Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

What makes a wine truly singular? Tamlyn Currin explores the rare bottles that defy convention and challenge the rules of the wine world.

Searching for Singularity in wine

Searching for Singularity

Xiao-Li Meng, professore di Statistica Whipple V. N. Jones a Harvard e fondatore e direttore responsabile di Harvard Data Science Review, si è lasciato ispirare da uno studente per combinare vino e statistica — ottenendo intuizioni ben oltre quanto entrambi si aspettassero.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Semplicità nelle statistiche, complessità nel vino, il resto nei biscotti della fortuna.

Each September, the new vintages of an exclusive group of fine wines are released via La Place de Bordeaux. Amongst the new additions this year are three exciting wines from Australia and California – giving many consumers their first chance to buy these iconic names. Find out more about our pick of the new wines below. Beaulieu Vineyard's Georges de Latour Private Reserve: Napa’s original cult Cabernet Founded in 1900 by Georges de Latour and his wife Fernande, Beaulieu Vineyard is one of the most historically important wineries in Napa Valley. Not only is it one of the longest continuous-running wineries in California (as one of the few that ran throughout Prohibition), it was also home to the most legendary figure in California wine history, André Tchelistcheff, who made the wine here for 40 years. The property’s Georges de Latour Private Reserve is seen by many as Napa Valley’s first “cult Cabernet”. The wine was originally made exclusively for the family’s personal consumption, but when André Tchelistcheff arrived at the estate in 1938 and tasted the 1936 vintage, he insisted that it was bottled and sold as the winery’s flagship bottling. It was released in 1940, named in honour of Georges de Latour who had died earlier that year. It soon became one of the region’s most famous and desirable wines, recognised as an example of the quality that was possible in Napa and in particular Rutherford. Today Georges de Latour Private Reserve is made in its own dedicated winery. The fruit is selected from vineyards originally planted by Georges de Latour in the early 1900s, hand-picked and fermented in 50% new oak. This year the wine will for the first time be released via La Place, with the 2017 vintage – the 81st for this cuvée. Jim Barry The Armagh: a Clare Valley icon Jim Barry is one of Australia’s winemaking legends and a pioneer of the Clare Valley – a region now firmly recognised for its fine wine credentials. He was the valley’s first qualified winemaker, graduating from Roseworthy in 1947 and establishing Jim Barry Wines with his wife Nancy in 1959. Over the years the estate has been rightly widely praised, most recently being named James Halliday’s 2020 Winery of the Year. The Armagh is the property’s flagship cuvée, made with 100% Shiraz, first produced in 1985. Barry wanted to produce a wine that would compete with other Australian icons such as Wendouree (a neighbour and inspiration behind the wine), Penfolds Grange and Henschke’s Hill of Grace – which it undoubtedly does. It is one of the few wines classified as “Exceptional” by Langton’s – the definitive guide on fine Australian wine. Sourced from a single low-yielding vineyard planted in 1968, the fruit is hand-harvested in several passes. The wine is matured in a combination of French and American oak for 15 months, creating a wine that is plush and supple, with rich layers of fruit and great structure that prepares it for decades in the cellar. The 2016 made its début on La Place this year – a wine rated 99 points by James Suckling, who described it as “one of the most impressive releases to date”, while Joe Czerwinski of the Wine Advocate declared it “my pick of the recently bottled vintages”. It’s without a doubt one to watch. Wynns John Riddoch Cabernet Sauvignon: classic Coonawarra John Riddoch first planted vineyards in the Coonawarra’s famous terra rossa soils in 1891; today Wynns is the region’s most famous winery, and one of Australia’s best known. The attention to detail at this estate is exceptional, monitoring individual vines and studying the soils with a precision that places them firmly amongst an elite group of Australian wine producers. The resulting wines have remarkable balance and complexity. For over 20 years, the partnership of Sue Hodder and Sarah Pidgeon in the winery, and Allen Jenkins in the vineyards, has pushed quality even higher. Their flagship cuvée is the John Riddoch Cabernet Sauvignon, named after the region’s pioneer and first made in 1982. It is only produced in exceptional years, with a blend of the best Cabernet parcels that vintage – representing less than 1% of the estate’s top Cabernet grapes. It tends to spend between 16 and 20 months in oak (around 30% new, a combination of barrels and hogsheads). Like Jim Barry’s The Armagh, it is one of the few wines to be listed as “Exceptional” in Langton’s Classification. This year sees the release of the 2016 vintage via La Place – a wine that James Halliday describes as “a cabernet of the highest class”, awarding it 98 points. Read more about the rise of the September releases and how La Place works

The list of fine wines released via La Place de Bordeaux each September grows each year. Here, we introduce three of the most exciting wines joining the line-up in 2020: Beaulieu Vineyards Georges de Latour Private Reserve, Jim Barry The Armagh Shiraz and Wynns John Riddoch Cabernet Sauvignon.

New La Place de Bordeaux: Beaulieu Vineyard Georges de Latour Private Reserve, Jim Barry The Armagh Shiraz and Wynns John Riddoch Cabernet Sauvignon.

