I’ve written this having just finished my second en primeur report for Decanter magazine. Four weeks of intensive tasting, two weeks of intensive writing – Primeurs is both the best and hardest period of the year, exhausting and rewarding. But, where one tasting finishes another one arises: tomorrow, I fly to Canada for a tasting of Bordeaux 1982 wines – with the legendary vintage showcased in 40 top bottles at a charity dinner in Vancouver. Sometimes my life feels like a dream.   Despite not having a background in wine before joining Decanter in 2011, and certainly no family cellar filled with dusty treasures, I became enthralled the moment I was handed my first glass of fine wine – at my desk, no less. “How is this a job?” I thought to myself. Many years of tastings and trips passed, meeting the world’s foremost winemakers and writing about wine in various ways, however the “critic” role (more of an American designation than British, I think) was never one I coveted – and certainly not one I expected to ever have.    The barrier to entry seemed so high, even though I was already working at Decanter, which understandably tended to only use “regional experts” and Masters of Wine, many with decades of experience and often living in their chosen region – something I now fully understand and would encourage any budding wine writer to do.   Skip forward a decade or so and I’m now responsible for Decanter Premium, overseeing the digital strategy for subscriptions and content behind the paywall on decanter.com – and now Bordeaux correspondent too, having taken over from long-time Decanter contributor Jane Anson in July 2021.   When Jane moved on, the question was who would fill the position. A combination of desire on my part and the lure of a challenge (who wouldn’t want this job?), happenstance (in that I had not long moved to live in Bordeaux city, placing me in the perfect location to take up the role), and a shortage of qualified candidates in the region, all seemed to work in my favour.  While Decanter authoritatively covers wines from all around the world (one of its biggest selling points for me), Bordeaux is what we call “heartland content” – and the stats don’t lie. It’s consistently the most-read and paid-for content we produce, by far. From Primeurs to livrable “in-bottle” tastings to estate verticals and incredibly old horizontals, there’s always something to taste, at every price point, in every conceivable style. And with around 7,000 estates, there’s no end of new cellars to see, new vineyards to walk into and new winemakers at the helm.   So there’s pressure, especially writing for the magazine with its expectation of quality and deep understanding. But, there’s also non-stop dynamism, and living here brings the action so much closer, something I never truly understood before. An hour each way from my home, I can be in Saint-Emilion, Sauternes or Saint-Julien.   The Decanter name is hugely respected in Bordeaux and I’m extremely fortunate to have been welcomed so generously and thoroughly. The last 22 months have been spent tasting and visiting estates as much as I can. I’ve done dozens of verticals that have yet to be published, spent weeks with winemakers in vineyards and cellars, talked to consultants about changing styles and négociants about market trends. I took part in my first harvest last year (thank you Cheval Blanc) and my first blending session this year (thank you Nicolas Glumineau, General Manager at Pichon Comtesse).   I've also been inducted into the Commanderie du Bontemps of the Médoc, Graves, Sauternes and Barsac, as well as the Hospitaliers de Pomerol (two historic brotherhoods, now modern-day societies that encourage, support and help promote the wines and winemakers of their respective regions). These are all enriching experiences that are the building blocks of my Bordeaux knowledge.  Somehow I thought having done the 2021 en primeur tastings and report last year (as well as two in-bottle reports since I started – all with around 900 wines sampled each time) the 2022 report would be easier – it wasn’t. Tasting is actually really tough – not only physically demanding and tiring, but mentally exhausting. It goes without saying that experience is helpful, comprehension and context are key for notes and scores, but passion is also a must. I’m building the first two, the latter I still have in abundance.   Despite sometimes pinching myself, looking back there’s a strange sense of destiny attached to my current role. My first ever work trip was to Bordeaux (and I ended up buying an apartment almost round the corner from the hotel I first stayed at). My first fine wine vertical was – amazingly –  of First Growth Ch. Mouton Rothschild with the then brilliant winemaker Philippe Dhalluin at Café Lavinal in Pauillac. My first article was about a Bordeaux panel tasting and I even had maps of Bordeaux vineyards on my bedroom wall in London, something I had forgotten until I came across some old photos recently.   An added bonus, my father only drinks Bordeaux wines so this job definitely earns me favourite child status.  As much as it’s serious and hard work, it’s also huge fun, interesting, glamorous and ever-changing. I think humility and gratitude are important, as well as a genuine enthusiasm to tell the stories of these wonderful wines and the people who make them.  Is the role of “critic” my true calling – above publishing, improvement strategies and brand building? I don’t know. What I do know; I love writing. I love Cabernet (Sauvignon and Franc)! I love mature Bordeaux (and am currently seeking out as much 2001 as possible). I love blind tasting the region’s wines to try and place them in their appellations (despite myriad differences in viticulture and vinification this is somehow still possible – the power of Pauillac, the prettiness of Margaux, the minerality of Saint-Estephe). I love the light in Saint-Emilion at dusk during the summer – is there a more romantic wine region?    But most of all, I love the joy and passion surrounding winemaking – not limited to Bordeaux, but the family histories, long-standing traditions, connection to gastronomy, focus on innovation and investment – they all give the region an extra glint in my eye.   What I don’t love, however, is my dentist telling me off and trying to find a place to store all my bottles... but there are worse problems, admittedly. (Speaking of which, if anyone wants to drive me round the region for next year’s Primeurs, applications open soon!)  For now, I'm excited to see how this year's Primeurs campaign goes. There's no doubt that many producers have created exceptional wines worth buying, but whether the market is sufficiently dynamised by the prices is another question. I'm eagerly awaiting a copy of this year's Bordeaux guide (on sale with the June issue of Decanter) filled with all the wonderful happenings in Bordeaux right now, as well as looking forward to discovering some of the hidden non-classified gems of Margaux. The sun looks set to appear for the first proper time this week, sending temperatures up and kickstarting the 2023 growing season – and, as with any vintage, there’s already so much to look forward to.  Read more about Bordeaux or browse all Bordeaux listings  Photography: Luke Carver

