcohol and dry extract; there weren’t geographic requirements above and beyond the stipulations of the DOCG. The wines themselves, though, were typically far more ambitious than the above would imply, often made from single sites and treated to costly, oak-laden ageing regimens. However, the last several years, and 2023 in particular, have brought about some shifts – whether through regulations or market preferences. Below, I’ve explained some factors that may prove pivotal for the category as it moves ambitiously into its second decade. A new dawn for site specificity The most talked-about addition to the Gran Selezione has been the UGA or Unità Geografiche Aggiuntive, a broad division of this large region into 11 roughly commune-scale sub-regions (some of which are co-extensive with actual communes, like Radda, Gaiole and Castellina, and the rest of which are not). These are applicable exclusively to Gran Selezione wines and, as of July 2023, may appear on front labels. During my travels in the region immediately before the formal approval in 2023, many producers expressed a keen interest in this shift, though the level of that interest naturally varied with the prestige (and meaningfulness) of the UGA. Lamole and Panzano, both carved out of Greve commune, are two UGAs with clearly defined identities and aren’t burdened with the awkwardness of an unpronounceable name (my apologies to Vagliagli), and hence seem much more likely to be coming soon to a shop near you. Nearly monovarietal but not quite Another 2023 shift has been the increase in Sangiovese from 80% to 90% of the blend. Though a seemingly minor shift, there are those who view this as yet another step away from the historical ‘formula’ of Barone Ricasoli (the historical authenticity or at least intent of which is debated), which included white Malvasia grapes along with Sangiovese and Canaiolo. However, the vast majority of Gran Selezione wines reviewed in the Chianti Classico Report are already made up of 100% Sangiovese (not least Ricasoli itself). It is clear that the Sangiovese purists – perhaps originally inspired by the success of the varietal Sangiovese Supertuscans – have nearly won the day anyway. Banishing the internationals A possibly more controversial move is the exclusion of international varieties like Cabernet Sauvignon, Merlot and, to a lesser extent, Syrah, from the blend. These have – as Pallanti points out – made a home in Tuscany for at least the last 40 years and, in his view, end up ‘Chiantiggiato’ or ‘Chiantified’ by the environment (a viewpoint that aligns with my own observation during my MW studies that Tuscany somehow turns everything into Sangiovese). Pallanti’s own iconic Gran Selezione wines incorporate some Merlot, along with the native Malvasia Nera, as does the gorgeous Don Tommaso from Principe Corsini. Among the vanishingly few other non-varietal Gran Selezione wines in our tasting, the blending partners were largely natives: highly pigmented, plush Colorino seems to outrank the more historical Canaiolo, perhaps representing the last remnants of producers’ drive to make Sangiovese darker than it naturally wants to be. Meanwhile, native grapes are playing a bigger role in the Riservas and especially Annatas, where they add some richness or complexity. A new Gran Selezione style Chianti Classico has the great advantage of already being what the contemporary fine-wine market wants: translucent, elegant and low in invasive oak aromas. Revisiting the early 2010’s Gran Selezione wines is a reminder of the sheer ambition that accompanied these first strides towards fine-winehood. During a vertical tasting of their Gran Selezione, Castello di Albola’s Alessandro Gallo charted their change in style from plump and barrique-polished to something leaner and racier. The wines of today are not quite the dainty, low-alcohol featherweights of last century (most are about 14% on average, some reaching a Brunello-like 15%), but most have a luminescence and lyricism that make this one of the country’s most exciting categories to watch.

Despite a complicated birth, Chianti Classico's Gran Selezione category is elevating more of the region's wines to fine-wine status than ever. Written for Club Oenologique in 2024, Sarah Heller MW picks out some of the key factors for the future of Gran Selezione wine . 

Written for Club Oenologique in 2024, Sarah Heller MW picks out some of the key factors for the future of Gran Selezione wine . 