New La Place de Bordeaux wine releases

2001 Château la Mission Haut-Brion, Pessac-Léognan, Bordeaux “A couple of weeks ago, in an attempt to try and cheer up ‘Lockdown 2.0’, I decided to order a fancy takeaway from a favourite local restaurant. It was a classic French menu – pâté to start, boeuf bourguignon for the main course, all topped off with a tarte tatin. To further brighten up the evening, I wanted to open something special from my collection, and landed on a bottle of 2001 La Mission Haut-Brion (it really had to be something French to go with  that menu!). It was the ideal accompaniment, perfectly in its drinking window. It was full of dark red fruit, and – while being absolutely strong enough to stand up to the strew – was also wonderfully elegant. Everything was exactly as it should be, this is a stupendous wine, wonderfully balanced, perfectly pure and just downright delicious.” Rose Saunders, Senior Sales Manager 2015 Domaine de la Grange des Pères Blanc, Pays d’Hérault “Perhaps my favourite quality of a truly great wine is its power to make any occasion special. That being said, many of my most memorable wine experiences are those which aren’t planned – as was exactly the case with this bottle of 2015 Grange des Pères Blanc. During a weekend break in Cornwall last month, I managed to bag a last-minute booking at Outlaw’s New Road, and on opening the wine list this line immediately caught my eye – a rare find at fine wine merchants, let alone on restaurant lists. I asked the waiter, who to my great disappointment told me the last bottle had sold earlier that day. However, Outlaw has a second restaurant down the road, and having confirmed they had one bottle left, he promptly jogged down a very steep hill, and back, to fetch it. “The wine itself is simply unlike anything else: 90% Roussanne with a little Chardonnay and Marsanne, made by a man who trained under François Coche-Dury, G’erard Chave and Eloi Dürrbach. The 2015 is still very young, a behemoth of aroma, flavour, structure and texture.
 Decanted and enjoyed over five hours, it was almost overpowering to begin with – with rich tropical fruit, spice, garrigue herbs, candied lemon and intense minerality. Continually softening and evolving with time, exhibiting an extraordinary array of nuances, this is a masterclass of how to balance raw power with freshness and finesse. One of the best bottles I’ve had this year, thank you to the brilliant team at Outlaw’s New Road for going the extra mile.” Simon Brewster, Senior Sales Manager Sennachie, 40-year-old, Cask #83/254-3, Blended Scotch Malt Whisky “Five undisclosed Speyside and Highland whiskies distilled in 1975, married in 1983 at the age of eight years, and thereafter aged at Springbank Distillery Campbeltown: this is the intriguing make-up of Sennachie’s 40-year-old Cask #83/254-3, a release of 195 bottles and one of the most fascinating whiskies I’ve had the pleasure of drinking. There are five single malt components to pick out, although it’s debatable whether it actually matters. They are in perfect harmony from the outset, with a delightful nose of honey, oranges, shortbread and sweet cinnamon spice. The palate is balanced with red apples, white chocolate and salted caramel. It’s complex and immensely drinkable. The only downside is the spirit’s unique nature; this combination of whiskies and events cannot be repeated, so it’s worth enjoying it while you can.” David Walters, Head of Spirits 2000 Clos de Vougeot, Grand Cru, Domaine Leroy “I had the privilege this autumn to taste one of the latest releases from Burgundy’s legendary Domaine Leroy, the 2000 Clos de Vougeot, in a restaurant setting – a rarity for 2020 – making the event perhaps even more special. Big, boisterous, but charming too, this perfect-condition bottle displayed epic concentration and a staggering purity of fruit, something Lalou notes of her 2000s. There was a tautness to everything, like a snake coiled and ready to pounce. Still youthful and gleaming, the perfumed nose was compelling and seemed to fill the entire room! A wine that stops you in your tracks and reminds you why Burgundy continues to run the world.” Tony Cody, Senior Sales Manager 2010 Gaia, Grosset, Clare Valley, Australia “It’s relatively rare for me not to drink French – but at my first post-lockdown meal at the Harwood Arms, this caught my eye on the list. I’ve long been a fan of the Grosset wines, and while Polish Hill may be the wine that gets the most press, they’ve clearly been putting effort into Gaia – a Cabernet that now stands up there with the world’s best. This, now a decade old, was still deeply coloured with an expressive nose of dark fruit (ripe blackberries, plums) with underlying tertiary notes. On the palate, the acidity lifted the overall ripe fruit profile from this warm vintage in South Australia. Concentrated and structured, with polished tannins, dried herb notes added complexity to the long finish. Caught at just the right moment, this was drinking beautifully – perhaps all the more so with the sweet taste of freedom.” Corentin Margier, Head of Buying Browse more Editorial 

Each month, we ask a handful of our team to pick a wine or spirit they’ve tasted recently – a bottle that surprised, delighted or merely lived up to high expectations. Here’s what they chose

Each month, we ask a handful of our team to pick a wine or spirit they’ve tasted recently. Here’s what they chose