Georgie Hindle had big shoes to fill when she took over from Jane Anson as Decanter’s Bordeaux correspondent in 2021. Here she talks about how she fell for the region and what it’s really like working as a wine critic

Decanter’s Bordeaux correspondent Georgie Hindle takes us behind the scenes in Bordeaux, talking about life as a wine critic

Behind the scenes with Decanter’s Georgie Hindle

In 1991, Jean-Luc Thunevin made the first vintage of Valandraud. In the workshop next to his house, he produced just 100 cases of wine from tiny yields, de-stemming and punching it down by hand and ageing it in 100% new French oak. Although it didn’t have a name yet, the garagiste movement had been born.  As the Super Tuscans had in Italy, these maverick bottlings, operating outside the official classification, rocked the world of wine – especially in the conservative heartland of Bordeaux. At the same time, the likes of Harlan and Colgin were starting to prove the power of Cabernet Sauvignon in Napa. Meanwhile on the East Coast, a lawyer called Robert Parker had already gathered a loyal following for his newsletter, offering independent advice and a novel scoring system. The internet was just getting started. Everything in the world of wine was changing.  “In the 1990s there was formidable energy and consumers who were ready to accept something new,” says Thunevin. But the Bordeaux wine trade was stuck in the Middle Ages, he says; it was aristocratic, closed – and one reason why the garagistes, a collection of outsiders, caused quite such a stir. Thunevin himself had been in banking, while Jonathan Maltus (Le Dôme) was a British businessman and Stephan von Neipperg (La Mondotte) a German interloper. With the challenging conditions of 1991, the first vintage of Valandraud had little impact. He made a tiny volume of red, and then a rosé de saignée that he gave away to friends. “L’histoire, c’est ’92,” Thunevin tells me, almost whimsically. The wine, a product of much more favourable growing conditions, put him on the map. “I created a revolution,” he says today. The 1991 Valandraud was released to négociants for 13€; the 2022 came out at 118€.  It was Michel Bettane who coined the term “vin de garage”, sneeringly suggesting that these new-fangled wines could be made in someone’s garage. But, as Jean-Luc Thunevin told me, “By talking about me, they made me exist.” Without such outrage from wine’s more traditional core, the garagistes likely wouldn’t have had the same success. Combine Bettane’s throwaway comment with the rise of garage music in the US and UK, and the movement gained an accidental cool-factor – but that’s all changed now.  “I don’t think anybody wants to admit they were a garagiste anymore,” Jonathan Maltus – the Englishman who created Le Dôme in 1996 – says. He looks back on the time with relative fondness, however. He’d arrived in Bordeaux in 1994, buying Ch. Teyssier, having sold his petrochemical business and decided after a stint in Cahors that he needed to be in the “Formula One” of wine, making for Bordeaux. It was an English wine merchant who told him how a single-vineyard Pomerol called Le Pin was causing a stir – one of a handful of “cuvée wines” that were becoming incredibly popular. As a canny businessman, he decided to give it a go himself.  “It was really exciting – and there was no budget,” Maltus says frankly, explaining how the movement rapidly became a game of one-upmanship. They would instantly snap up any new machinery or equipment, pushing their concepts further and further to out-do each other. Green-harvesting and picking only the ripest berries in multiple passes was de rigueur; the vines often stripped of their leaves to expose the fruit to the sunshine and maximise ripeness (something climate change has put paid to). Yields were consistently low, with over 30hl/ha considered too much to produce the requisite concentration. Maltus explains how the introduction of double-sorting and cold-soaking was radical – both expensive tools, with the latter requiring protective gas and the ability to chill tanks. He would put the wine into one set of new French oak barrels for malolactic fermentation, before transferring the wine to another batch of new oak for ageing. The resulting wines were bold, rich and lavish. “I like to think of it as a kind of Vivienne Westwood period,” Maltus says.  