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

Bordeaux 2020 is the third in a trilogy of outstanding vintages for the region – but, talking to producers, one thing is abundantly clear: the year was not easy. Covid-19 aside, the year’s unusual conditions demanded attention in the vineyard. “It was a marathon,” Noëmie Durantou Reilhac of Ch. l’Eglise Clinet told me. Nicolas Audebert of Chx Canon and Rauzan-Ségla was more frank: “It was a f***ing tough year.” “Extreme” is the word that comes up time and again. It was both wet and dry, mild and hot – a contradiction in terms throughout, demanding producers’ attention. As Jean-Sébastien Philippe at Lafite described it, 2020 was “un millésime de vigneron" (a winemaker’s vintage). The winter and spring were mild and wet, replenishing water reserves and kicking off the growing season early. It was so mild – with temperatures on average around 2˚C warmer than usual – that there were already signs of budbreak at L’Eglise Clinet on 4th February. Flowering was early and homogenous; at Ch. Margaux it was a full 15 days ahead of normal, Managing Director Philippe Bascaules noted, bringing the entire season forward. This early start led to fears of possible frosts, but (unlike in 2021) the temperature barely dropped and the threat to crops was minimal. Overall, 2020 saw more rain than any other year in the last decade – however it fell almost entirely over the winter and spring, with subsequent concentrated bursts in May and August. This relative downpour was essential for what was to come, for the summer was parchingly dry. As Pierre-Olivier Clouet of Cheval Blanc explained, the spring provided the vines with enough reserves to survive the long, dry summer.  But the damp also brought mildew pressure – a particular challenge for those working organically or biodynamically. “On 12th May we had to spray copper by hand over 25 hectares of vineyards, as it was too wet to put tractors in the vineyards,” said Thomas Duroux at Ch. Palmer. Justine Tesseron at Ch. Pontet-Canet explained how dry breaks in the weather helped them avoid the damage seen in 2018, allowing them to get into the vines and spray. The mildew seemed to impact the Right Bank less, although work was still essential to avoid losses. Then in mid-June, a switch flicked and the weather shifted dramatically, becoming warm and dry. “It’s like only having two seasons instead of four,” Nicolas Glumineau of Ch. Pichon Comtesse explained, something he fears is becoming the new normal with climate change. The warm dry conditions concentrated the berries and then, as the vines gradually started to
become more stressed in August, slowed the vines’ growth. This was, Noëmie Durantou Reilhac of Ch. l’Eglise Clinet noted, important – helping to slow the sugar accumulation, and allow the phenolics to catch up. But the vines were stressed. “Vines are living beings and we ask them to go through a lot. If you were drinking a gallon of water every hour for a month and then had no water for two months…” Noëmie Durantou Reilhac said. The team at Pichon Comtesse was starting to worry as the leaves started to turn yellow and the vines were visibly struggling. But relief arrived in mid-August, with rain on
the Left Bank (with the least falling on Saint-Julien) and Saint-Emilion, although Pomerol had to wait until 1st and 2nd September for the weather to break briefly and provide the water the vines sorely needed. “This really refreshed the grapes, diluting the sugar content, but early enough to allow for concentration to build up in the berries,” Bascaules at Margaux explained.  From the end of August to late September, the mercury rose even higher. At Pichon Comtesse, with temperatures reaching 40˚C, Glumineau started to become nervous about the wine they’d be able to make, visibly seeing the berries reduce in size each day during the last two weeks of September. Cool nights were key at this time, preserving acidity and aromatics, despite the heat of the day. The harvest itself was fast and furious. Thanks to the homogenous flowering, everything ripened at once – and quickly. The whole season remained 10 to 15 days earlier than normal, and picking of the whites kicked off in mid-August, while the Merlot started coming in from early September, then the Cabernet from the middle of the month. Everything was in before the close of the month. Timing were similar to 2003, 2015 or 2019. Nicolas Glumineau noted that rainfall at the very end of September – falling on 25th and 26th – was of particular importance, helping “polish the tannins” on the last few plots of Pichon Comtesse’s Cabernet Sauvignon.

“It was a textbook perfect vintage,” Damien Barton Sartorius, Director of Léoville and Langoa Barton said – the only thing that upsets him is the volume of wine produced. The dry conditions broadly led to smaller berries with thick skins, and therefore less juice. In general, yields are a little down on 2019 and 2018, around 10 to 25% in most places, with the smallest crops in Saint-Julien (down 20% at Léoville and Langoa Barton, 25% at Ch. Ducru-Beaucaillou), and Sauternes and Barsac.  “It was a crazy, crazy vintage,” said Omri Ram of Lafleur. Rushing through the growing season like this, it’s clear it was, but producers aren’t shy about the results, nor should they be. The wines are superb – more classical than those of 2018 or ’19, with some comparing them to the wines of 2016, ’15 or ’09. Read more about the vintage in our overview or commune-by-commune breakdown

The 2018 and 2019 vintages might be tough acts to follow, but Bordeaux 2020 seems to be more than up to the job. We spoke to producers about the year’s extreme conditions – and the stunning results it produced

Chx l’Eglise Clinet, Cheval Blanc, Pichon Comtesse and more on the extraordinary conditions that shaped the 2020 Bordeaux vintage

Exploring the Bordeaux 2020 growing season

Bordeaux wine vintage 2020: a tale of two halves

Waterford founder Mark Reynier speaks to Gavin Lucas about his obsession with terroir, traceability and transparency – and how his radical approach is driving unprecedented scientific research into the flavours derived from barley grown on different soil types

Waterford founder, Mark Reynier, discusses his obsession with terroir, traceability and transparency – and how his approach is driving pioneering research 