Our team names their top bottlings

In the glass: what our team is drinking

Il Maule è la sala macchine dell’industria vinicola cilena. Con oltre 37.000 ettari di vigneti, è di gran lunga la più grande regione viticola del paese, producendo un quarto della produzione nazionale. Sebbene abbia una lunga storia, piantata per la prima volta nel XVI secolo, la sua reputazione moderna è quella di fornire frutta a buon mercato per “allungare” i blend che sono diventati sinonimo dei portabandiera cileni da supermercato. Ma è in corso una rivoluzione silenziosa, con un piccolo gruppo di produttori che valorizza il patrimonio di vecchie vigne di questa regione. E ora Francisco Baettig si aggiunge alla lista, puntando i riflettori sulla regione. 
 Baettig – l’uomo che ha costruito la sua reputazione creando i vini iconici di Errázuriz, Seña e Chadwick – ha fondato Vinos Baettig con il suo socio Carlos de Carlos nel 2012, mettendo letteralmente radici nel poco noto distretto a clima fresco di Traiguén, nel Malleco, alla stessa latitudine della Patagonia. Hanno realizzato la loro prima annata commerciale di Chardonnay scolpito e Pinot Noir vibrante nel 2018, ma quello era solo l’inizio per il duo. 
 Avevano, mi dice Baettig, sempre pianificato di fare Cabernet Sauvignon. E non sorprende, dato il background di Baettig, che ha studiato a Bordeaux e si è fatto un nome creando blend di Cabernet Sauvignon che rivaleggiano con quelli del Médoc. Decisero, tuttavia, di iniziare con Chardonnay e Pinot Noir al sud, dove avevano già legami familiari e la terra era più accessibile, mentre cercavano il sito giusto per il loro progetto Cabernet. Per Baettig, lavorare i propri vigneti è parte integrante di Vinos Baettig, così come il dry-farming – e, per il Cabernet Sauvignon, Baettig desiderava in particolare avere vecchie vigne, e questo, scrolla le spalle tristemente, non è così facile da trovare. Oltre a essere abbastanza resilienti da essere coltivate in asciutta, le viti di Cabernet Sauvignon più vecchie generalmente producono livelli inferiori di pirazine (composti responsabili del carattere verde nel vino), nonché livelli di zucchero più bassi alla maturità fenolica e aromatica – permettendogli di produrre vini con gradi alcolici più moderati. 
 Aveva già lavorato con una parcella di Cabernet Sauvignon nel Maule e amava l’uva di queste viti a bassa resa, che conservavano acidità e offrivano grandi aromi, colore e tannini ghiaiosi che, a suo avviso, sono quasi nello stile di Saint-Estèphe. Era, sentiva, “un Cabernet con una personalità speciale”. E così, hanno guardato al Maule, ma evitando le aree più calde che possono produrre stili più grandi e maturi – dirigendosi invece a sud di Cauquenes, verso la Cordillera de la Costa, o catena costiera. 
 C’è voluto più di un anno, ma alla fine hanno trovato un vecchio vigneto di País – piantato 120 anni fa – dove due ettari erano stati innestati a Cabernet Sauvignon. Il conferitore chiedeva solo 15 centesimi al chilo per l’uva – ma il Cabernet veniva vendemmiato insieme al País, buttato dentro tutto insieme e venduto per una miseria. Baettig chiese se potesse quadruplicare il prezzo e farlo vendemmiare separatamente. Il conferitore non poteva credere alla sua fortuna. Baettig e Carlos hanno trovato altri pochi vigneti promettenti, che insieme hanno costituito la base per la prima annata del Los Compadres Cabernet Sauvignon. Questo è uno dei loro Vinos de Viñedo, ovvero l’equivalente “villaggio”, con il nome “Los Compadres” (amici stretti) in tributo ai conferitori con cui stanno lavorando. Accanto al loro vino “villaggio”, però, Baettig crea sempre un imbottigliamento da singolo sito, una Selección de Parcelas (selezione di parcelle, letteralmente) – e questo proviene solo da viti di loro proprietà. 
 Fortunatamente, forse, il conferitore dietro il vigneto di País centenario stava pensando di vendere, di fronte alla sua insostenibilità economica e agli sviluppatori in fila per la terra. Il duo è riuscito ad acquistare cinque ettari, inclusi i due già innestati a Cabernet Sauvignon, salvando le viti centenarie dall’essere estirpate. Hanno innestato i tre ettari rimanenti a Cabernet Sauvignon nel 2023 (con l’uva destinata a essere utilizzata a partire dall’annata 2025). Questo sito è ora la fonte del loro singolo cru Los Padrinos (che significa “i padrini”). 
 Ci sono distese di vigne antiche come queste, tutte a rischio di essere strappate per opzioni più redditizie. Ed è facile capirne il motivo: queste vecchie viti ad alberello sono bellissime – ma producono volumi minuscoli. Baettig ottiene appena due tonnellate per ettaro – “in un anno buono”, precisa subito. Sono coltivate in asciutta – qualcosa di raro nel clima secco del Cile, ma reso possibile dall’elevata piovosità media nel Maule (tra 500 e 700 mm all’anno, anche se il 2023 ha portato 1.000 mm – nutrimento benvenuto per gli innesti appena fatti di Baettig). Non c’è modo di meccanizzare viti così vecchie, quindi tutto il lavoro deve essere fatto a mano – e le parcelle di Baettig vedono poco più che zolfo e altri trattamenti biologici. Se, come la maggior parte dei coltivatori della zona, potete solo vendere la vostra uva alla cooperativa locale per vino da cartone a basso costo, è facile capire perché tali sforzi semplicemente non abbiano senso finanziario. Accanto a queste parcelle di vecchie vigne, ci sono vasti vigneti più giovani appartenenti a realtà come Concha y Toro e Santa Rita, che rendono fino a sette volte più frutta rispetto ai loro nodosi vicini. La terra qui rimane significativamente più economica rispetto alle più famose Maipo, Aconcagua o Colchagua (da cui il suo appeal per i maggiori player del paese) – ma è lo stile distinto di Cabernet della regione ad aver attirato qui il team Baettig. 
 Per Baettig, verso la catena costiera si trova un microclima totalmente diverso, che produce vini di impressionante tensione e brillante acidità. Con le vecchie radici di País, le viti affondano in profondità nel suolo e producono rese limitate di acini concentrati. I tannini hanno un’impronta particolare, meno levigata di quella del Maipo, e data la naturale concentrazione e struttura del frutto, è importante gestire con attenzione l’estrazione – con temperature più fresche, macerazioni più brevi e rimontaggi ridotti. Semplicemente, dice Baettig, sono “vini che puoi invecchiare”. Freschi e al limite dell’austero in gioventù, è facile vederne il potenziale – e Baettig suggerisce che i Compadres dovrebbero invecchiare bene per un decennio, mentre i Los Padrinos continueranno a evolvere ben oltre. 
 Baettig ha già fatto scalpore con il suo Pinot Noir e Chardonnay e – data la natura di questi vigneti speciali – il loro Cabernet Sauvignon è destinato a fare lo stesso. Ma non è solo la qualità qui a fare la differenza. Queste piante imponenti, nodose, dal tronco spesso e contorto, sono sopravvissute nonostante l’economia. Il fatto che un nome così prestigioso investa nel Maule e nella sua ricchezza di viti centenarie ad alberello aiuterà a garantire che questo patrimonio viticolo non vada perduto per sempre. 
 Scopri l’intera gamma di Baettig, incluse le prime annate del loro Cabernet Sauvignon