Ask any of the garagistes who inspired them and they’ll point to, among others, Le Pin. Although owner Jacques Thienpont firmly believes Le Pin is not – and never was – a garage wine; he feels that it is sometimes mistakenly seen as one because it was so successful at the time. Ironically, the wine was originally made in a garage, from just one hectare of vines. It was the sensuality of the wine that inspired Jean-Luc Thunevin, he tells me. He visited Le Pin several times and Thienpont told him that wine was all about the quality of the soil, rather than winemaking. “In the cellar, there are no secrets,” Thienpont says. Thienpont wasn’t Thunevin’s only advisor; Alain Vauthier of Ausone happened to be a school friend, and helped the amateur winemaker.  This tension between terroir and technique is at the heart of the garagiste movement. Jean-Luc Thunevin tells me how Valandraud was not a garage wine, but a “garden wine” – from 300 vines he planted on 0.6 hectares, a single site captured in 300 bottles. For Stephan von Neipperg, who made the first vintage of La Mondotte in 1996, from 4.5 hectares, “It’s a terroir… without an outstanding terroir, you cannot make an outstanding wine.” The garagistes, in his mind, by contrast were about “making the wine easier to understand – round, ripe, sometimes too ripe, extracted” – it’s a term he assigns to the likes of Ch. Gracia – first made in 1997, in a back-alley of Saint-Emilion.  Whether you are convinced these wines were true expressions of site or not, they were a direct contrast to the Médoc Classed Growths – where vast swathes of land were used to create a blend each year. Was it a reaction to the Left Bank’s dependence on blending, maybe even a complacency? Perhaps, but it was also a consequence of what each of them could afford; none of them, at first, had the cash to buy any more land. Thunevin’s methodology, for example, wasn’t idealistic; he had to do everything by hand because he didn’t have a tractor or any other equipment, splurging on new barrels alone, and turning a profit for the first time only in 1995.  It’s hard to untangle the movement from Parker’s influence – but few of the early renditions earned the big scores one expects and associates with these vins de garage. Le Dôme, for example, only earned 100 points in 2010 – long after Maltus had started reining in the style, La Mondotte in 2009. Although 1992 Valandraud kickstarted the movement, Parker only gave it 87-88 points when he first rated it in February 1994. Time blurs lines, inevitably – and, although it’s undeniable that Parker’s palate aligned with plush, polished styles, the truth around his influence is more complicated.   “We realised that the whole thing was just becoming a parody of itself,” Maltus says. He points to 2002 a real turning point, but it was only from 2008 that he stopped double oaking, reduced the proportion of new oak to 80%, and more recently started picking earlier. It’s the same across the spectrum, with many of these rebel estates now part of the formal classification system – absorbed into the establishment.  The instigator Jean-Luc Thunevin was branded Bordeaux’s “bad boy” for having challenged the status quo. It’s a reputation that he worked hard to keep – continually pushing forward (indeed, he even makes wine under the Bad Boy name today). Asking what prompted him to create Valandraud – and make it so differently, he says, “I have always been out of my mind. I always wanted to do things that were a bit shocking.”  Today, Bordeaux has more competitors than ever before, with a world of fine wine that is now truly global. Thunevin feels it’s a region in crisis – in need of another bad boy to take the baton. He was an outsider with nothing but a romantic dream of making wine. Whether you like what he did or not, he changed Bordeaux for good. “Les rêves sont nécessaires à notre équilibre,” he tells me – dreams are essential for our balance. The garage movement was just one chapter in Bordeaux’s lengthy history, but perhaps it’s time for another wave of disruptors – after all, they may just be the key to its long-term survival.  Browse all Bordeaux listings or read more about Bordeaux 