Chianti Classico’s Gran Selezione gets a glow-up

Inside Burgundy – Jasper Morris MW  Côte de Beaune  Jasper Morris MW’s first assessment of Burgundy 2024 reveals a vintage of extreme adversity yet unexpected classical poise, particularly for whites. An “exceptionally wet year,” marked by poor flowering, mildew pressure, and limited sunshine, made 2024 one of the most challenging recent seasons. Conditions worsened moving north, with the Hill of Corton and northern Beaune hardest hit, while mid-slope vineyards benefited from better drainage and earlier flowering. Harvest was tightly compressed between 12–16 September.  Despite the difficulties, Morris calls 2024 “much more applicable” as a return to classic Burgundy than 2021, especially for whites, where quality is “relatively homogenous” and characterful. He found wines defined by citrus, fresh apple, and, at their best, “rapier-like acidity” and tension. These whites will be “accessible early,” though he warns buyers to avoid those lacking backbone and energy.  Reds are more mixed and occasionally fragile, yet the finest examples show charm and harmony. Morris highlights “aromatic pinots that could make you smile at first sniff,” with unusually refined tannins, aided by a return to a classical 100-day ripening cycle. Village wines and well-managed premiers crus represent the sweet spot of the vintage.  Chablis  Chablis faced the harshest conditions in 2024: floods, frost, hail, and relentless rain, with total rainfall reaching 634 mm and many organic producers harvesting below 10 hl/ha. Some, like Guillaume Vrignaud, “made hardly any wine and sold it off.” Morris expected “green… ugly and flawed” wines but found most were sound and “less fragile than their 2021 counterparts.” While few are truly great, many show classic Chablis character—crisp, defined, with “crushed oyster shell” notes. Best for short- to medium-term drinking, 2024 in Chablis demonstrates resilience and surprising drinkability after a punishing season.  Côte de Nuits  In the Côte de Nuits, Morris sees 2024 as a vintage of delicacy rather than power. Harvest ran 12–16 September, with Nuits-St-Georges hit hard by rain and further north affected by uneven conditions and hail. Losses came mostly from coulure rather than mildew, especially around Gevrey-Chambertin. Whole-bunch fermentation and reduced stem use were key, and while some wines need time to integrate, many show light, perfumed character. “If you like dark coloured powerful wines… there is nothing here for you,” notes Morris. Only 2% of wines achieve top accolades, making careful selection essential.  Explore Jasper Morris MW’s reports, notes and scores on his site (subscribers only)  Vinous – Neal Martin  Neal Martin portrays 2024 as a season of extremes, where relentless rain, frost, and mildew tested every winemaker. Flowering was uneven, yields sharply reduced (Pinot Noir suffered most) and frost damaged parcels from Marsannay to Clos de Vougeot. As one winemaker reflected, “Each day in the vineyard felt like a battle,” capturing the relentlessness of the season. Tiny harvests demanded meticulous vineyard work and careful vinification, with whole-bunch decisions critical: “2024 was not a vintage to play recklessly with stems.”  A sunny, warm August offered salvation, allowing grapes to reach phenolic ripeness. Martin notes it “enabled some to capture the brightness and freshness of vibrant red fruit where Pinot Noir reaches its apex” and lent Chardonnays “razor-sharp tension and delineation.” Whites show energy and mineral clarity, while reds are delicate, transparent, and expressive rather than powerful.  Despite the challenges, skill and perseverance triumphed. Careful vineyard management and thoughtful vinification produced wines of elegance, freshness, and charm. As Martin concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Neal Martin’s reports, notes and scores on the Vinous site (subscribers only)  Burghound – Allen Meadows  Allen Meadows’ Burghound report describes 2024 in the Côte de Nuits as a vintage of extreme difficulty and delicate character. Following “rain, rain, and yet more rain,” growers faced poor flowering, rampant mildew, and historically tiny yields, with clusters sometimes reduced to 15–20 berries. Meadows notes that “the variability in 2024 is that of 2023 squared,” making disease control, rigorous sorting, and careful vinification essential to preserving quality.  