FONDATA: The Waterford Revolution

The Waterford Revolution

Talking to producers about the 2020 vintage in Bordeaux, their excitement is palpable. Dramatic gesticulation and unabashed grins made for little modesty, but there is also a certain amount of relief. This was not an easy season for the region’s vignerons – a rollercoaster of a year that really put them to the test (and that’s without taking the global pandemic into account).  You can read more about the conditions in our piece on the growing season, but – in brief – it was a vintage of two halves. The season started with a mild, wet winter and spring, with the growth cycle around 10 days earlier than normal. “It was a very, very precocious vintage,” Daragh Quinn at Ch. Fieuzal explained. The damp conditions led to mildew pressure, demanding winemakers’ presence amongst the vines to stave off the threat (especially for organic or biodynamic producers).  From mid-June, the weather shifted dramatically, becoming dry and hot, resulting in some vine stress. Mid-August rain provided some relief on the Left Bank (less fell on the Right), while cool nights in late August and September were key to preserving aromatics and acidity. Harvest was swift and early, with the whites picked from mid-August, the Merlot from early September and Cabernet following from the middle of the month. There was a little rain towards the end of harvest, welcomed by some producers in the Médoc to plumpen the extremely concentrated Cabernet berries.  The resulting crop was beautifully ripe, but with particularly small berries – something that means yields were impacted. “The frustration is the volume produced,” Damien Barton-Sartorius of Léoville and Langoa Barton explains. “I’m a farmer talking – we like a good quantity.” For him, the yield was down around 20%. At Lafite and Duhart-Milon, the reduction was around 15%, a little lower at L’Evangile where mildew had more of an impact. Angludet was hit hard, with just half the normal crop – something that surprised Benjamin Sichel – but this was an exception rather than the rule, with a reduction of 20 to 30% on 2019 the norm.  So, how did winemakers handle the vintage? First and foremost was managing the extreme growing season. Getting out amongst the vines to spray and protect against mildew was essential. Most left larger canopies in place to offer much-needed shade for the fruit during the hot summer conditions. Picking dates were key to preserve acidity, and many also chose either to pick in the early morning – allowing both the fruit and pickers to enjoy cooler conditions – or chill the fruit on arrival at the winery. This helped preserve the delicate aromatics and enabled producers to control fermentations better.   The small and concentrated berries meant there was a higher than usual skin-to-juice ratio, and the potential for a lot of tannin. It was therefore all the more important that extraction was gentle, especially as the seeds weren’t necessarily ripe as Edouard Moueix (of Ch. Bélair-Monange and La Fleur-Pétrus) highlighted. As Guillaume Pouthier at Les Carmes Haut-Brion told us, it was about “passive extraction” which he did entirely via infusion for the first time this vintage. Lafleur has never pumped over as little as they did in 2020, but it simply wasn’t needed with the perfectly ripe fruit, Cellar Master Omri Ram explained: “Aromatic compounds, ripe tannins, flesh, it all came out of the grape so easily.”  On paper, it’s tempting to think that the 2020s were destined to be big, bold, super-ripe and tannic. Fortunately – and much to many producers’ bafflement – it’s not so. While in some ways the vintage could be compared to the similarly hot 2003, the wet start was key – supplying the vines with essential reserves to get them through the warm, dry summer. Similarly, the mid-August rain was a godsend for the gravel soils on the Left Bank.  In short, the 2020s are very good and, in some cases, outstanding. Surprisingly elegant, the wines combine the ripeness and density of a warm year, yet with a wonderful freshness and aromatic precision. On the Left Bank, the alcohol levels are modest (notably Lafite is a mere 12.8%, while few sit above 13.5%) – something attributed by some to the August rain. The fruit is ripe yet with a real refreshing crunch to it. There’s a vibrancy and saline acidity that makes the wines moreish. These classical expressions of Claret are, as one winemaker noted, wines that will appeal to the English palate. “It’s quite incredible, the freshness,” Vincent Millet, Calon Ségur’s General Manager, said. He noted that these are wines with “beaucoup d’éclat” – wines that leap out of the glass.  “I just love the 2020,” Nicolas Glumineau at Ch. Pichon Comtesse told us. “It’s full of energy, exploding out of the earth. Full of minerality.” Thomas Duroux at Palmer captured it nicely, describing the vintage as having a “Latin flair” yet also a class and restraint. Antoine Gimbert (Léoville Las Cases, Nénin and Potensac) put it similarly: “flamboyant and subtle at the same time”. Pauline Vauthier at Ausone highlighted the long ageing potential of the vintage – having the requisite length, minerality and freshness.   On the Right Bank, the wines are plusher, the alcohol levels consistent with recent vintages (most at 14 to 14.5%), but there’s still a restraint and elegance on show. While there’s plenty of concentration and structure, the tannins are seamlessly ripe (making them relatively approachable for cask samples) and they are aromatically expressive, often with a distinct floral imprint. Noëmie Durantou Reilhac (Ch. l’Eglise Clinet) emphasised how important she felt élevage was for the vintage. It “would have been very charming, very seducing – but not as deep as it could be. The élevage brought that deepness to that very juicy, flashy fruit,” she said. Pierre-Olivier Clouet at Cheval Blanc feels it’s a wine that will need time, describing the tannins as “a little academic”. For him, the dry conditions “explain perfectly why the wines are so dense, so powerful, so intense”.  It is important to note that this not a totally homogenous vintage. The challenges of the growing season meant that only those who could and did put in the requisite vineyard work excelled. The dry conditions meant that terroir held even more importance than normal. Cooler, water-holding clay and limestone soils were an advantage; the well-drained gravels that house much of the finest Cabernet sometimes struggled. It is for this reason that the Right Bank seems to have really shone, and it’s arguably a Merlot vintage – but that isn’t to say there aren’t some superb Cabernet-led wines. Saint-Julien, Margaux and Saint-Estèphe are the most consistent on the Left Bank, while the top names in Pessac-Léognan have over-performed. The finest Pauillacs are glorious – pinpoint, precise examples of what this commune does best.   Justine Tesseron at Pontet-Canet was one of many to agree that 2020 is the “third in a trilogy of top vintages”. Given the year’s unusual conditions, comparisons have proven hard. Pierre-Olivier Clouet at Cheval Blanc feels 2020 has a palate like 2010 or ’11, with the nose of 2015 or ’09. The wine reminds Noëmie Durantou Reilhac (Ch. l’Eglise Clinet) of 2015. At Léoville Las Cases, Jean-Hubert Delon compared it 1988. Vincent Millet at Calon Ségur feels it is like 2016, except with more density. While in numbers it’s similar to 2010, Haut-Bailly’s Véronique Sanders feels 2020 is a very different wine – with a “contrast between power and this elegance”.  “It’s very close to 2019 – very classic,” Nicolas Glumineau (Pichon Comtesse) said. “To me it has something like the energy of the 2019, and the uprightness and strength of the 2016. It’s a great wine, I’m sure about this.” The term “classic” comes up time and again – something Jean-Sébastien Philippe at Lafite also proposed, versus the more modern 2018 or 2019. At Ch. Margaux, Philippe Bascaules described it as a more concentrated 2019, or a fresher 2018, but feels all three vintages are of the same, high quality.   From our own tasting, we can’t help but agree – this is another very good vintage to follow on from 2018 and ’19. Great? Maybe. The best properties – wherever they’re based – have made brilliant wines that sit comfortably alongside the best vintages in recent memory. Although not every wine reaches such heights, the balance between power and freshness is impressive – and sets them up for a long life in the cellar. Overall, however, there’s a classicism and elegance to the 2020s, with expressive and delicate aromas that make these wines utterly seductive. We can’t wait to watch them evolve in bottle.   The vintage in brief  Very high quality, with some exceptional wines Complicated growing season with a wet start and hot, dry summer  Ripe yet surprisingly fresh wines  Classical and aromatically expressive  Right Bank more consistent than the Left  Excellent wines to be found in every commune  Yields are down by 20-30%  Read more about Bordeaux, including our breakdown by commune