When it comes to wine, little has changed in Bordeaux for centuries – but in the 1990s a group of outsiders shook things up: the garagistes. Sophie Thorpe talks to three of the movement’s leading figures about its legacy – and what it means for Bordeaux today

Talking to Valandraud, Le Dome, La Mondotte and Le Pin about Bordeaux’s garagiste movement and what it means for Bordeaux today

The legacy of Bordeaux’s garagistes

Disrupt and disturb: the legacy of Bordeaux’s garagistes

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

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

Natural Wine’s Influence on Burgundy

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

“The only thing more fun than drinking wine is buying wine,” says Allan Frischman, our new Vice President of Global Client Reserves, arching an eyebrow and laughing. He should know – he’s been working in the wine business since the early 1990s, with the vast majority of that spent sourcing, studying, authenticating and selling fine wine collections for a leading auction house. As of this month, he’ll be working to develop our network of reservists and their portfolios – allowing our clients to both sell and buy even more than before, giving us – and you – access to the world’s finest (and deepest) cellars. Beyond this, he’ll be finessing local pricing for each market we work in and helping manage clients’ wine storage – a job for which he is uniquely qualified. Frischman grew up in New Jersey and never planned to get into wine – but he took a part-time job at college (“to pay for beer”, he confesses) in a wine shop. The shop’s storage system was divided by country and region, with a warren-like basement that he needed to navigate, finding the right bin for new stocks. Reading about the different appellations, and using his staff discount to buy the odd bottle, got him interested – but it was a bottle of 1975 Ch. Talbot, tasted at Mary Ewing-Mulligan MW’s International Wine Center that hooked him: “At that point, I knew that this is what I wanted to do.”  The economics graduate was working at Manhattan’s Morell & Co. when, in 1994, the laws changed. For the first time since Prohibition, wine auctions were permitted to take place in New York State. “I didn’t know anything at all about auctions,” says Frischman – but it didn’t stop him jumping headfirst into something new, organising the state’s first commercial wine auction since 1920. “I didn’t know if we were going to get 10 bidders or 1,000,” he tells me. He shouldn’t have worried, for that auction was met with such enthusiasm that he walked away from the event on cloud nine, confident that he had found his calling.  In the 30 years since, he’s seen the auction business transformed. The 1994 law change created a new hub for wine’s secondary market, with New York rapidly becoming a rival for its traditional heartland in London – and the Big Apple rapidly added its own signature. Until then, auctions were staid affairs, dominated by trade buyers with little action beyond the raising of paddles in muted crowds – in Frischman’s words, “something dreary that dragged on for 10 hours”.  But Zachys – one of the auction houses that popped up in New York – added American flair, a touch of Broadway jazz hands to turn auctions into events, gathering bidders at round tables with great food and wine. Traditionalists said it wouldn’t work – but they were wrong. No longer were auctions purely a way to buy wine, they became fun – they became a place for wine lovers to gather, eat, drink and be seen. Higher attendance meant more bids, higher hammer prices – and more consignments that in turn brought more business, and a shift from trade to individuals.  The late 2000s brought challenges. “The Dow Jones was tumbling and it looked like the world was about to collapse,” Frischman tells me, looking back at the worldwide recession. “It was terrifying and of course people stopped buying wine.” But as Frischman rapidly learnt, people were waiting for the bottom of the market – and then they started buying again. At the same time, Hong Kong abolished import duty on wine (initially halved in 2007 and removed entirely in 2008) – and, like New York in 1994, instantly became a new centre for the wine trade. “The Asian market evolved almost over days,” remarks Frischman. “It became extremely sophisticated very quickly.” American auction houses started opening offices in Hong Kong. “For a few years, Hong Kong was just chewing up all the wine and the big hammer prices were all [there].”  The most recent shift in the world of auctioneering has been the advent of real-time, online bidding – one forced by the Covid-19 pandemic. “There was a perception that it would discourage people to show up in the sale room and would also discourage people from leaving bids in advance,” Frischman says, explaining why the industry was perhaps a little slow to embrace the online sphere. Interestingly, however, he anticipates that before online bidding was introduced, maybe only 10% of lots went to bidders physically in the room. With consumers stranded at home, and the technology already up to scratch, online auctions rocketed – and opened the market to an even broader range of consumers, with bidding wars between wine lovers in Brazil, Singapore, London, New York, Hong Kong and beyond now the norm.  As auction houses realised that online auctions worked, the need for events and associated spend dropped – and the auction style established by Zachys in the 1990s has become significantly less common. You might argue that this also heralds the end of the auctioneer – but even online companies have retained the compère, the familiar patter still something that bidders want.   