Baettig è stato pioniere nella produzione di Pinot Nero e Chardonnay di Malleco, ma ora ha lanciato il suo primo Cabernet Sauvignon. Sophie Thorpe ha incontrato Francisco Baettig per saperne di più sul progetto.

From Malleco to Maule: as Chile’s Baettig releases their first Cabernet Sauvignon wine, we caught up with winemaker Francisco Baettig to find out more

Discovering Baettig’s Maule Cabernet Sauvignon

La missione Maule: il nuovo Cabernet Sauvignon di Baettig

South America’s finest Argentina and Chile have rapidly become hotspots for fine wine. Offering high-altitude sites with glorious sunshine, and varied soils, it’s no surprise that some of Bordeaux’s top estates have ventured into the two nations. Cheval Blanc's Argentinian collaboration with Terrazas de los Andes, Cheval des Andes, is unsurprisingly impressive. The estate works with high-altitude sites to produce a Malbec-based blend. The 2018 that is set to be released this year has already been rated highly by James Suckling (98 points), who wrote, “This will be a great wine indeed.” First Growth Ch. Mouton Rothschild works with Concha y Toro in Chile’s Maipo Valley to produce Almaviva – a wine that has, in Suckling’s words, become “a benchmark for the reds of the Andes”. He awarded 97 points to the 2019 and describes it as “extremely perfumed… vertical and integrated”. Bodega Catena Zapata – one of Mendoza’s leading names – will release the 2018 vintage of its top wines, Nicolás Catena Zapata and Adrianna Vineyard Mundus Bacillus Terrae. The latter is a Malbec from a 1.4-hectare plot which sits at almost 5,000 feet, while Nicolás Catena Zapata is the estate’s flagship wine – and Argentina’s first “Grand Vin”, made with the finest fruit from ungrafted vines on the family’s high-altitude sites. Both have earned high praise with the Wine Advocate’s Luis Gutiérrez describing the 2018 as “among the finest vintages for the Mundus Bacillus Terrae” (98 points). The Chadwick family – who own Errázuriz – will also release the 2019 vintages of their top cuvées, Seña and Viñedo Chadwick. Made by Francisco Baettig, these are incredible wines – earning 98 and 99 points from James Suckling, respectively. Last but not least is Clos Apalta, the Chilean estate that produces the finest expression of Carménère in the world. The 2018 is another excellent release, with 98 points from James Suckling. Super Tuscan stars The 2018 vintage in Tuscany was stunning – producing wines of elegance and freshness. While some of the Super Tuscans have already been released, a handful will be available via La Place this month. Masseto – the cult Ornellaia breakout star, described as the “Pétrus of Italy” – and the third vintage of its second wine, Massetino, will be released. Produced in tiny volumes, these extraordinary expressions of Merlot will be in unsurprisingly high demand. Solaia – Tignanello’s sibling from the Antinori stable – is set to be similarly popular, as ever. Giving it 98 points, Antonio Galloni of Vinous wrote, “I can't remember ever tasting a young Solaia with this much sheer appeal and balance in the early going.” The month will also see the latest releases from Bibi Graetz. The artist-turned-winemaker works with old vines and indigenous varieties to produce elegant expressions of Chianti. The 2019 Colore received 99 points from James Suckling who described it as “old-vine magic”, finding the 2019 Testamatta serious and structured (97 points). Cult California September sees a flurry of the Golden State’s most illustrious names hit the market. Opus One – the joint venture between Mondavi and Ch. Mouton Rothschild – is consistently in demand, and no more so for the 2018, with 98 points from Wine Advocate’s Lisa Perrotti-Brown MW and 99 points from Suckling. Having tasted it ourselves – we can vouch for the elegance of the vintage. It’s also worth paying attention to the new release of Overture (also based in the 2018 vintage), which is undoubtedly the best to date. Keep an eye out for the top-scoring 2018s from Vérité (100 points for La Muse, 98 points for La Joie and 97+ for Le Désir from Wine Advocate); the latest release of Joseph Phelps’ Insignia, the original Napa Valley proprietary red (2018 – with 97+ points from Wine Advocate); the 2019s from L’Aventure – the Pasa Robles estate run by Bordelais expat Stephan Asseo; and the 2017 vintage of Dominus (97+ points from Wine Advocate) – the cult wine from Christian