The 2020 vintage in Bordeaux was not easy – but the resulting wines are undeniably very good. After several weeks’ tasting and talking extensively, we give an overview of the eventful year and the impressive wines it produced 

After several weeks’ tasting and talking extensively, we give an overview of the eventful year and the impressive wines the Bordeaux 2020 vintage produced 

Bordeaux 2020 vintage overview

Bordeaux 2020: vintage overview

For good or for bad, the 2021 was a vigneron’s vintage, a year that required every bit of nous to circumnavigate the many issues that plagued the growing season. With an early budbreak and one of the latest harvests on record, it was a long and exhausting vintage for everyone involved. This was by no means a vintage that made itself – and its success was determined by the actions of man not nature. Whereas normally there tends to be quite a bit of variation between the sub-regions of Bordeaux throughout the growing season, in 2021 things were decisively challenging everywhere. All were initially threatened by frost, followed by mildew pressure, excessive rainfall in June, cool summer temperatures and a general lack of sunshine throughout the spring and summer months – only to be rescued in the final sunny weeks leading up to harvest. Some unlucky enough (mainly around Sauternes) also suffered hail damage prior to harvest. Despite the homogenously bad weather, the varying soils and varieties throughout the region all reacted quite heterogeneously, meaning some suffered more than others. Such were the manhours required in the vineyard in 2021, production and quality were going to be badly affected. Bear in mind this was all still at a time when Covid-19 was still a pressure point for employment, as noted by a number of wineries we visited. The mild and very wet winter brought an early and uneven budbreak, as early as 10th March in Pessac-Léognan and 15th March in Saint-Emilion – which was a full two weeks ahead of normal. This was followed by unseasonably warm weather, Ch. Figeac in Saint Emilion registered 25˚C, resulting in the vines’ quick acceleration of growth. With the vines already so advanced, the threat of spring frosts was all too apparent. Right on cue, temperatures plunged at night.  The 6th, 7th and 8th April saw black frosts cause significant damage across the region. Those worst affected in the classified sites were in Sauternes and Pessac-Léognan – with some châteaux in Sauternes witnessing their entire crop wiped out. The threat of frost was a prolonged agony for many, lasting right up until the 5th May, with temperatures recorded as low as -5˚C. For the Moueix estates in Pomerol, the combination of wind turbines and smudge candles could raise the temperature in the vineyard up by 2˚C – enough to protect the grapes. Other properties without such resources weren’t so lucky. Ch. Margaux's white wine vineyard is famously susceptible to frost. After installing a sprinkler system throughout the whole 8.5 hectares, the system malfunctioned, not working on 1.5 hectares where they lost everything (fortunately the remaining seven escaped harm). The frost damage was far from democratic, with estates within the same appellation seeing widely different levels of damage. As always, the châteaux on the Left Bank closest to the Gironde such as Ch. Léoville Las Cases and Latour came away largely untouched by the frost. Further north in Saint-Éstephe, châteaux such as Calon-Ségur and Montrose were also unaffected – not just due to their close proximity to the river. The cooler clay-rich soils of the appellation mean budburst is always delayed, and with the vines not as advanced, damage was limited. The risk of frost threatened Saint-Emilion for 10 days straight and led to a huge amount of work in the vineyards protecting the vines. The vineyards on the lower plains were worst affected, Croix Canon for instance, while Ch. Canon and neighbouring Ch. Berliquet up on the limestone plateau were spared, due to the vineyards’ fortunate south/south-west exposition – the brow of the hill protecting the vines from the freezing northeasterly winds. Vines basking in the sun at Ch. Latour If there was one moment of calm throughout the 2021 growing season, it came at flowering. Clement, dry weather engendered successful flowering, though rains arrived at fruit-set, leading to coulure for the Merlot. A huge deluge fell in June – as much as three times the month’s average rainfall. The damp, cloudy conditions saw the widespread outbreak of mildew that remained throughout June, July and into August. Bordeaux’s proximity to the Atlantic and the naturally high levels of humidity this brings have always made it susceptible to mildew, but for many vignerons we spoke to, this was the worst outbreak they had ever seen. The poor climatic conditions saw coulure and millerandage (the development of fewer and differently sized berries) badly affecting the Merlot on the Left Bank. This is why you’ll see such high proportions of Cabernet Sauvignon in the blends this year – with Cabernet being much less susceptible to both conditions. Despite the blanket attack of mildew, its effects varied from property to property. Ch. Margaux believed the mildew outbreak was the worst they had ever seen, yet for them, it never reached the grapes, only the canopy – allowing them to protect the fruit from damage. Perhaps their largely Cabernet Sauvignon plots made it easier to protect; Merlot certainly wasn’t so lucky. Further north in Saint-Julien, Ch. Ducru-Beaucaillou chose to leave the grass cover throughout the growing season to soak up the humidity and reduce the rain splash which spreads the mildew to the vines. Many sprays later and the yields were still significantly impacted; their Grand Vin is 98% Cabernet Sauvignon (the highest proportion ever) and production is the lowest on record, cropping at 20hl/ha. Ch. Pontet-Canet in Pauillac was devastated by mildew in 2018, losing two thirds of their crop. Despite the bigger outbreak in 2021, production was down only 15% – clearly having learnt how to better cope with the issue. The estate’s Justine Tesseron emphasised that you had to react fast to protect the grapes – you had to get out into the vineyards immediately after each rain episode to stop the spread. It was the year their newly built “tisanerie” came to the rescue, making them much more efficient in preparing their biodynamic sprays and reducing the overall impact. Many estates including Ch. Cos d’Estournel and Calon-Ségur carried out early de-leafing to reduce the impact of the disease. It was a huge risk. If the climate switched to more intense sunshine, the crop would have suffered significant sunburn. But the intensity of the sun, fortunately for them, was never that strong. With such high levels of rainfall in the summer months, the vignerons faced their next issue – a slow and uneven véraison. That moment where the energy of the vine switches from producing its canopy to ripening the grape is set off by a period of hydric stress – something which was not forthcoming in 2021. An event that typically takes place over two weeks was spread over four. The high rainfall also meant bigger berries and dilution was a concern, particularly as they edged towards harvest, worried the skins could burst and rot would set in. Fortunately, things finally started to dry up in August and, while temperatures remained mild, the grapes pushed through véraison. The September weather finally brought some hope for the vintage and, according to many vignerons, was their saviour. Sunny days and cool nights were ideal for grapes to concentrate, retaining freshness, while producing the beguiling aromatics that are so distinct in the 2021 wines. There was a little more rain in mid-September, most notably in the Médoc, which brought concern over rot, but any significant damage was held off by a dry and sunny October. Smudge pots or "bougies" between the vines, on hand to offer protection against frost The northern appellation of Saint-Estèphe was noticeably drier than appellations to its south, with hydric stress starting in July and “perfect weather” followed in August according to Ch. Montrose’s Lorraine Watrin. She compared the growing season to 2014, which was particularly successful in the appellation. By the end of September, throughout the regions, most of the Merlot was picked. Of course, the Sauvignon Blanc and Sémillon grapes, capable of growing in much cooler, wetter conditions, were much less affected by all of Mother Nature’s shenanigans. For the estates that avoided the frost, the whites reached good volumes and the fresh temperatures of the growing season proved ideal for the varieties. The whites were largely picked in the first two weeks of September and the top examples proved exceptional. For the reds, Mother Nature had one more card to play. Weather forecasts for the first weekend in October predicted heavy storms and more rainfall. With the large berries close to ripeness, a heavy storm could decimate the later-ripening Cabernets and would prove catastrophic for many on both the Left and Right Bank who rely on large proportions of Cabernet in their wines. With little choice, most ran the risk, and held out picking until the storms passed. Thankfully Mother Nature’s trump card was never played. Amazingly, the forecasters got it wrong, and the storms never came. Finally, the Cabernet was picked under sunny skies. Many châteaux such as Calon-Ségur held out as long as possible and were harvesting right up until 13th October – their latest harvest since 2012. What is extraordinary about the 2021 vintage is the complete inverse effects of the previous three years. Three vintages of relative drought, plagued with concerns over rising sugar/ alcohol levels, vines blocked from maturation due to hydric stress, and a genuine concern that the wines would lack full phenolic maturity, due to the compacted ripening season. Every one of these concerns was turned on its head in 2021, producing wines that are the opposite of the 2018, 2019 and 2020s. This unique season has put technology advances in Bordeaux to the test – from weather stations, UV boosting to state-of-the-art machinery – and at its best, they’ve defied the odds. A couple of decades ago, a growing season like 2021 would have produced very little wine at all, but today the Bordelais have proven that man can – at least for now – manage almost everything Mother Nature throws at them. And, most importantly, still produce wines of striking finesse and aromatic charm. Read more Editorial 