Despite the challenges, the best wines are “ultra-fresh, wonderfully energetic, impeccably well-balanced and the most transparent reds we’ve seen since 2010.” Alcohol levels are modest, around 12.5–13%, enhancing clarity and finesse rather than weight or power. Harvest ran from 16–21 September, slightly later than the traditional 100-day rule, allowing vines to achieve ripeness amid persistent rainfall.  Vinification emphasized restraint: light extraction, reduced stem use, and careful temperature control preserved purity and avoided harsh tannins. Minor faults, mostly reduction from copper or sulfur sprays or slight volatile acidity, rarely detract. Meadows notes some wines are “too skinny or too lean,” but the best display crystalline transparency that “puts the intrinsic terroir on parade.”  Most wines suit mid-term cellaring: villages and premiers crus are approachable in 4–8 years, while top grands crus can age 10–15. Stylistically, 2024 reds are elegant and energetic, rewarding careful selection in a year of extreme variability.  Explore Allen Meadows’ reports, notes and scores on the Burghound site (subscribers only) Jancis Robinson – Jancis Robinson Jancis Robinson MW sums up 2024 as “nightmare… misery… exhausting… unremittingly grim,” with “gruesome” final yields. Heavy rain and unusually low temperatures during flowering severely damaged Pinot Noir, particularly in the Côte d’Or, while Chardonnay fared slightly better. Many vignerons abandoned organic viticulture for systemic sprays to save their crops. Pierre-Yves Colin-Morey achieved “respectable, but most unusual for 2024” yields of 35–40 hl/ha only by switching early.  Losses were severe: reds down up to 80%, whites about 30%. Robinson notes that “the cool summer meant acidities were high, and successful reds could be described as pretty, but never concentrated,” with pale color and barely perceptible tannins. Late August brought some warmth, raising sugar levels, though many producers still had to chaptalise. She warns this is “a vintage to drink relatively early,” emphasizing elegance over opulence, fragility over power.  Cellar work was complicated by tiny harvests. Half-full tanks increased the risk of oxidation or stuck fermentations. Oak use was moderated, though some grands crus required up to 50% new barrels to fill them. Extraction and whole-bunch fermentation were carefully managed, with co-fermentation across parcels common.  Despite the challenges, Robinson highlights successful producers including Bertrand Bachelet, Yvon Clerget, Comte Armand, Philippe Colin, Sérafin, and Joseph Drouhin. Regions south of the Côte d’Or fared better, producing more generous, sophisticated wines. She frames 2024 as “a triumph of resilience over nature,” rewarding careful selection and precision in the cellar.  Explore Jancis Robinson's reports, notes and scores on her site (subscribers only) Jancis Robinson – Matthew Hayes  Matthew Hayes describes 2024 as a vintage “all over the shop,” marked by extreme scarcity, mildew pressure, and uneven quality across the Côte d’Or. Some estates, like the newly launched Domaine Henri Rebourseau, produced nothing, while others managed only tiny parcels. Yet Hayes notes, “producers actually had some wine; the second relief was that these had turned out better than feared.” Quality varies by village, vineyard, and even row, making careful selection essential.  The season was relentlessly difficult. Pinot Noir struggled with coulure, millerandage, and mildew, while Chardonnay fared slightly better thanks to earlier flowering. Organic producers faced doubled labor and costs, with some switching to synthetic sprays to save their harvests. Final yields were punishingly low, with red grape losses up to 85%. Harvest began in mid-September, balancing ripeness with botrytis and powdery mildew risks.  Winemaking focused on tiny lots, cautious extraction, and moderate oak. Reds are elegant, medium-bodied, and dominated by red fruit, while whites show precise acidity and finesse. Hayes notes, “This is not the Pinot Noir we have recently come to expect.”  Scarcity keeps prices high, yet the best wines are balanced and surprisingly drinkable. As Hayes concludes, “The bottom line is that 2024 is an endlessly fascinating vintage that will enamour the small number who imbibe the fruits of much labour.”  