Moueix of Pétrus. The new vintage from Maya Dalla Valle – who trained at Pétrus, Latour, Masseto and more, and is now heading up the family estate, Dalla Valle – is guaranteed to fly. The 2018 Maya has already got a smattering of top scores, with 100 points from Wine Advocate’s Lisa Perrotti-Brown MW, who wrote, “As cerebral as it is downright hedonic, this Maya is simply jaw-dropping.” This year will also see the latest vintage of Beaulieu Vineyard’s Georges de Latour Private Reserve – Napa’s first cult wine, and only its second release via La Place. The 2018 has 98 points from both Vinous and Suckling, with Antonio Galloni describing it as “sensational”. Ex-château classics The September Series isn’t limited to the New World – with a handful of estates in Bordeaux and the Rhône joining in, including the annual release of a ready-to-drink vintage of Ch. Latour, after the First Growth left the en primeur system. This year sees a star-studded vintage, 2005, emerge from the cellars. A vintage that needs little introduction, this wine has unsurprisingly high scores; tasting it earlier this year, Antonio Galloni gave it a perfect 100 points, describing it as “life affirming”. Ch. Palmer will also release 2011; while a less illustrious vintage, Robert Parker described it as the wine of the vintage in Margaux. Cheval Blanc, meanwhile, will release the 2019 vintage of Le Petit Cheval Blanc, the property’s highly desirable white. While normally Ch. d’Yquem would also release a vintage of their sweet wine, they are holding back the 2019, so this year sees only the 2020 vintage of Y d’Yquem (the estate’s dry white) released. Looking across to the Rhône, Ch. de Beaucastel will release the 2019 vintage of their Hommage à Jacques Perrin. This cuvée comes from ancient Mourvèdre vines and is made in tiny volumes. Alistair Cooper MW of jancisrobinson.com describes it as “a powerful thoroughbred”. Top wines from further afield A handful of wines from South Africa and Australia have also made their way onto La Place. The 2018 vintage of Klein Constantia’s Vin de Constance – the iconic sweet wine with a long and fabled history – will be released this year, perhaps a comfort to sweet wine fans who won’t be getting their fix with Yquem. Only scored so far by James Suckling (98-99 points), he rightly acknowledges it as a “unique wine”. Two names from Down Under get their second release via La Place this year. The 2017 vintage of Jim Barry’s The Armagh Shiraz – a Clare Valley legend – will be joined by 2018 Wynns John Riddoch Cabernet Sauvignon, a standard-bearer for Coonawarra. New this year This year sees several new names join the September Series. First up is Peter Michael Winery: founded by Sir Peter Michael CBE in the 1980s, this estate has been championing single-site, elegant wines from its corner of the Knights Valley, on the border of Napa and Sonoma, ever since. The 2018 vintage of the property’s Cabernet blends Les Pavots (from a single plot on the original Knights Valley estate, 97 points from Jeb Dunnuck) and Au Paradis (from a site in Oakville, purchased in 2009, 98 points from Jeb Dunnuck). While Robert Parker has spent much of his time rating wine, he also invested in a property in Oregon with his brother-in-law Michael Etzel. The result is Beaux Frères, now part of the Henriot stable, in Ribbon Vale, which produces world-class Pinot Noir. The 2019 vintage of the two top cuvées – from the Beaux Frères Vineyard and Upper Terrace Vineyard – will hit La Place this year. For the first time, Australia’s most famous estate, Penfolds, will release one of its wines, Bin 169 Coonawarra Cabernet Sauvignon. A classic expression of this grape on the region’s terra rossa soils, the 2018 is described as “impressive” by Suckling (97 points). Recently announced is the first vintage of Yjar – a new ultra-premium Rioja from Telmo Rodríguez. It’s described as an “outstanding first bottling” (James Suckling, 97 points) and “a wine that transcends the vintage” (Luis Gutiérrez from Wine Advocate, 96 points). Learn more about La Place de Bordeaux and the September Releases or read more Editorial

September sees the latest vintages from some of the world’s top estates released via La Place de Bordeaux. Ahead of the 2021 releases, we run through the vintages and properties that you’ll want on your radar

Exploring the top 2021 wines released by some of the world’s top estates via La Place de Bordeaux.