It isn’t just where and how wine was selling, but which wines were selling that has evolved. In the mid-1990s and early 2000s, Frischman notes how the US market centred on Napa’s cult Cabernets, along with wines from the likes Williams Selyem, Ravenswood and, of course, Bordeaux’s top names. “[There was] across the board demand for Bordeaux,” Frischman tells me, “but you couldn’t give Burgundy away.” Of course, that’s all changed now – and Burgundy, despite its extremely limited supply, has become the darling of the fine wine scene. As prices have soared for the Côte d’Or’s top wines, wine lovers have started looking elsewhere, to Italy (Barolo, Barbaresco and some Brunello), Madeira (especially older vintages) and the Northern Rhône (Côte-Rôtie, Cornas and Saint-Joseph) – but none have the liquidity of Bordeaux. “They [the Bordelais] don’t get enough credit for the sheer, mind-boggling amount of great wine they’re able to put out every year,” says Frischman.  Over the years, Frischman has become an expert authenticator – the sort of knowledge that can only be gained by handling immense volumes of fine wine, working closely with producers and getting up close and personal with the rarest bottles. In 2006, he went to check over some wines that had been sent to the auction house he then worked for by a young Asian collector. The consignment was significant, worth millions of dollars – but even from across the room, Frischman knew that the wines didn’t look right. Closer inspection only confirmed that the wines looked like fakes – and the auction house turned them away, sending them back to the collector, then a new name on the scene, Rudy Kurniawan. A couple of years later, he got a call from the FBI’s Jim Wynn, asking if he would be an expert witness in a wine fraud case against Kurniawan, who had – by that point – become prolific. “I inspected, I don’t know, 40 bankers boxes of stuff that they’d gotten from his home, stamps for corks, fake labels, fake import strips – all kinds of stuff,” he says. In a warehouse in Queens, he studied the evidence – “going through bottle after bottle after bottle and writing a report about why I thought that they were fake”. It was – and still is – the biggest wine forgery case to have ever taken place, and Frischman, along with fellow authentication expert Michael Egan, was essential to proving Kurniawan’s guilt.  Wine authentication has become an essential component of wine collecting, and a key reason to work with trusted merchants. There are people who suggest that as much as 10% of wine on the secondary market is fake, but – in Frischman’s view, having handled fine wine for over 30 years – “That’s a substantial overestimate.” Despite such claims, forgery has only become more sophisticated, and it’s important, he says, to work with someone who knows what they’re looking at. “You want someone who is experienced to look at the bottle and who is empowered to say, ‘I don’t like it – we’re not offering it.’” There’s a big difference, he explains, between being convinced something is fake, and being convinced something is real – and you always want the person checking wines you’re buying to be in the latter camp.  The wine business is a people business – and he’s been lucky to spend three decades getting to know the world’s foremost collectors, spending time rustling through cellars, lugging his fair share of cases in and out of vans, and cradling bottles of elusive vintages and cuvées. Beyond this privilege, he’s often found himself on the receiving end of collectors’ generosity – recognising a fellow enthusiast’s passion. When I ask him if there’s a bottle that stands out, beyond the 1975 Talbot that was his hook into the industry, his eyes mist over. It was, he tells me, on a trip to Tokyo, at a remarkable dinner that included some incredible wines, including the fabled 1947 Cheval Blanc. But it was a bottle of 1978 La Romanée-Conti from Domaine de la Romanée-Conti that stole the show: it was “breathtaking, magical”, he says. “I was practically brought to tears.” Until that moment, he’d never necessarily understood why collectors kept this prized cuvée, and didn’t sell it to fund their La Tâche or Romanée-Saint-Vivant – but this bottle made him realise just why people don’t. “This wine was perfect,” he says.  It’s easy, perhaps, to imagine the auctioneering world is over-run with wine investors, but that’s far from what Frischman has found. “The vast majority, regardless of what they say they’re doing, are buying to drink,” he says. On paper, that may not make sense – after all, who needs 30,000 bottles of wine? But that, as Frischman and any wine obsessive knows, is the collector’s mentality – and, deciding to sell, despite owning more wine than could possibly be consumed in a lifetime, is much harder than buying another case or 10.  When Frischman first started auctioning wine, he recalls talking to his father, who wondered if there was enough fine wine to sustain a career. The beauty, Frischman, now knows, is that there’s a new vintage every year – beyond that, and as he’s seen over the past 30 years, the wine world is constantly shifting, with an ever-expanding range of regions and producers. And he’s evolving with the industry, making a move of his own and bringing his expertise to FINE+RARE. We can’t wait to see what he’ll do. Whether you’re looking to buy, sell or anything else, contact Allan Frischman directly at allan.frischman@frw.co.uk