Explore Matthew Haye’s reports, notes and scores on the Jancis Robinson site (subscribers only) Decanter – Charles Curtis MW Pommard & Volnay 2024: Early-drinking Pinot Noir   Charles Curtis MW highlights Pommard and Volnay as the standouts in 2024, a vintage where Pinot Noir struggled across Burgundy. The northern Côte de Beaune largely avoided the worst rain and mildew, producing wines with the lush, supple fruit the region is known for. Pommard ranges from firm and tannic to approachable, while Volnay shows silky, expressive character.  Yields were exceptionally low: Paul Zinetti of Comte Armand recorded just 15 hl/ha, and Paul Négrerie of Château de Pommard 14 hl/ha. Careful extraction was key to avoid green tannins, producing wines of elegance over ripeness. Frédéric Lafarge notes that Volnay’s 2024 shows purity and terroir expression, comparing it favorably to 2021: “2024 showed more finesse and complexity due to the longer vegetative cycle.” Overall, the vintage is lighter than usual, suited to earlier drinking, though the best wines from top producers can age five to ten years.  Best Value Burgundy 2024 Wines   Finding value in 2024 requires a selective approach, as low prices rarely coincide with scarce wines. Curtis recommends starting with regional appellations, particularly the Hautes-Côtes of Nuits and Beaune, where top performers include Bourgogne Hautes-Côtes de Nuits Les Dames Huguette (Dufouleur) and Bourgogne Hautes-Côtes de Beaune blanc (Guiton).  Further south, the Côte Chalonnaise offers excellent options, with Maison Chanzy (Bouzeron), Domaine Belleville (Rully), Château de Chamirey (Mercurey), and Domaine du Cellier aux Moines and Domaine Stéphane Aladame (Givry/Montagny) standing out. Curtis also praises the Mâconnais for Chardonnay, noting “bright acidity, fresh fruit, and solid structure,” with Pouilly-Fuissé in particular shining.  In short, 2024 may be small in volume, but careful exploration of Pommard, Volnay, the Hautes-Côtes, southern Burgundy, and the Mâconnais reveals wines that combine quality, typicity, and attractive drinking windows.  Explore Charles Curtis MW’s reports, notes and scores on the Decanter site (subscribers only) Wine Advocate – Kristaps Karklins
 Kristaps Karklins portrays 2024 in Chablis as a season of extreme attrition, marked by frost, hail and what he calls “historic mildew pressure—among the highest ever recorded.” Yields dropped by “60% to 70% on average,” with some estates losing entire crus, including Dauvissat’s Séchet, Montée de Tonnerre and Les Clos. By late August, rainfall had reached “around 600 millimeters, compared with the average 380,” making healthy fruit scarce and rigorous sorting decisive. Growers who waited to harvest were rewarded with “greater texture and mid-palate amplitude,” while early picking risked under-ripeness and dilution.  Despite the hardships, barrel tastings reveal notable successes. The finest 2024s are “classical Chablis,” defined by tension, clarity and site transparency, and approachable earlier than most vintages. While they cannot rival the concentration of 2023 or 2022, Karklins suggests they may delight purists more than a random selection of riper years. “No one would call 2024 a historic vintage,” he concludes, yet among the best producers the wines are “unmistakably, even nostalgically Chablisien,” rewarding careful selection with freshness, character and authenticity.  Explore Kristaps Karklins reports on the Wine Advocate site (subscribers only) Wine Advocate – William Kelley In a shorter spotlight on Verget and Domaine Guffens-Heynen, William Kelley describes 2024 as wetter and more overcast season following the warmth of 2022 and 2023, though mercifully spared the frost damage that scarred 2021 and 2016. Volumes are reduced, but quality is “solid,” and some wines “transcend the vintage,” reaching levels of maturity that are unusual for such a challenging year. Jean-Marie Guffens likens the domaine’s 2024s to 1998, a vintage that performed better in the Mâconnais than in the Côte de Beaune.  The true stars for Domaine Guffens-Heynen, however, are the bottled 2023s. Kelley ranks 2023 alongside 2020 as one of the finest vintages for domaine in the last 10 to 15 years and among the best of Guffens’s career. If the 2020s are “almost neoclassical” in style, the 2023s are more flamboyant, setting up a compelling contrast between two outstanding expressions of the domaine that will invite comparison for decades to come.  Explore William Kelley’s reports, notes and scores on the Wine Advocate site (subscribers only) Discover and shop the releases from this year's vintage or read the rest of our coverage of Burgundy 2024 here