Man versus Mother Nature: The 2021 growing season in Bordeaux was in complete contrast to the previous three vintages. Gavin Smith runs through the key moments that shaped this unique year

Everything you need to know about the 2021 growing season in Bordeaux, how the best chateaux managed it – and how it impacted the style of the wines produced

Bordeaux 2021 en primeur - the growing season

 Bordeaux 2021: the growing season

In some parts of the wine industry, oak has almost become a dirty word. Many winemakers eschew its use, seeing it as something that homogenises varieties and styles with its overbearance, given its potential to dominate a wine’s final flavour. The use of new barriques in particularly has become less and less popular in varieties that are more prone to oxidation and whose delicate aromatic nature is lost to the perfume and spice of toasted oak. This certainly seems to be the case for the Italian varieties Sangiovese and Nebbiolo, for which there is a decided swing back towards more traditional, larger, old oak vessels that do not impart oak flavour to the wine.  Although Burgundy’s Pinot Noir and Chardonnay have a great affinity to new oak, its use is declining significantly. Today in the world of fine wine, terroir is the trumping card and if new oak is a barrier, then its use starts to be questioned – but the Bordelais have long been strong affiliates to long ageing in barrique and the additional complexity that this brings wine.   Amongst Bordeaux’s elite, there remains a strong endorsement for the continued dominance of oak. Hugely influential producers such as Ch. Margaux have no qualms about using 100% new oak. Winemaker Philippe Bascaules believes criticisms of overusing new oak are due to “the weakness of the wine” – rather than the power of the oak. For Bascaules, “The most important quality it brings is the evolution of the tannins,” – and this is something he is not willing to give up. After many years of experimentation, Ch. Palmer's Thomas Duroux (another of the region’s leading names) also believes the oak barrique is the vessel that best develops the tannin structure of a wine. For him, the 225-litre barrique provides the perfect ratio of wine to wood and level of oxygen exchange for “building the wine”, and thus creating more structural complexity. But for some vignerons, new oak does has its limits. Duroux himself is well aware of new oak’s ability to overpower other flavours and he tries to maximise structure, while not losing the primary fruit character and aromatic complexity of the wine during oak ageing. He has come to his own conclusion that the best approach is to age the wine in two phases.  From November to July, he ages the wine in 225-litre barriques (either new or one-year old oak). Then from the July after harvest to the following July, the wine is transferred to larger oak foudres (2,900-litre barrels). Duroux describes this second phase as, “the refining period, where the wine becomes more integrated, more delicate – without taking on oak flavour or oak tannin”. He started trialling this method in 2017 and now Palmer has 20 foudres in operation. For the 2020 vintage, 30% of the wine has been aged this way. Bruno Borie (Ducru-Beaucaillou), however, feels that the reason for using new rather than old oak is often misunderstood. It is not the flavour that is important, but the cleanliness of the vessel. With wines such as the reds of Bordeaux, where pH levels are fairly high, it only becomes more important, since the wines are prone to bacterial spoilage, something that plagued the region in the 1980s and ’90s.  “We don’t sell wood, we sell wine,” Borie says. “We just use new wood because it is clean and sterile.  Brett [Brettanomyces, which causes bacterial spoilage] is so dangerous.” Older barrels are difficult to clean effectively after use, agrees Margaux’s Bascaules, and when a barrel is beyond a year old, the risk of microbial spoilage simply becomes too high. For Duroux, the older barrels also develop a sulphate compound which can “dry out the wines”.   Oak flavours are undoubtedly integral to the flavour of Bordeaux – but even its strongest supporters are today more open to understanding and better controlling its effects. Although Bascaules has no plans to change how Margaux is made, he is excited to learn what the wine would taste like without oak.  Over many years working at the château, this is something he has never experienced and still does not know. He has plans to experiment with glass amphorae, the idea being that by knowing what Margaux tastes like without oak, it will help him better understand how different elements bring flavour to the wine. “Many flavours people assume are from oak are not,” he says. “Cabernet Sauvignon, for instance, can produce coffee-like flavours. Often it is the reaction of oak and fruit that creates the flavours together.” Using these new glass amphorae will bring a better understanding of Margaux’s DNA – or at least this is what he hopes. Borie also notes that long oak maturation is essential for extending the ageing potential of the wine, something alternative vessels simply cannot do. “We make wine for collectors, wines that can be cellared for decades. Bordeaux’s ageing potential is very important, it is one of its signatures,” he says. Since 2003, Borie has extended the time Ducru-Beaucaillou spends in oak from 12 to 18 months to further extend the wine’s 
longevity. “Longer maturation in oak brings a special textural complexity, a different level of integration – a melding of tannins,” he explains.  But there are others in Bordeaux committed to oak alternatives. One of the region’s top châteaux that has made a significant switch from oak is Ch. Pontet-Canet, which has been ageing 35% of its wines in concrete amphorae since 2012. For Pontet-Canet’s Justine Tesseron, “Too much oak hides too much of the fruit flavour.” The clay amphorae, she feels, “help to keep the freshness of the fruit and keep the purity of the wine”. Happy with the results, Tesseron is considering increasing its proportion in the future, convinced they aid them in retaining “a pure expression of what the terroir is giving us”.  But no one in Bordeaux is giving up on the oak barrel altogether. In fact, the strongest advocates of alternative vessels tend to think a combination of both is where you can achieve the most complexity. Guillaume Pouthier from Ch. les Carmes Haut-Brion is known as one of the more experimental vignerons in Bordeaux and was amongst the first to introduce clay and glass amphorae as an alternative to oak. He feels clay in particular is “very interesting” as it allows the same oxygenation as barrels but you keep the “freshness, you keep the first aromatics of the wine”. He has some 2018 still in clay amphora and it smells like it was just picked.   Ageing wine in glass containers, however, sees no exchange with oxygen, meaning “the tannins don’t evolve” and the resulting wine is “very pure”, something which he feels adds energy to a blend although can risk making the wine “too hard” if there’s too much. For Pouthier, small proportions of wine aged in clay or glass brings additional complexity to the wine, working in combination with oak-aged wine.   Despite these tentative steps into alternative vessels, some have been less than impressed with their experiments. Bruno Borie comically uses history as his guiding light: “Amphorae were used prior to the Romans. But the Romans introduced oak because they saw it as an improvement – they chose the gods of the forest. Being ancestors of the Romans, we should do the same.”  For the top growers in Bordeaux, such as Ch. Lafite, oak still remains an incredibly important element in their wine. With their own cooperage on site, they produce 90% of the oak they use each year, with the Grand Vin typically seeing 90% new wood. Lafite’s Jean-Sébastien Philippe believes that in addition to building volume in the wine, oak also adds important “aromatic and flavour complexity”. These additional layers of flavour are down to the skills of the cooper and, for him, are something that should be celebrated. “Light and delicate toasting – not vanilla or coconut – but toasted spice adds complexity to the wine,” he says. While Cabernet Sauvignon clearly has a great affinity to the barrique, Cabernet Franc and Merlot seem to have better results with larger oak foudres and amphorae. Nicolas Glumineau at Ch. Pichon Lalande is going to start trials with glass and concrete, having been really impressed by wines, in particular, aged in glass. “The more structured the wine, the better it is in terms of definition and tannic structure. I was impressed with the results with Merlot, but the Cab Franc was stunning,” he said.   Pomerol’s Ch. l‘Evangile is experimenting with ceramic jars, which they believe not only “preserves intensity, purity and freshness of the fruit, but causes a vortex [within the vessel] constantly moving the wine around, resulting in more contact with the lees, that brings a more rounded, silky texture to the wine” .  While their influence remains minor in the final assemblage, these new amphora advocates are convinced that their judicious use adds complexity to their wine – and oak alternatives look set to become a permanent fixture for many in Bordeaux. For châteaux, like L’Evangile, these experiments are happening in conjunction with a reduction in the percentage of new oak in recent years (from 80% to 50% for L’Evangile) and they are not alone.  Overall, despite the healthy levels of experimentation going on in the region, oak barriques still reign supreme in Bordeaux. In their trials with alternative vessels, many vignerons have fallen back in love with the unique properties of the oak barrique. While cement, clay and glass, as well as larger oak, will continue to play a minor role at some properties, it’s unlikely that the barrel will fall from favour anytime soon.  Read more about oak in Finding the balance: the art of the cooper or explore Bordeaux 

A region where producers were once known for using 200% new oak, Bordeaux has long championed the barrique. But at a time when winemakers around the world are looking to alternatives for ageing wine, we talk to Bordeaux’s leading names, asking whether their love affair with the barrique is over

Chx. Margaux, Palmer, Ducru-Beaucaillou and more on the Bordeaux region's relationship with the barrique – and why it may have fallen from favour

Bordeaux and its relationship with the barrique 

Is Bordeaux over oak?