Top 2021 estate releases via La Place de Bordeaux

September Series: the 2021 edition unpacked

Daniel Humm is the iconic chef behind Claridge's new fine-dining establishment, Davies and Brook. His incredible resume includes setting up Manhattan’s Eleven Madison Park, which surely has one of the greatest wine lists in the world. We were thrilled to ask him and Wine Director Cedric Nicaise the following questions: Davies and Brook is your first venture in London. What was the attraction to set up a restaurant here? Daniel Humm: "I’ve always considered London to be a sister city to New York in terms of
its energy and food culture, so I’ve always been drawn to it. I also used to work at Claridge’s over 25 years ago as a commis, way at the beginning of my career. It’s a real full-circle moment to come back to one of the places where it all started for me, especially when I consider how lucky I am to open a restaurant in one of the most highly-regarded grande dame hotels in Europe." 
How does it differ from Eleven Madison Park?  Daniel Humm: "Though there is a lot of influence from Eleven Madison Park to be found
at Davies and Brook, it is definitely its own project with its own personality. We are really influenced by the culture of London and how it is truly a global city, and I am also inspired by my own travels over the past few years.  "We wanted to look at what fine dining is and then try to imagine what it could be – our menu is more flexible and accessible here, with a la carte and tasting menu options. We serve lunch every day and have an all-day bar menu where you can order small dishes throughout the day and into the evening. Being at Claridge’s really inspired us as well – we wanted to create a restaurant that respected and extended the history of one of the world’s most storied hotels." What are the key signature dishes you have brought over to Davies and Brook and what new creations are you most excited about? Daniel Humm: "We of course brought our classic lavender and honey duck dish from Eleven
Madison Park to London, and it has been received really well by guests. Our team in London, led by Chef Dmitri Magi, has done an incredible job making sure that the quality is consistent on both sides of the ocean. I’m really excited to have the opportunity to work within the culinary traditions and with local produce here in the UK." 
You grew up in Switzerland. What were your favourite dishes growing up? Daniel Humm: "I grew up in a place where what we ate was determined by what my mother
found at the market that day. Of course, one dish that has always inspired me
wasn’t really a dish at all – the milk and honey that my mother used to make me before I went to bed every night has inspired so many desserts at all my restaurants and remains one of my favourite flavors." Who has been your biggest influence in your cooking and why? Daniel Humm: "I am lucky to have had many mentors in my career and people who looked
out for me and inspired me. Gerard Rabaey taught me discipline early on in my career and that has had an impact on me my whole life. Many artist friends like Roni Horn, Daniel Turner and Rashid Johnson have inspired me and helped me find my voice and understand my own philosophy about cooking." The wine list at Eleven Madison Square is mind-blowingly epic! How long did it take to collate such a collection? Cedric Nicaise: "Thank you, that means a lot. The cellar at Eleven Madison has been a labour of love since 2006/2007. Before then the restaurant had invested some resources, but nothing like it would moving forward. The one thing that should be noted is that the cellar at EMP has only had three caretakers in that time and at least 2 have had tremendous impact.   First was John Ragan who became the wine director around the same time that Daniel
Humm became the chef. John is the one who started the growth of the list. When he took over the list was a few 100 wines. When he left towards the end of 2011 the wine list had grown to 2500+ wines. He was replaced with Dustin Wilson. Dustin had much less overall growth to do, by the time he was done after 3.5 years the list was at most 4000 wines.  "But Dustin added a cool factor to the list, before him the wines were very classic, Dustin placed an importance on some of the things happening around the wine world, things with a natural bent, “new Spain”. Things like that. He also developed the Northern Rhone section to being a world-class section. I took over for Dustin in May 2015.  My job has been the easiest.   "The list has grown to 5000 wines and I have tried to keep up with the ideals of my predecessors. While also adding my fingerprint.  I have developed white Burgundy the most, but also represented back vintage California Cabernet to a greater degree.  "Red Burgundy has also been fleshed out quite a bit. Overall I have not actively tried to grow the list, even though it has grown, but I have been buying with an eye to the future. Trying to keep wines in the cellar for longer. Hoping to have more wines that are 3-5 years old, instead of just old wine and young wine. I have also, like my predecessors tried to keep a great deal of value on the list.  Right now we have roughly 350 wines under $100."
 Was it always the plan to have such a comprehensive fine wine list? 
Cedric Nicaise: "I don’t think that it was a spoken intention. I know that when Chef Humm took over the kitchen, his goal was to have a world-class restaurant, and part of that was to have a world-class wine list. When the restaurant started speaking openly about being the best in the world, on the wine team we spoke about having the best wine list in the world.  I think we are far from that, but you have to have goals." How important is matching the restaurant dishes with the right wine, or do you see them as separate entities?  
Cedric Nicaise: "I believe that those two ideas are not mutually exclusive. I think that it is very important to have wines that go with the food. And I think we do. But the wine list is not for me, or for Chef Humm, the wine list is for our guests. And if our guests want to drink young Cabernet with their oysters, or white burgundy with their steak, who am I to tell them that they are wrong, even if I thought they were.  "Wine should be egalitarian, and not pretentious. Drink what you like. Ideally, if the wine is good, and the food is good, isn’t that a good pairing? However, if a guest wants us to choose wines to go with their food, its so important to have wines that can do that." What was the lightbulb moment for you with wine – what wine blew your mind? Daniel Humm: "For me, it wasn’t that I had a lightbulb moment – from the early days, wine was always a big part of my life. Wine was always on the table at every meal, and I love that part of the European culture. Because of that, I always find myself drawn to wines that have a sense of place and tradition." 
How important is wine in your life? Would you call yourself a collector? Daniel Humm: "No I am not a collector, but wine is something that I am always thinking about when we are developing a dish or a menu. It’s a central thought to me, what wine does to food and vice versa. That dialogue is so essential to the way that I cook and the way that I eat. Wine is so important because it carries a real sense of place and culture – you can taste the soil, the appellation, everything.  "When you are drinking wine you are informed about a place and a time, like reading a book or eating a meal. There is pleasure there, but also information. I believe that wine is one of the best ways to get to know a place." 
What would be your desert island wine?  Daniel Humm: "Probably a Dauvissat Chablis." Explore more Editorial 