The critics are starting to declare their verdict on the 2024 vintage. Here’s your crib-sheet to what the leading names, including Jasper Morris MW, Neal Martin, Allen Meadows, Jancis Robinson, William Kelley and more are saying about the latest Burgundy vintage.

Discover expert insights on Burgundy’s 2024 vintage from the top industry critics. Your essential guide to the latest vintage verdicts.

Burgundy 2024 – what the critics are saying

Burgundy 2024: the critics’ verdict

I. Distractions In 1987, when I was 18 and a dollar was worth more than twice as much as it is today, I started reading magazines: M, Esquire, GQ. Nearby, in our somewhat cultured Texas town, a new bookstore opened in a cavernous space that had formerly housed the shag-carpeted roller skating rink of our childhood. Through the front windows, which had before been darkly tinted to give the place an alluring den-of-prepubescent-iniquity vibe, now streamed bright, clean light, showcasing a look and layout that would become the interior design gestalt of today’s national-chain, big-box book superstore. The rows upon rows of open, dustless shelving bearing a veritable warehouse of volumes; the ceiling hung with its industrial innards on display; the enfilade of check-out cubicles; and the wall – the great wall – that displayed a preposterous-to-behold assortment of glossies, quarterlies, journals, newsweeklies, fanzines, tabloids, almanacs, and all other flora and fauna of magazines arrayed upon a rack perhaps 50 feet long.  I went in there to look for a book. I liked books, and, one day, I was sure I wanted to write one. But I got distracted and bought a magazine instead – that August’s issue of GQ, which still stands out in my mind as a thing of formative significance. At that time, the zeitgeist was defined by a Walkman-wearing version of the American Renaissance Man – the highly-ambitious, status-obsessed, money-motivated, health-nut known as a Yuppie. No magazine positioned itself more authoritatively in defining this new sociological creature’s lifestyle than GQ, and it did it with whiter teeth, snappier suspenders, better accessories, bigger polka dots and more caffeine in the ink of its display copy.  I remember that issue less for the photos by Richard Avedon or Steven Meisel, the words of Martin Amis or Frederick Exley, than for this: Erzeugerabfüllung. It was one of the longest, strangest strings of letters from the Roman alphabet I had ever seen. Neither did it seem designed to come out of someone’s mouth. But there it was in Alan Richman’s Wine & Spirits column, accompanied by a lovely still-life photograph of his topic: two bottles of Riesling Kabinetts on a white, sun-dappled tablecloth. Richman’s main point – made almost 35 years ago – still holds true: estate-bottled, table-quality German wines remain some of the least expensive, most delicious wines in the world, chiefly because – then as now – the labels, as he wrote, “cannot be understood by anyone who is not a part-time oenophile, linguist and cartographer”. One US dollar in Richman’s pocket, as I have already said, bought what roughly two-dollars-and-fifty-cents does today; what he was on the hunt for was a good dry white in a range that would now cost somewhere between 12 and 30 bucks, and he easily accomplished that by finding a dealer in New York City who carried a good selection of wines from the Mosel and Rheingau. At the time, I didn’t know the meaning or significance of any of this, but it staked a claim in my brain. The only wine I had ever tasted was the one served at our Episcopal church during Eucharist on Sundays. The flavour it had was of a strange, super-concentrated jam that somehow warmed your upper body. Even as a young kid, I liked it. But the adjectives these German bottles were squeezing out of Richman – “citrus-like”, “honeyed”, “tart-sweet” – weren’t close to describing what was in that chalice, even if you believed in transubstantiation. Was it because Richman’s wine was white, and the parish’s was red? Perhaps, but both colours of grape juice bottled by Welch’s tasted pretty much the same to me. No, I sensed there was something – a lot – I had to learn, and, along with the romance and beauty of the labels, and the contextual air of well-bred taste and cultural with-it-ness featured on the other pages, this, I feel sure, was the decisive moment, the true origin point, when I came to believe that among the many extraordinary things that make life worth living, not just words but wine reigns at the top.  I warned you about distractions, didn’t I? Because that would be my excuse for now informing you, as a quite apropos footnote, that, yes, there was something unusual about our church’s Communion wine. It was, as I have confirmed with the church, actually port (Taylor’s Tawny, to be more accurate), cut, according to tradition, with water. There is a good and fascinating reason for this. In 1701, when the War of the Spanish Succession kicked off, France also became an enemy of England, and its wines, as a result, were no longer made available for import. The Anglican Church searched for and found a replacement, the fortified wines of its new ally, Portugal, and port continues to be an acceptable option to pair with the Host.  