 When the UK entered the first coronavirus lockdown in March 2020, there was a sense that the end of long, thoughtful, funny and serious conversations was dangerously close. Over a Zoom call, sat at our respective kitchen tables, F+R’s Patrick O’Connor, creative director Alan Aboud and myself, a journalist and editor, started to wonder if we could work together in some way to explore topics usually explored at the communal tables that were sadly empty.  The first project we worked on together marked the 90th birthday of iconic Lebanese winemaker Chateau Musar and the simultaneous publishing of a book celebrating the winery by Académie du Vin Library. Working together with music consultant Leo Walton, we conceived a package of content for FINE+RARE’s website to coincide with F+R’s exclusive release of various mixed cases of Chateau Musar vintages going back to the 1960s.  As part of the content package, I wrote three articles for the F+R website, and worked with Leo to create four Spotify playlists featuring Lebanese music from the relevant decades of the Musar vintages being released: the 1960s, 1970s, 2000s and 2010s. Leo and I also suggested the potential to add more cultural context to both the wine and our selection of music by producing a podcast in which we interviewed a Lebanese musician about musical culture and heritage in the region. We explored various ideas before interviewing two members of the Beirut Groove Collective – a group of DJs with a reputation for unearthing records from the 1960s, 70s and 80s and giving them a new audience. We asked the DJs to give us the low down on their legendary all-night vinyl-only parties in Lebanon’s capital, and about Beirut’s surprisingly vibrant music scene throughout the Civil War (1975-1990). We also asked Ernesto about his new reissue project with BBE Records and the first release in the series: Ihsan Al-Munzer’s 1979 synth-led Belly Dance Disco album.  This idea – of creating original editorial content that proactively ventured into topics in and adjacent to the worlds of fine wine and spirits in order to enrich the FINE+RARE experience – immediately appealed to all involved. Between us, we started to flesh out the idea for a new content platform that could explore and commission stories that took advantage of our combined knowledge, skillsets and networks, plus FINE+RARE’s access to the best producers and most interesting personalities driving quality in the worlds of fine wine and exceptional spirits.  While the concept was always for FONDATA to be a multi-media platform whereby we would produce content in whatever medium seemed most relevant to a given subject matter – podcast, video, blog or print – we focused our initial efforts on producing a large-format, print journal. It would provide a brilliant canvas for us to commission the best writers, photographers and illustrators, and it would also be the perfect format to function as a physical mission statement, something we could send to F+R customers. Doing this in 2020, when we were in lockdown, seemed like a great way to maintain connection and morale in an unprecedented moment in living memory. We formed a small ‘bubble’ to sit, appropriately distanced, in Patrick’s back garden in Hackney to brainstorm the idea and start mapping out what stories we could potentially commission for our first FONDATA journal. For the inaugural issue, one story in particular was pivotal to realising our ambition: commissioning American essayist, author and regular contributor to The New Yorker, Adam Gopnik to write a piece for us. In his book, Paris to the Moon (Quercus, 2000), Gopnik likens Jean-Philippe Derenne’s L’Amateur de Cuisine book (Éditions Stock, 1996) to “a medieval almanac, offering a timeless, secure, benevolent universe of food.” In our initial conversations, we’d identified Wine Grapes, A complete guide to 1,368 vine varieties, including their origins and flavours (Allen Lane, 2012) – the weighty 1,240-page tome authored by Jancis Robinson MW, Julia Harding MW and Dr José Vouillamoz – as a book we’d love to celebrate in some way. We wondered if Gopnik would be as enamoured with the book as much as Derenne’s and if he’d write something for us about it and its value to wine lovers and gastronomes alike. We duly sent him a copy of Wine Grapes (clothbound and slipcased) and a note introducing ourselves and outlining FONDATA’s ambition. He loved the book and the idea for the piece, so we contacted Jancis to ask if she would be happy to be interviewed by Adam. It turned out they were both fans of each other’s work. Our first feature was underway. But how would we present the piece? What would FONDATA look like? Alan asked Jancis if she would agree to be our cover star for our first issue. When she agreed, we had to work out how to bring the inaugural cover to life. “Gavin Bond popped into my head,” Alan, recalls, of the task at hand, “as he has become the ‘go-to’ photographer for celebrity portraits, especially in the film and fashion business. I felt Jancis deserved that status and reverence. Of course, the wine world reveres her, but no wine journal seems to be able to look beyond a shoot involving wine bottles and grapes.”   