We chat to the man behind one of the world's greatest wine lists (Manhattan’s Eleven Maddison Park) about his new venture at Claridge's, Davies and Brook

Exploring Eleven Madison Park's wine list

In conversation with Eleven Madison Park's Daniel Humm and Cedric Nicaise

It is hard to write the history of the future, but I hope that I am on safe ground when I say that the global pandemic of 2020 will be the defining event of the early 21st century. I say ‘hope’ because God help the human race if there is anything more defining waiting around the corner. By saying as much, I do not in any way diminish the other spectres that have haunted the dawning decades of the third millennium: among them mankind’s age-old companions, intolerance, religious fundamentalism and greed. Nevertheless, the pandemic has humbled humanity in a new and special way, combining our oldest foe, disease, with swift, easy, international travel – until recently one of the most central aspects of our technical and cultural advancement. Death and destruction, like everything else in life, are neither evenly nor democratically apportioned. Nevertheless, there can be few, if any, people on the planet whose lives have been untouched. Maybe there is a tribe of rainforest-dwelling Pygmies, cut off from what we hubristically call civilisation and which continues to exist in a state of prelapsarian Stone-Age ignorance. But the rest of us have been simultaneously confronted by our mortality, the fragility of our lives and, in many cases, the vacuity of our dreams. We reacted in different ways, retreating into what we found comforting. Some (yes, you, David Geffen) used social media to let the world know that they were safe on their yachts. Others explored the restorative powers of one of the most fundamental and symbolically domestic of rituals: baking bread. My own reaction was somewhere between these two poles. Within just a few days of the pandemic being declared in the UK, I had taken to the virtual airwaves with films – exquisitely directed by my younger son – of me smoking cigars with my elder son and dilating on the joys of the fragrant blue smoke of Havana cigars. Trivial perhaps, superfluous almost definitely, but to me immensely significant. It is hard to express the emotional impact of this activity without resorting to cliché, but then clichés tend to be clichés because there is an element of truth in them. And while the term ‘intergenerational male bonding’ is an arid form of words that traduces the emotional value of the experience, it also begins to explain its worth. But more than just finding a new way of communicating with my children, I like to feel that I am passing on something from which they can derive satisfaction; I was first inculcated into the world of the cigar by my stepfather-in-law – who splendidly encapsulated the appeal as being “the feeling of well-being” derived from learning how to wield this refined instrument of pleasure. Pleasure and well-being are the inspirations of these broadcasts (as I rather self-consciously, antediluvially, call them), and to my surprise they established a moderate but relatively enthusiastic following. Given that I am old enough to have children in their 20s, I am also old enough to regard the idea of using a telephone to make a home movie that has no actual physical presence, and that can be viewed via another intangible medium, as being pretty close to witchcraft. I find it remarkable that as many as 15,000 people – most of whom I have never met, living I know not where – tuned in to watch two men in slightly extravagant clothes (we wore safari suits, cowboy outfits, boating blazers, dinner jackets, business suits and tweeds) set fire to tubes of tobacco and try and convey a sense of the flavours they were tasting. But more than a degustatory sensation to be relayed, it was, in its way, an act of cultural transmission that in its essence is not very different to the role of say, indigent troubadours that wandered the courts of 12th and 13th century Provence, or the griots of the Mali empire of the 14th century, telling stories of noble exploits of the past. As we sat amongst its fragrant swirling wisps and gossamer tendrils; the sacred smoke of the cigar would unlock the past and liberate fragments of memory from wherever it is that memories are imprisoned and presumed forgotten. As we shared the flavour and the experience, recollections of my visits to Havana over the last quarter-century would be summoned unbidden – oxymoronic though that may sound. I remembered names of rollers, long conversations with factory directors and days spent in the fields of the plantations. I recalled meeting an ancient torcedor who had started work as a child and he remembered rolling cigars for Winston Churchill. I was reminded of a long afternoon spent on the terrace of the simple home of the late Alejandro Robaina, the Cuban tobacco farmer, whose time-furrowed face would give the pachydermic features of W.H. Auden stiff competition. He sat in his rocking chair and retrieved his own memories of how the climate had changed over the course of a generation, and of the taste of his first cigar, enjoyed before the age of 10 during the 1920s. However imperfectly, I was able to transmit these memories to my children in a setting and an atmosphere that made those memories theirs too. It is the associative power of the cigar to stimulate memory that raises it beyond the mere intake of nicotine, and instead elevates it to the level of a cultural activity. Proust had his madeleine and I have my cigar. I pick the cigar because it has been a personal comfort during a difficult time, but the same can be said to be true of any skill-laden and ritual-rich activity that is passed from generation to