II. Distillations A satisfying story, not unlike a satisfying life, is one that surprises you with the mystery of its unfolding. A thing pulls in a certain direction long enough to reach the proximity of something else which then turns toward a new destination. I had actually gone into that bookstore, as I said, to look at books. But I came out, even though I didn’t yet know it, with a different compass point. Within a few years, shortly after graduating from college, in 1992, I got hired by The New Yorker, where I stayed for almost nine years. I then met my future wife, who wisely laughed at the thought we might be able to survive in New York City on my meagre salary, so I went to Vogue, and soon after became the founding editor of Men’s Vogue. After 23 issues, and four years, the financial crisis laid an axe to many magazines, including that one. Eventually, I took on the editorship of Town & Country. Then, finally, in 2016, I moved up to Esquire, the magazine, as it happens, that didn’t offer me a job when The New Yorker did, and became that storied magazine’s editor in chief, until – well, you best read about that in The New York Times.  As far as distractions go, magazines were a good one. They made me who I am, gave me a tremendously worldly education, honed my taste, introduced me to all manner of accomplished people, required me to build quite a wardrobe, and paid me pretty well to do all of this, often with a glass of wine not far out of the picture. There was really no other way I would have ever got to taste all the bottles I have (a lot of the big names people whisper about from Burgundy and Bordeaux, Champagne and also Piedmont, Tuscany and Napa). I built a modest cave à vin of my own by buying the Smith Haut Lafittes of the world way before hedge-fund hoi polloi ran up the prices, and by having access to rare offerings, like 12 bottles of Fiorano, the legendary white wine Alberico Boncompagni Ludovisi, prince of Venosa, made before ripping out all his vines. I smelled the musty perfume of Margaux in the cellar as I watched the workers rack the wine by candlelight. I lured Jay McInerney away from the Wall Street Journal to become my wine columnist; and I once stood in Bordeaux’s town square, tight on 2002 Pétrus, trying with great focus to commune with the statue of Michel de Montaigne while my French friend, a true oenophile, extolled the majesty of the Big Mac’s special sauce.  As the editor of a magazine, curiosity is your profession, even to the point of distraction. Editors – writers, too – are prone to it. It’s a hazard of the gift, and having a jumble of ideas, if you’re any good, is key to making a magazine of any real intellectual or creative daring. Now as a husband and father of three, working from home and trying to be ‘present’, and a still youngish former editor and occasional micro-influencer trying to stave off the solitude to fathom and plot the next phase of a fruitful future, this skill of mine, the strength of which became even more magnified over two decades, is something of a family project.  The way I most often hear the word ‘distraction’ now, for instance, is when it’s being hurled at me in verb form by my wife or daughters accusing me of being more of a phone-enslaved screen vegetable than they are. (I respectfully disagree.) But it’s a sore point for two reasons. One, what I did as an editor is, in a nutshell, now what a smartphone essentially does. Not very imaginatively, of course, and not with taste or charm or originality, but with a bloody, money-grubbing ruthlessness that stalks every step of our digital peregrinations and doesn’t give a twist if the algorithms that are its brain make us its slave by retrofitting our attention spans for kindergarten.  The smartphone – not the former me or any of my fellow kind still in the media biz – is now the true croupier of culture, dealing out a targeted shuffle of Pavlovian temptations to the point of daily mental exhaustion. And, though this thing is in many ways my personal nemesis, I am, against every fibre of my being, too often its obedient servant. Aiming not to live according to the famous line by T.S. Eliot – “distracted from distraction by distraction” – I recently decided to at least take a serious inventory of my favourite ones, both those of the pre-digital sort (tennis, The Walking Dead, checking the mailbox, my sock collection) and those of the post-digital sort (the any and everything I do because my phone wants me to). Then I caught myself watching tennis on my phone and realised this might be harder than I thought. It’s enough to drive a person to drink, thank god! With that in mind, I like to keep a special something for the occasion around, in this case – what else? – two bottles of Riesling Kabinett, for it had struck me as more than a little weird that I’ve probably tasted fewer than a handful of German wines in my entire life. Part of the reason is that those I had were bad, and, like a lot of other simpletons about this great wine region of the world, I’d come to think of Riesling as a cloying elixir equal parts green Jolly Rancher, apple cider vinegar, and hairspray. This, I knew, was wrong, not true and, in terms of wine equity and inclusion, on the wrong side of history. But, if you happen to live in a place like I do – a bourgie swathe of Connecticut bordering New York City where the shops cater heavily to Cali-Fran-Taly banker’s tastes – it might take you a few stops to find what Richman recommended, an erzeugerabfüllung (estate-bottled) Kabinett (wine made from grapes with a minimum must weight/sugar content) Riesling, and when you do it will probably be coated in a fine sift of years-old dust. I bought a green (Mosel) bottle for US$16 and a brown (Rhine) bottle for US$20, both handsomely labelled. I opened them a few minutes ago and took several investigative swigs. The words bright, invigorating and snappy came to mind. One is indeed sweeter, and, though not my usual jam, it is tamped by a pleasing peachy tartness, and the classic overtone of honey isn’t making my palate feel doused with syrup. The other example is, as Richman said so long ago, a very finely layered creature with mineral clarity and an echo of baked bread, something a gluten-free person like me finds particularly appealing. A rather obvious thought: why haven’t I been buying