With Gavin Bond on board, the next step was to think about the shoot itself. “We enlisted the help of a wonderful floral design company, Studio Lupine,” Alan explains of his art direction. “We briefed Raggie Furuseth, the designer, to create a wildly original space in which Jancis could be photographed. The resulting portrait is a stunning and sensitive study of one of the world’s most learned and charming wine writers in her prime.” Another crucial part of our first issue planning was around design concepting and setting out our production values. As a kind of guiding light, Alan and I had adopted a mantra: “This isn’t a magazine”, as FONDATA would have none of the concerns of a regular magazine. We didn’t want to print on flimsy paper. We didn’t want to create something predictable or ephemeral, but rather an object that felt it had more permanence, more lasting value. FONDATA, we were all very clear, would strive from the outset to be a joyous, opulent celebration of cerebral, long-form editorial content.  Alan began working with his studio designer, Haley Austin, exploring different oversized formats, experimenting with page layouts and type treatments to realise his vision for how FONDATA would look. At the same time, he commissioned Rick Banks of Foundry 37 to create a bespoke logotype for FONDATA’s masthead based on his F37 Caslon typeface. We also adopted F37 as our core typeface for body copy, and to use at large scale for feature headlines and beautiful, full-page pull quotes.  In terms of our editorial direction, we were keen from the offset to commission editorial that explored evergreen (and ever-fascinating) topics. What does it mean to collect? How has the pandemic affected our lifestyles, and how much of that is positive? How do ideas germinate, and how does genius emerge? How important is history and tradition to innovation and revolution? What are the most significant drivers and the biggest hurdles for excellence? Once the Gopnik feature was in the proverbial bag, we set to work commissioning an issue full of features that we hoped would appeal to a wine-loving audience but not feel like we were trying to sell them something.  We approached Jancis Robinson’s co-authors of Wine Grapes, Julia Harding MW and Dr José Vouillamoz, to call out five relatively obscure grape varieties from around the world to champion them and the producers making remarkable wines with them. We also commissioned botanical artist Sarah Jane Humphrey to illustrate each variety.  We asked the former director of London’s Design Museum, Deyan Sudjic OBE, to contemplate the history of social spaces. To accompany his feature, we asked him to approach a number of highly regarded architects and interior designers to illustrate their visions of social spaces of the near future. As a result, we soon added John Pawson, AB Rogers, Paloma Strelitz, and Jon Marshall to our list of contributors. We tasked journalist and author Dylan Jones OBE with critiquing wine’s critical landscape, connecting him with some of the world’s leading wine writers and critics to discover how the pandemic had reshaped their work lives and lifestyles.  Author and historian (and one of the most elegantly dressed gentlemen about town) Nicholas Foulkes very literally wrote the book on cigars. His son, Max, is a Master of Havana and works at Davidoff in Mayfair. And it was Nicholas’ father-in-law who first introduced him to the pleasures of cigar smoking. Especially for our first issue, Nicholas pondered the joy of his relationship with his sons and the idea of passing cultural knowledge and enthusiasms from one generation to the next. We commissioned Julian Broad to shoot a portrait of Nicholas with his sons.  I spent time talking with restaurateur-turned winegrower Alex Xu and wrote a piece about how he’d come to completely reshape his future by planting three hectares of Pinot Noir and Chardonnay vines in the foothills of the Jade Dragon Snow Mountain in China’s most idyllic province. I also interviewed Waterford distillery owner Mark Reynier to find out how (and why) he’s bringing notions of terroir, traceability and transparency to the fore in the world of single malt whisky.   Meanwhile, British chef and food writer Thom Eagle contemplated the value of spending more, rather than less, time in the kitchen, and artist Stewart Walton illustrated the piece.  We commissioned educator and business guru Germana Di Falco to interview fashion designer Brunello Cucinelli about his philosophy to business and life itself, and we engaged British-born, LA-based writer and critic Geoff Dyer to chart the slow journey towards appreciation of and reverence for well-chosen wine. The issue signs off with a Letter from California penned by winemaker Maya Dalla Valle, who reflects on her 11-year journey to become the winemaker at her family’s celebrated vineyard in Napa. The resulting inaugural issue is everything we hoped it would be. As Patrick says in his publisher’s letter on its very first page, it is a celebration. One that delivers rich, engaging editorial content in a format that feels lavish and collectable in and of itself. “It is also a collective,” he continues. “The best minds brought together to tackle the subjects that captivate, so arresting in their absence – experience, space, people and family. [This issue] became a journey into the sound of the things that matter to the soul of the collector, the reasons things exist, the FONDATA.”