generation. I enjoy traditionally made clothes and I find the idea appealing that many hands contribute to the making of a single garment. It may be better-made than its ready-to-wear counterpart, it is likely to last longer and fit better – but these are only the tangible aspects. At the risk of sounding pretentious, there is what one might call a spiritual element to having clothes made. There is something uniquely appealing about clothes that have been made only for you and it is an appeal to which I succumbed almost 40 years ago. I first got into having clothes made for me long before I could afford it, when, as an undergraduate at Oxford, I fell under the spell of a charming old tailor called Stamp, Mr Stamp to his friends. He was a fabulous old boy with a shop on Broad Street, or The Broad as I believe we were encouraged to call it at the time, just down from Castell where he had started as an apprentice half a century earlier during the 1930s. He made me a pair of trousers, a blazer and few other items including several remarkable waistcoats. One of the best moments came when I took in a 50-year-old, double-breasted waistcoat for him to copy. He looked at it, examined a label sewn into the underside of the backstrap, peered at the stitching around the buttonholes, and then told me that the garment had been made for a well-known Spitfire test pilot, gave me the price of the fabric per yard in 1936 and – most impressive of all – informed me of the name of the man who had stitched the buttonholes.  My first shoemaker Eric Cook also beguiled me when he took a look at a pair of Lobb correspondent shoes, turned them over and was able to identify the man who had finished them because of the slightly elliptical curvature of the heel and the spacing of the nails.  For me, such knowledge is just as impressive as that of the connoisseur who can identify a long-lost masterpiece by examining the brushstrokes and the state of the canvas or wooden panel on which the paint was laid. But, unlike the admiration of an acknowledged masterpiece by a globally renowned artistic genius, the quality of such pleasures is more personal and, arguably, more meaningful. It was Franz Liszt who said, “A good Cuban cigar closes the door to the vulgarities of life,” but the same is true of the contemplation of a well-sewn buttonhole, or the anglage of a well-finished watch movement. Such pleasures may be only fleetingly experienced, but I would argue they are all the more precious for their intimacy: watches and clothes are worn on the body, the cigar is consumed – becoming in some way part of the body and stimulating the mind. These are things that ornament life, that raise the quotidian to the memorable and that transcend the disagreeable nature of too much of life today. I suppose that this is what is meant by ‘luxury’. I had been hoping to get to Paris to catch an exhibition, at the Musée des Arts Décoratifs, devoted to the controversial subject of luxury, mounted under the aegis of my friend Pierre-Alexis Dumas, creative director of Hermès, who understands the field better than most. “While the luxury object resists definition by any single concept, drawing instead on shifting, eclectic visions, we might nonetheless agree that it possesses one distinctive characteristic above all others,” he told me. It is, he believes, “an object we keep, respect and cherish, one that archaeological discoveries across the globe reveal as speaking timelessly to us, its human power undimmed, resonant with distant emotions. Today, at a time when luxury seems to hold omnipresent status, in the media and in social networks, it is perhaps pertinent to recall that the luxury object is precisely one that is preserved and passed on – a magnificent, enduring conduit of culture and knowledge, bearing witness to human ingenuity.” The overuse of the word ‘luxury’ has led to its trivialisation, but there is a sense in which the pandemic has helped me transmit to my children something of my view of its true meaning. In a world of ever abbreviated communication, the chance to spend time in contemplation of what I love with those I love has been a gift – and the suspension of the ceaseless restless turmoil that we regard as normality, has shorn many so-called luxury items of their status-conferring function, allowing us to see them for what they are, to winnow the impostor from the authentic. I hope that I have conveyed, however clumsily, what it is that I appreciate, and uncovered something of the culture and values that make them important to me. My sons are fascinating people, their company is genuinely instructive for me, I see things anew through their eyes and this in turn has added further richness to life’s pleasures: not just appreciating the intrinsic qualities of, say a cigar or a suit, but in enhancing that appreciation by seeing it reflected in my children. It is a powerful combination of culture, emotion and enjoyment. Whether a vessel of personal memory, a conduit for the great values of humanity, or a bulwark against the deadening combination of fear and tedium of recent months: the superfluous, to misquote Voltaire ever so slightly, has seldom been so necessary. This article was originally published in FONDATA, Issue One

Writer and author Nicholas Foulkes considers the notion of transmitting cultural knowledge and enthusiasms from one generation to the next – and how finding joy in the seemingly trivial details of the objects he values has brought him closer to his sons. 

Photography by Julian Broad.

Nicholas Foulkes considers the notion of transmitting cultural knowledge and enthusiasms from one generation to the next.

FONDATA: Foulkes & Sons 

Foulkes & Sons  

Thorn Clarke

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