this instead of throwing a ton of endless money at affordably bad white Burgundy, which is mostly a product aimed at fulfilling a desired outcome, like White Claw hard seltzer? III. Words But don’t let me get distracted, again. A writer really has to be careful about such things. Just think about it. Unlike, say, a painter or musician or actor or photographer, the process of writing requires zero physical exertion, no chance to score an endorphin release while sitting staring anxiously at a blank page. Of the many things in life that vie against the counter intuitive impulse to be glued to a desk, Cyril Connolly, in Enemies of Promise, his classic study of the things that distracted him (and others) from becoming a great writer, names the temptations but does not say much about why they’re so deeply tempting to someone who would otherwise be sitting alone in an empty room. Praise, money, fame, social prominence, affairs and journalism are the most common boltholes, according to Connolly, who, as a famously late sleeper that married three times, might have also added the bliss of unconsciousness and excessive alimony. In 1938, the year the book was published, he would never have imagined how hard the task might get without a cigarette. Smoking is a death wish, I know, but when you want to off yourself for still having a hundred pages to go, being able to snap open a nice lighter, flick some ash, stub a butt and inhale some lungfuls of focus-enhancing nicotine must have been kind of helpful. Connolly also doesn’t have much to say about drink except that artists who drink to excess do so “out of the consciousness of wasted ability”. According to that, the 20th century’s most famous literary alcoholics – Dorothy Parker, Truman Capote, F. Scott Fitzgerald, William Styron, Elizabeth Bishop, James Joyce, Raymond Chandler, William Faulkner – might have left behind even greater treasures than they did. Because Ernest Hemingway did almost everything with more gusto than any of his peers, including running up his bar tab, as a drinker he belongs in his own sentence. He is the novelist who most romanced a good drink or nice bottle of wine as one of life’s great pleasures. Who didn’t want to have a vermouth with Jake when reading The Sun Also Rises? (Don’t, it’s gross, at least if you order it at one of those kiosks in Montmartre where the bottles are hung upside down with spring-loaded dispensers.) Or, track down a bottle of Valdepeñas, Hemingway’s favourite variety of Spanish wine. Or, get a drink at the bar named after him at the Ritz, in Paris, and then go somewhere on the Left Bank to order “a dozen portugaises and a half-carafe of the dry white wine”.  In the early work, he is not boastful about drinking so much as he is the possessor of an unusual appetite for a good buzz. He is also, like Connolly, aware of the need to keep writing separate from drinking, and drinking within his control. It is hard to read the first paragraph of A Moveable Feast, in which he describes an “evilly run café where the drunkards of the quarter crowded together and I kept away from it because of the smell of dirty bodies and the sour smell of drunkenness”, except as a kind of terrifying admonition to himself. It is tragic that he didn’t heed his own advice. Late in his life, Hemingway became fond of rum daiquiris at the Floridita, his favourite bar in Havana, which might explain his taste for a prose style that soon became too often cloying self-parody. In one of the most extraordinary drinking sessions ever committed to words, in the roman à clef Across the River and Into the Trees, a 50-year-old Hemingway, who was smitten with a teenage Italian countess from Venice, fictionalises his infatuation with a last muse. In one stretch (that covers an evening-to-dawn crawl from Harry’s Bar, the grill at the Gritti Palace, a gondola and a hotel room), one half or another of the couple imbibes: one scotch whisky and soda; six Montgomery Martinis (15 parts gin; 1 part vermouth), two of which are described in size as ‘super’; a bottle of Capri Bianco; two bottles of Valpolicella; two bottles of Roederer Brut ’42; and two bottles of Perrier-Jouët. That is, I suppose, one extreme, and, clearly, not one to be tried at home.  The other might have been espoused by Dr. Samuel Johnson, the great critic and lexicographer. As a young man, he’d drained “many a bottle of wine” but loved port especially. (Perhaps Johnson, a devout Anglican who was born in 1709, in the midst of England’s 14-year war with Spain, also first encountered port as a boy at the Communion altar.) He describes himself to friend and biographer James Boswell as having been “apt to go to excess in it”, adding that, “therefore, after having been for some time without it, on account of illness, I thought it better not to return to it”.  Boswell, who worried about his own dependence on alcohol, even keeping a journal of his intake in an attempt to enforce moderation, argued for a third way, which some of the Romantics later adopted. Wine, he claimed, “produces truth; in vino veritas”. Hoping to persuade Johnson of his point, Boswell once convinced the critic to come down off the wagon for just one glass of claret, so Johnson “might judge, not from recollection, which might be dim, but from immediate sensation”. Boswell reports what happened after the glass was emptied: “Johnson shook his head, and said, ‘Poor stuff! No, Sir, claret is the liquor for boys; port, for men,’” adding, “‘A man would be drowned by it before it made him drunk.’”  That actually reminds me of something I think I forgot to mention about Riesling Kabinetts – they’re also highly admired for their low percentage of alcohol. On that note, I think I’ll have another glass.  This article was originally published in FONDATA, Issue Two.