FONDATA Editor Gavin Lucas on the content platform’s journey from ideation to realisation

Exploring how the FINE+RARE Group created FONDATA, a unique wine and spirits content platform

The FONDATA genesis story

FONDATA: The genesis story

From January 2021, the Bordeaux and Bordeaux Supérieur appellations permit the use of several new varieties – Touriga Nacional, Marselan, Castets and Arinarnoa, as well as two white grapes, Alvarinho and Liliorila, the theory being they’ll help shield the region from the ever-growing threat of global warming. As the region heats up, or more importantly dries up, some of the Bordeaux mainstay varieties are suffering from rising alcohol levels, disease and water stress. The new varieties all possess properties that counter climate change – natural high acidities, resistance to mildew and later budburst to offset the risk of spring frosts. While the recent changes only affect wines under the more basic Bordeaux appellations, are they paving the way for a wider relaxation in the region’s rules? And does that mean the flavour profile and identity of Bordeaux’s top châteaux are about to change? For Pierre-Olivier Clouet at Ch. Cheval Blanc there is concern over the potential of the varietal blend (encépagement) changing. “We believe that the encépagement is part of the DNA and the identity of the estate,” says Clouet. “Planting some Touriga Nacional, Grenache, Syrah at Cheval Blanc… it seems ridiculous.” While plenty of winemakers up and down the Médoc are dismissive of the idea, the warming climate is not selective – and even the top terroirs are going to be affected. The 2020 vintage was the hottest on record when you look at the temperatures throughout the 12-month period. The summer was also one of the driest, with not a single drop of rain in some regions for over three months. Pomerol, according to Omri Ram of Ch. Lafleur, is into its fifth consecutive year of drought and these weather patterns are becoming the norm in the region. Clearly some terroirs are better prepared for climate change than others. The clay soils of Saint-Estèphe and the limestone bedrock of Saint-Emilion, for instance, survived 2020’s drought virtually unscathed. These water-retaining soils are adept at locking in moisture and slowly releasing it through the drier months. But the deep gravel soils of the Left Bank are putting vines in real danger during long periods of drought. Lorraine Watrin from Ch. Montrose outlined the huge difficulties faced at their other Saint-Estèphe estate Ch. Tronquoy-Lalande, where (unlike Montrose) the estate’s gravel soils go down a staggering 10 metres. The drainage is so good on these soils that when there is no rain, the vines really suffer. Montrose is more fortunate, having just 1.5 metres of gravel sitting on a bed of moisture-retaining clay. But ongoing droughts are going to pose real problems for deeper gravel vineyards in the future – and solutions need to be found. Despite the obvious threat of drought, speaking with top estates on the Left Bank, they remain fairly comfortable about their future, even though their best soils are on raised gravel beds. The reason why? Cabernet Sauvignon. As temperatures have increased and the level of rainfall has dropped, Cabernet Sauvignon has proved its mettle. The vine is incredibly resistant to disease and its long ripening cycle has seen the variety thrive in the longer, more intense summers. Nicolas Glumineau from Ch. Pichon Comtesse is a big fan of Cabernet Sauvignon and has continued to increase its role in his wines’ make-up over the last decade. “Even if the temperature increases, Cabernet Sauvignon will still be very adaptive to the Left Bank,” he says. In their 2020, the wine consisted of 77% Cabernet Sauvignon with a further 7% Cabernet Franc, Merlot representing just 17% of the blend. Glumineau is not alone, in fact amongst all the producers I spoke to, there was little to no concern over Cabernet Sauvignon’s future and its dominance in their blends in the long term. Being such a large wine-growing region and with plenty of investment, Bordeaux is a hotbed for change, but Ducru-Beaucaillou's Bruno Borie thinks the addition of new varieties is premature. He reminds us that Bordeaux is one of the more moderate climates in Europe. It wasn’t that long ago his father was forced to plant more Merlot to avoid having to chaptalise the wines (add sugar to the must) because the Cabernet Sauvignon wasn’t ripe enough. “Without being arrogant and with all sincerity, we benefit from having Cabernet Sauvignon riper much more often than in the past,” he says. “Bordeaux is the northern limit for ripening the grape and here there is no need to replace it.”  Merlot’s future is perhaps a little less assured on the Left Bank, as Borie admits – but he believes the alternative to Merlot is likely to be already permitted varieties, rather than new ones. “Petit Verdot and Cabernet Franc should keep us going another 50 to 70 years at least,” he says. Asked why not just switch to 100% Cabernet Sauvignon, Borie believes that however hot or dry it gets, the low-lying, clay riverbed vineyards would never ripen Cabernet. Despite concerns for Merlot’s future, grown in the right places the variety continues to thrive on the Left Bank. Just look at its success in 2020, a very hot vintage. Rainfall at just the right time helped retard alcohol levels in the Merlot. For those whose cooler Cabernet Sauvignon parcels didn’t fully mature, their Merlot replaced it and played a more significant role in the blend and saved the vintage. The grape is still fulfilling its role as the balancing variety in today’s Bordeaux blend. Despite Cabernet Sauvignon’s and Merlot’s impressive performances of late, plenty of experiments are going on, even at the very top estates. Ch. Lafite-Rothschild is already trialling massal selection of their own vines and new varieties including Touriga Nacional, Marselan and Malbec. For the moment it is too early for Lafite to draw any conclusions, but they’re keeping an open mind.  