After two decades at one of the world’s leading auction houses, Allan Frischman has joined our team, as Vice President of Global Client Reserves. We caught up with him to dive into the world of auctioneering, his 30 years in the business and his new role

After two decades at one of the USA’s leading auction houses, auctioneer and wine authentication expert Allan Frischman has joined our team

Introducing Allan Frischman

Hammer time: Allan Frischman

It’s easy to sneer at Sauvignon Blanc. Its success has been its downfall. It’s one of the most popular varieties planted around the world – coming in just behind Airén (grown widely for distillation, rather than wine) and Chardonnay. In New Zealand alone – a nation that has fully tied its cart to Sauvignon Blanc – 26,559 of its 41,603 hectares of vines are dedicated to the grape (for context, the entirety of Burgundy represents a little over 28,000 hectares). It accounts for over 86% of the nation’s wine exports (the next most exported variety is Pinot Noir, at less than 4%). And yet, wine cognoscenti are inclined to dismiss it.  The variety’s historic heartland is the Loire, where it was first recorded in the 16th century, but has since spread rampantly around the globe, finding its way into almost every corner. Indeed, there’s even a remote stretch of Burgundy dedicated to the grape (Saint-Bris). It also gave us Cabernet Sauvignon, of which it is a parent, along with Cabernet Franc – which is some legacy.  In her benchmark Vines, Grapes & Wines, Jancis Robinson MW describes Sauvignon Blanc as “aggressively recognisable”. With descriptors such as cat’s pee, gooseberry, passionfruit, capsicum, grapefruit and cut-grass stereotypical, it’s hard to disagree – but there’s much more to the grape. Today, the distinctive variety is responsible for the flinty styles of Sancerre and Pouilly-Fumé, more waxy, textured Bordeaux Blanc (where it is most often – but not always – blended with Semillon and aged in oak), the exuberantly pungent styles of Marlborough, richer, weightier northern Italian examples (not to mention many with extended skin contact) – and everything in between.  Ch. Margaux’s Pavillon Blanc is one of the most famous examples of Sauvignon Blanc – and rare in Bordeaux (at the top end of the category, at least) for not including any Semillon, which has never been planted on the site. Their archive has records back to the 18th century of a “vin de sauvignon” from the property. Tasting the wine, it’s always hard to believe it hasn’t been rounded out by its local partner – and this, Aurélien Valance, says is all to do with achieving the perfect level of ripeness.  “When [people] think Sauvignon Blanc, they think about unripe Sauvignon Blanc. When it is ripe, it can have very complex and floral perfume – but the problem is that it is very difficult to get it ripe and keep enough acidity,” the Deputy Managing Director explains. Working with old vines (around 50 years old), low yields and strict selection allows Ch. Margaux, however, to produce an exceptional, age-worthy white – one that “smells of Sauvignon Blanc – but not the Sauvignon Blanc that people are used to”. For Christian Patat – the winemaker behind L’Età Più Bella and Ronco del Gnemiz, who also worked at Miani – the perfect harvest date is key to giving Sauvignon “verticality”, especially in Friuli where the wines are naturally bigger and richer than those from the Loire. If you pick too late, it becomes all about the variety – rather than the site. For him, Sauvignon Blanc is an “amplifier of different soils”, which is why he has ended up making six different single-site expressions with his wife at Ronco del Gnemiz, all made the same way so that the terroir shines through in each. Omri Ram – of Société Civile du Ch. Lafleur – echoes this idea, feeling there’s a particularly narrow window for picking Sauvignon Blanc, before the variety becomes a caricature of itself. He argues there is a “valley between two aromatic peaks” in which Sauvignon Blanc must be harvested, a window that lasts maximum three days, but as little as 20 hours in a hot vintage – so it’s essential to watch your fruit carefully, and make sure it’s on the right soils (with clay to help retain freshness and avoid hydric stress).   Patat – like the team at Ch. Margaux – is fortunate to farm old Sauvignon vines, between 40 and 50 years in age. This is ancient for the variety, which is naturally vigorous and very susceptible to Eutypa and Esca (grapevine trunk diseases which slowly kill the vine), meaning finding vines above the age of 30 is increasingly rare. Marco Simonit – the man behind the Simonit & Sirch method and master pruner to the world’s leading producers – feels that vine age, however, is key to making a “vin de lieu” (a wine of place) – and therefore combatting the onset of disease is essential for crafting great Sauvignon Blanc. He notes how it’s not just that Sauvignon (referenced affectionately as “this guy” during our conversation) seems to be more inclined to develop Eutypa/Esca, but it suffers more when diseased – showing its symptoms much more than other vines, as is most clearly seen in Bordeaux where it is farmed side-by-side with Semillon.  “I think we need to reconsider the spacing and architecture of the vines,” Simonit says. He feels that these older vineyards have survived thanks to their wider spacing, allowing each vine more room to sprawl naturally. Robert Mondavi’s I Block is a prime example – the plot of Sauvignon Blanc in To Kalon planted in the mid-1940s. These untrellised, freestanding tree-like plants stand proud and sparse, producing wine that – in Mark de Vere MW’s words – offer “a different type of complexity, elegance”, yielding just half a ton an acre. Simonit is convinced that the increased vine density of the last 30 years has contributed to the higher incidence of grapevine trunk diseases, and this type of “dynamic” architecture, exemplified by the unfashionable California sprawl, may be the solution to Sauvignon Blanc’s short life-span, helping minimise pruning cuts and giving it the space it needs – but does need to be adapted to the individual site and climate.   