Jay Fielden, former editor of Men’s Vogue, Town & Country and Esquire, recalls how a magazine column on wine, read in a Texas bookstore, shifted his ambitions beyond journalism and set him on the path to becoming a writer of books.

Former Esquire editor-in-chief Jay Fielden reflects on magazines, writing, Riesling Kabinett and the distractions that shaped a life in words and wine.

Jay Fielden on Wine, Words and Distraction

How one became another  

All’inizio di questo mese sono tornato ad Auxey-Duresses per trascorrere del tempo al Domaine e degustare integralmente l’uscita 2026 della Maison Leroy. È stata una visita significativa. Abbiamo degustato più di 25 vini tra annate, denominazioni e stili, il che ha consentito un livello di profondità e di comprensione comparativa raramente possibile con Maison Leroy. È un modo di degustare che elimina la gerarchia e si concentra interamente su espressione, tempistica e intenzione. Avendo visitato con costanza per oltre 12 anni, e più volte ogni anno, ho visto molte uscite in forme diverse. Posso dire con sicurezza che questa è la selezione Maison Leroy più completa e convincente che abbia mai incontrato. Si tratta di un’uscita eccezionale. La collezione Maison Leroy 2026 si è presentata come una collezione moderna nel senso più pieno del termine. Ciò che le conferisce forma ogni anno sono vini provenienti da annate diverse, ora riuniti in un momento in cui Madame ritiene che abbiano qualcosa di straordinario da esprimere. Tuttavia, questa è sembrata la prima collezione Maison a iniziare a rispecchiare, con autentica convinzione, il carattere superlativo del Domaine Leroy. C’è certamente ampiezza qui, tra denominazioni, livelli e annate. Ognuno sembra essere stato rilasciato esattamente nel punto in cui l’evoluzione ha rafforzato, piuttosto che attenuato, la sua definizione. È questo che conferisce alla selezione la sua immediata bevibilità — un’espressione poco lusinghiera per molti, e forse non preferita alla Maison, ma si tratta di vini di grande gioia ed equilibrio. Ciò che rende l’uscita 2026 particolarmente significativa è che presenta Maison Leroy in una forma pienamente contemporanea, pur mantenendo la stessa gravitas, raffinatezza e controllo interiore che sono arrivati a definire il Domaine ai suoi livelli più alti. Il risultato è una collezione Maison di statura insolita: capace di reggersi pienamente da sola, ma anche più vicina di qualsiasi uscita precedente a riflettere l’autorità e la brillantezza associate al periodo dominante del Domaine. Processo ed Élevage Per comprendere Maison Leroy, bisogna prima comprendere il processo. Ogni vino viene degustato alla cieca da Madame Lalou Bize-Leroy prima che venga presa qualsiasi decisione. Centinaia di vini vengono valutati ogni anno, mettendo da parte produttore, denominazione e reputazione. Raramente nuovi vini superano la selezione. Solo quando un vino soddisfa i suoi standard porta il nome Leroy. Questa responsabilità rimane direttamente nelle sue mani. Ed è solo l’inizio. Una volta selezionati, i vini vengono trasferiti nelle cantine, dove entrano in un lungo e attentamente controllato élevage. Per i rossi, con la sola eccezione del Bourgogne Rouge, ogni vino completa il proprio élevage in botti usate del Domaine Leroy, indipendentemente dalla denominazione. Village o premier cru, la classificazione lascia spazio alla qualità. Ogni vino è trattato secondo il suo potenziale, consentendo un livello di raffinatezza e integrazione che supera la gerarchia. La stessa filosofia si applica ai bianchi. Con l’eccezione del Bourgogne Blanc, i vini completano il loro élevage in botti di rovere usate del Domaine d’Auvenay. Le fondamenta della Maison Leroy Maison Leroy è la pietra angolare originale di una delle famiglie più influenti e durature della Borgogna. Fondata nel 1868 da François Leroy ad Auxey-Duresses, l’azienda iniziò come attività di négociant con accesso a vigneti in tutta la Côte d'Or, tra cui Auxey-Duresses, Meursault, Pommard, Chambertin, Musigny, Clos Vougeot e Richebourg. All’epoca, i vini non venivano imbottigliati sotto il nome Leroy, ma venduti tramite il Comptoir des Propriétaires de la Côte d'Or. Sotto la guida di Joseph Leroy, la Maison si espanse commercialmente, prima che Henri Leroy ne ridefinisse profondamente la traiettoria. Nel 1942, durante un periodo di incertezza in Borgogna, Henri acquisì una quota del 50% del Domaine de la Romanée-Conti. La sua gestione fu determinante nel restaurare e portare la tenuta al suo attuale status, al vertice assoluto dei grandi vini. Sebbene l’attività di négociant proseguisse, fu con Lalou Bize-Leroy che Maison Leroy assunse la sua identità moderna. Entrata nell’azienda di famiglia nel 1955 e alla guida dal 1971, Lalou trasformò la Maison in qualcosa di molto più rigoroso: una realtà definita da indipendenza, selezione assoluta e visione a lungo termine. Maison Leroy si colloca al centro di un più ampio ecosistema Leroy, insieme a Domaine Leroy e Domaine d'Auvenay, ciascuno espressione distinta ma complementare della stessa filosofia senza compromessi — vini che superano costantemente le convenzioni delle denominazioni AOC. La prossima uscita di Domaine Leroy offrirà una prospettiva contrastante — radicata nella proprietà e produzione dei vigneti, ma del tutto equivalente in termini di rarità, prestigio e qualità finale. La collezione Maison Leroy 2026 sarà presto disponibile. Scopri di più su Maison Leroy e consulta tutte le offerte attualmente disponibili.

L'amministratore delegato Craig Norton torna ad Auxey-Duresses per una degustazione diversa da tutte le altre: l'intera collezione 2026 di Maison Leroy e ciò che essa rivela su una delle case vinicole più singolari della Borgogna.

The 2026 Maison Leroy collection in full — selected by Madame Lalou Bize-Leroy, released only when ready. 


The 2026 Maison Leroy Collection

La collezione Maison Leroy 2026

Dagli inizi nel Beaujolais negli anni ’80, il movimento del vino naturale è diventato un fenomeno globale. Ma quale influenza ha avuto poco più a nord, nelle storiche denominazioni della Borgogna? Simon J Woolf esplora il confine sempre più sfumato tra viticoltura classica e naturale

From Beaujolais to Burgundy, how has the natural wine movement shaped a terroir-driven region? For FONDATA Simon J Woolf explores the changing landscape.

Natural Wine’s Influence on Burgundy

Natura vs. Intervento: la ricerca della vera identità della Borgogna

Cos Labory

Saint-Estèphe

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