While the major estates aren’t switching up the blend yet, producers are looking at peripheral Bordeaux varieties as potential alternatives. On paper, Malbec seems a good option. Before phylloxera, Malbec was the most planted variety in Bordeaux, but never really made a comeback after the outbreak. But seeing Malbec’s success in the hotter, drier mountain valleys of Argentina, could it rise back to prominence with global warming? Nicolas Audebert – winemaker at Rauzan-Ségla and previously at Cheval des Andes in Mendoza – is not so sure. Malbec in French literally means ‘”bad beak” or “bad nose”, thanks to the negative reputation the variety had in Bordeaux, even when more dominant in the blend. “Prior to phylloxera, Malbec was used as a ‘filler‘ grape,” Audebert says, “used to balance out problems in the vineyard – namely providing more colour and ripeness to the wine.” Audebert compares it to Pinot Meunier in Champagne, whose role is similar. “Pinot Meunier is less sensitive to frost, so it is planted in the more frost-prevalent lower slopes, rather than the best terroirs. It never had the chance to reach the potential of Chardonnay or Pinot Noir. Malbec suffered the same issue.” Audebert has planted Malbec at Ch. Berliquet in Saint-Emilion. He believes Malbec on clay could be extremely interesting and is keen to see how it works in the blend. But Malbec has its problems: it’s very sensitive to coulure (flowers not developing into berries, therefore producing lower yields), as well as mildew. Of the Bordeaux varieties, it responded the least well to grafting – hence why it wasn’t replanted widely in Bordeaux after phylloxera. Audebert reminds us that Argentina didn’t have these problems: “Low humidity in Mendoza meant mildew was not a problem in spring and there was no grafting, as the region used flood irrigation to battle phylloxera.” Since these remain challenges for the variety in Bordeaux, he doesn’t see it becoming more dominant in the future. Many wineries up and down the Médoc are lowering the proportion of Merlot in their blends, opting instead for more Cabernet Franc. “Blending just 5% of Cabernet Franc in with Merlot can be an effective method of lowering the alcohol, as well as adding freshness,” says John Kolasa (ex Director of Ch. Canon ). “It is something Pétrus did with the 2019 vintage. Look at the success of Ch. Figeac in 2019 – a third Cabernet Franc, a third Merlot and a third Cabernet Sauvignon. This is a big increase of Cabernet Franc in the blend and is performing better in the warming climate.” There aren’t many wineries in Bordeaux not increasing the Cabernet Franc plantings in their vineyards, given its improved performance in a warming climate. Pichon Comtesse, L’Eglise Clinet and of course long-term believers Cheval Blanc and Lafleur are all confident of the variety’s future and its growing role in the Bordeaux blend, both on the Left and Right Bank. Petit Verdot is another late ripening variety that thrives in the hotter, drier conditions. Could this peripheral variety become a star performer in Bordeaux’s future? Unlike Cabernet Franc it has yet to become more prominent in blends, often because just a small amount can dominate the structure and flavour of the wine and overpowers the more nuanced characters of Cabernet. Nicolas Glumineau is unsure that the variety is a saving grace, however. “I have some difficulties with Petit Verdot, it is a very tricky grape to grow… it’s very fragile – to wind, to rain, to many things and finally you just can’t pick it absolutely ripe every year.” While the new appellation rules allow new varieties, is changing the blend really the best solution to the ongoing issues of global warming? Ch. Margaux’s Philippe Bascaules certainly doesn’t think so. For him, changing the grape varieties is far too extreme when there are other, more subtle changes that, he believes, would be much more effective. “Currently we are at 10,000 vines per hectare but we don’t have to be,” he says. “Changing the row orientation would also have good results. Good for changing the effect of sunburn on the grapes.” Ch Pontet Canet's Justine Tesseron is another advocate of making alterations in the vineyard, not changing varieties. She is happy with how the Cabernet performs on her gravel soils and feels that there’s simply no need to experiment with other grapes. For Tesseron, the way in which the vines are farmed is more important: “A biodynamic vineyard is better placed to cope with the extremes. We treat individual vines based on their individual needs – it is all about the small details.”  Pierre-Olivier Clouet at Cheval Blanc sees a change in varieties as a last resort. He and his team have long been thinking about how to tackle global warming. “We are sure that the answer is in the vineyard management,” he says. They are looking at rootstocks, the size of the canopy, the yield (“If we want to preserve freshness, it’s better to have a little more yield”), cover crops, ploughing or no-till farming and how polyculture can help. Clouet is another Bordeaux vigneron who sees the problems – but also plenty of potential answers. They experiment a lot at their other property, Ch. Quinault l’Enclos. “We try to always be very open minded,” he says. But he is clear also that “We should never forget who we are.”  Bordeaux is awash with a mix of cautious optimism, as well as open-minded experimentation. For the time being, it doesn’t look – at least amongst the more prestigious classified estates – like they will be adding new varieties to the blend any time soon. Until alternative approaches in viticultural and vinification fail, Bordeaux’s varietal DNA looks safe. Read more about Bordeaux or explore more Editorial

Climate change poses a serious threat to wine-growers around the world. Bordeaux has just allowed the use of new grape varieties to help its producers cope with the increasingly hot, dry conditions – but what does this mean for the region’s identity? We talk to the top winemakers about the future

Cheval Blanc, Margaux, Lafleur, Lafite, Ducru-Beaucaillou and more on climate change in Bordeaux

Is climate change threatening the Bordeaux blend?

Justin Girardin

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