Andy Erickson – winemaker at Favia and star consultant – now makes wine in To Kalon (under the To Kalon Vineyard Company label) – but has fond memories of I Block, as he would trespass to taste the Sauvignon Blanc at harvest time – loving the flavour of the grape just on the cusp of harvest. He was the one who suggested planting Sauvignon Blanc at Screaming Eagle – which produces a tiny amount (30-50 cases only) of incredibly sought-after Sauvignon. There was a tiny corner of the vineyard with more alluvial, clay soils – a site that wouldn’t produce a Screaming-Eagle-grade red, so he suggested it be used for Sauvignon Blanc and Musqué (an aromatic clone of the variety, also planted at Eisele Vineyard – where it represents 80% of the vineyard). “The challenge with Sauvignon Blanc is you really need to plant it on Cabernet Sauvignon ground to make the best wines, and so it takes someone who’s really passionate – or maybe a little crazy to do that,” Erickson says.  While the Loire’s top wines have always been accepted as fine wine, as with top white Bordeaux, Sauvignon Blanc under its own name didn’t make it big until the late 20th century. Robert Mondavi shifted perceptions in California – but only by rebranding the variety. In the late 1960s, at a time when most Sauvignon Blanc in America was low quality and sweet, he created Fumé Blanc – legally registering the term as a synonym for Sauvignon Blanc with the TTB (Alcohol and Tobacco Tax and Trade Bureau). With its European feel (inspired of course by Pouilly-Fumé), he made dry, serious Sauvignon Blanc – and, at the top end, fermented the wine in oak. At the time, it was radical – and soon the wines earned international acclaim.  Meanwhile, something was going on Down Under. David Hohnen – who had just won a Jimmy Watson trophy for his Cabernet Sauvignon at Cape Mentelle, Margaret River – was visited by a handful of travelling Kiwi winemakers. They left him with a bottle of something new, a Sauvignon Blanc (which had only been planted for the first time in New Zealand in 1973). “He hadn’t tasted anything like it before,” Jim White, Cloudy Bay’s Technical Director, tells me. Hohnen happened to have a Kiwi cellar hand at the time, and asked him to bring back more Sauvignon when he went home for Christmas. In 1984, Hohnen went to New Zealand. He persuaded Kevin Judd – then winemaker at Selaks – to come make wine for him. They couldn’t find Sauvignon Blanc at first, so the first vintage in 1984 was a Marlborough Semillon. The following vintage, they bought a truckload of Sauvignon Blanc from Marlborough, and ferried it all the way up to Gisborne to make the wine.  With such a small population, machine harvesting was the only option in New Zealand – and this, combined with the additional skin contact from the fruit’s minimum 12-hour journey to Gisborne, extracted more tannin than they’d wanted, but also thiol precursors – the compounds responsible for Sauvignon’s pungent aromas. Hohnen didn’t put “New Zealand” on the front label, feeling people wouldn’t take it seriously. By 1986, they had built their own winery (having persuaded an angling-loving Scot to stump up a million dollars to fund the project, on the basis that he’d have access to the best trout fishing in the world). The vineyards needed work – and Hohnen’s experience was key, bringing knowledge of canopy management, reducing water and nitrogen and reducing yields. The wines took off, and Cloudy Bay was born.  For White, vineyard location is the foundation of top Sauvignon Blanc – needing stony, free-draining soils to contain the variety’s natural vigour, hence why they prefer the heart of the Wairau Valley. Combine this with enough leaf plucking to allow for sufficient airflow, but avoid over-exposing the fruit, and this allows them to harvest ripe fruit that still has beautiful acidity – echoing Valance’s views at Ch. Margaux. The important thing for them is to avoid the “big green monster” – ensuring they have no methoxypyrazines (green compounds), which happen to be some of the most stable compounds during maturation, and don’t disappear with time in bottle.  In New Zealand, the variety has been a victim of its own success – shoehorned as crisp, fresh and nothing more. And while that style brings undeniable joy, there are an increasing number of wines being made with wild yeast and oak to produce a less exuberant and primary style – such as Dog Point’s Section 94 and Greywacke’s Wild Sauvignon. In the Loire, it seems to be increasingly common to see oak, while in Bordeaux, there’s a shift away from, or toward reducing the use of, wood. As Pierre-Olivier Clouet of Cheval Blanc told me, in the past white Bordeaux was “too green, too excessive, too much, too oaky, too fat… too boring” – he feels that the answer isn’t necessarily to reduce the proportion of new oak, but to increase the size of barrels and age the wine longer, so that the oak adds a silkiness, density and bitterness to the finish – but not to the aromatics.   A common accusation of Sauvignon Blanc is that it doesn’t age – something many feel is a prerequisite for “fine” wine. But that simply isn’t true. If you’ve never tasted old Marlborough Sauvignon, you’re missing out. I had a bottle of 1999 Cloudy Bay a few years ago – and it was extraordinary. White, who has tasted many more mature vintages from the iconic estate than me, describes it as a little like old Semillon or Loire Chenin – developing toasty, honeyed notes, yet it retains the overt freshness and expressiveness of the distinctive style. Ch. Margaux was recently reconditioning their stocks of Pavillon Blanc, and Valance had the opportunity to taste vintages back to 1926 – almost all of which he says were fabulous. He feels it ages at least 20-30 years, and more in top years.  Today, things have come full circle – Sauvignon Blanc is a brand of its own, and Robert Mondavi is even dropping the “Fumé Blanc” phrasing from its more entry-level bottlings of the variety. But, despite this and the undeniable quality of the wines, Sauvignon Blanc never quite seems to steal the limelight. “There’s a glass ceiling for Sauvignon Blanc,” White says. “It’s about 93 points.” The Cloudy Bay team was delighted when their oaked, limited-edition Te Koko cuvée earned 95 points in Decanter last year – but it’s the exception, rather than the rule. And even though they’ve had wines score higher than Pavillon Blanc, they’ll rarely be considered in the same category as either those, or the likes of the Loire’s Dagueneau and Vatan. “It’s too easy for people to understand, it makes it too enjoyable – and therefore it’s no longer the coveted thing that you have to have years of education to appreciate,” White says.  In an age of unicorn-hunting, “popular” can be the ultimate insult. And yet there’s a reason that so many people have fallen for the charms of Sauvignon Blanc. Don’t let its commercial success put you off – there’s much more to this grape than first meets the eye.  Keep an eye out for our pick of the best Sauvignon Blanc from around the world – or, in the meantime, read more Editorial 

Maligned by many, adored by more, Sauvignon Blanc divides wine-drinkers – and no more so than the wine-drinking elite. But why? Sophie Thorpe talks to the people behind some of the world’s best examples to explore the grape’s status today

Sauvignon Blanc divides wine-drinkers – and no more so than the wine-drinking elite. But why? Cloudy Bay, Ch. Margaux, Andy Erickson and others tell us more

Sauvignon Blanc – fashion victim

Fashion victim: Sauvignon Blanc

Following on from the cooler, elegant 2018 vintage, 2019 is another excellent year for Napa – together forming an impressive duo that will be enjoyed (and inevitably compared) over the coming decades.  The preceding winter was wet, replenishing the water table and encouraging vigorous early growth. Indeed, as Danielle Aita at Colgin noted, it was still raining in May – with almost 2.5 inches that month (compared to 0.3 inches in 2018, and 0.61 in 2020). It was important for this vigour to be managed, for vines were at risk of growing more fruit than they could ripen. Aita explained how their team had to thin even more than normal, even thinning clusters by removing individual berries to maximise airflow.  A mild spring led to a warm and even summer, with few heat spikes, allowing producers to take their time to harvest, allowing for traditionally long hangtime. Although the season didn’t see the extremes of 2020 or 2022, the mercury did fluctuate, Kassidy Harris at Dominus noted – with a hot June, cooler July, then warmer end to the season. She noted how it required more intervention from the team in the vineyard, managing yield – particularly dropping “wings” or “shoulders” off clusters. This prolonged, relatively gentle heat, as the Dana team highlighted, mellowed the acidity and brought a roundness to the wines.   For Cathy Corison, it was “a fabulous vintage – almost perfect”, and one major factor was the even temperatures, with a significant diurnal shift that encouraged aromatic finesse and retained freshness. She reported temperatures in August that were 21-27˚C during the day, and dipping below 10˚C at night. With these gentle conditions, she picked later than normal, in the third week of September.  Maya Dalla Valle started picking around the same time, emphasising how it’s the last vintage she can remember being able to take her time with – the harvest stretching over several weeks rather than needing to get the fruit in as soon as possible. Aita highlighted how in early October, the temperature dropped significantly at night, slowing the ripening, and they picked in the second and third week of the month.   Temperatures were, on average, a little higher than 2018 – leading to a richer style, darker fruit profile and softer tannin structure – wines that are more classically Napa, compared to 2018’s slight Old World slant. They still, however, have a vibrancy and freshness, and while alcohol levels are higher than 2018, they are not elevated for the region, with almost all sitting below 15%. Volumes are generally good, thanks to that wet winter, a comfort given the low yields of 2020 and 2021.  As Corison noted, “When a vintage is perfect, it’s like falling off a log. Great grapes make great wine.” The winemaker’s job in a vintage like 2022, she says, is to “try not to mess it up”. Dalla Valle opted for shorter maceration times, finding the ripe, thick-skinned grapes offered tannin, colour and flavour quickly. She notes how the wines have filled out with time, offering a “quiet power” that she loves. For Harris at Dominus, it’s a very good vintage, but just an edge behind 2018, not quite as integrated in her view.  Will Harlan and Cory Empting at Promontory compare it to 1990, feeling it has more flesh and power versus 2018, needing time to reveal itself – “an old soul” of a vintage. For Aita at Colgin, the wines have minerality and real expression of place. They are much more approachable than 2018 in their youth, yet have everything needed to go the distance.  The critics all agree that it’s another very good vintage, but are divided as to whether they prefer 2018 or 2019. For Vinous’s Antonio Galloni, the 2019s are “big, bold wines that show the extroverted side of Napa Valley”. He feels it doesn’t quite have the consistency of a truly great year, such as 2018, with that vintage also offering a little more freshness that he prefers.   Lisa Perrotti-Brown MW (then still writing for the Wine Advocate) finds 2019 “classic, ripe, plush and beautifully expressive”, feeling – unlike Galloni – that it is more consistent than 2018, both in quality and volumes. For her, the 2018s are more structured with higher acidity, and may well age longer than the 2019s, however the 2019s have a generosity that is more typically Napa – and possibly more inviting.  For Jeb Dunnuck, it’s "another terrific year“ for Napa – “ripe, supple tannins, beautiful sweetness of fruit, and undeniably delicious”. He argues that it is clearly an excellent vintage, but doesn’t quite reach the levels of 2016 or 2013. The vintage in brief A wet winter and long, gentle growing season without major heat spikes High yields and quality, with a prolonged harvest period Warmer than 2018 producing richer wines with darker fruit and softer tannins Wines that are classical Napa Polished and plush, yet with freshness and alcohol levels generally sitting below 15%  Browse all 2019 Napa listings or read more about California

The 2019 vintage in Napa produced a brace of fantastic wines that are classical expressions of California’s heartland. We talk to top producers about the year and the style of wines it produced

Discover the 2019 Napa wines – talking to top producers about a plush and polished vintage, full of classically styled wines for the region

Napa 2019 vintage report

Napa 2019: plush and polished

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