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

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

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

Taking root: the rise of biodynamic winemaking in Bordeaux

As the drone camera takes us up over the trees, you can see how dense the forest is around Promontory’s vineyards in the western hills of Oakville district in Napa. Apart from the small vineyard plots dotted along the canyon, the landscape is rugged and untamed. In total, just 10% of the Promontory estate is planted to vines, representing 34 hectares of the property.  The whole area is protected so this site will remain small and genuinely cut-off – but that is exactly how proprietor Will Harlan wants it. “Promontory is truly a world apart from the Napa Valley that most people experience,” he says. For a long time, this canyon was hidden in plain sight. Many locals born and raised in Napa were completely unaware of its existence. Looking up from Napa, all you see are the mountain ridges above, yet beyond theses ridges lies this hidden valley, its undulating hills ideal for vineyards. It was in fact Will Harlan’s father H. William, or Bill, Harlan (founder of Napa’s most prestigious cult Cabernet, Harlan Estate) that literally stumbled across the canyon while hiking back in the 1980s. Although his interest in the land spans over 30 years, the opportunity to buy the property only arose in 2008. At first, the family thought the vineyards might be used for Bond or Harlan – but the character of the fruit was so fundamentally different, Will explains, that they decided to make Promontory its own project. Fast forward to the current day, and the 2016 vintage – the eighth ever – is about to be released. With the second generation of Harlans (Will) and winemaker Cory Empting (also from Harlan Estate) at the helm, Promontory has fast become one of Napa’s most consistent and captivating, not to mention collectable, Cabernets. While only a 20-minute drive from the Harlan winery, Promontory feels remote – with a totally different microclimate. The vineyards are mainly on the valley’s cooler east-facing slopes (with an average gradient of 38%), but they have some decent elevation too, sitting at between 150 and 340 metres above sea-level. The fog that settles in the valley brings much-needed moisture to the vines, as well as moderating the temperature and allowing the team to produce cooler-toned and fragrant Cabernet Sauvignon. 
The first vines were planted in the mid-1980s and early 1990s, with a mixture of varieties, but the team started replanting in 2011, focusing entirely on Cabernet – the grape that they feel best expresses the place. The fruit from the young vines is being used for a separate wine (The Mascot) that isn’t part of Promontory. The older vines are dry-farmed, and the plan is for everything to be long term – with just a little irrigation being used to establish the young vines and “educate them not to be irrigated”, Will explains. 
Beyond the seclusion, these hillside vineyards have two distinct fault lines running through them, roughly demarcating the boundaries between volcanic, sedimentary and metamorphic soils. This diverse geology is another facet that distinguishes the Promontory vineyards from the rest of Napa and is what Harlan believes provides a distinct mineral backbone and tension to the wine. As we walk (virtually) through the winery, we arrive in the barrel room, faced with a gigantic piece of volcanic rock. It is a beautiful sight in itself – lifted out of the vineyard and displayed at the winery, underpinning the specificity of the terroir of this secluded canyon. The place is so different that Harlan feels they needed “to unlearn and relearn” an approach that suited the property. The barrel room holds another important element in creating these special wines – their Stockinger barrels. Austrian coopers Stockinger have become one of the most reputable for fine wine in recent years and Promontory was the first in the US to use them. They realised the wine’s tight but very fine tannins needed more time as it evolved slowly. As such, they started looking for larger barrels and in 2012 purchased a range from Stockinger – from 1,800  to 4,400 -litres.  The Stockinger barrels are praised for their ability to limit the influence of oak flavour, while carrying out all the subtle micro-oxygenation that enables the building of long tannin chains. These tannin chains produce a fabulous textural complexity in the wine, while at the same time the fine-grained oak preserves the natural aromatics and fruit purity. Harlan and Empting give the wines five and a half years between harvest and release – with two and a half to three of those in barrel, allowing the wines to “unfold” in these more neutral and “respectful” barrels.  The results are breath-taking. Tasting the soon to be released 2015, which was aged for two and half years in cask, the textural finesse and precision of the tannins in some ways make the wine feel almost weightless in structure, while at the same time being detailed and complex. It's astonishing that this property and its potential lay undiscovered for so many years. One thing’s for sure now, though: the secret’s out. Find out more about Promontory, or its sister estates Harlan and Bond

Promontory’s owner Will Harlan took us on a virtual tour of this remarkable property tucked out of sight in the Napa Valley.

Visiting Promontory in Napa’s Oakville district with Will Harlan (from the family who founded Napa’s most prestigious cult Cabernet, Harlan Estate).

Uncovering Oakville’s hidden valley, Promontory

Uncovering Oakville’s hidden valley: Promontory

Louis XIII has been adored by dignitaries, royalty and the glitterati throughout its near 150-year history. Everything about it, from the grapes to the glass, is of the highest quality. It has been present at some of the most momentous occasions in modern history – served at European royal courts, poured on the maiden voyage of the SS Normandie and Concorde, and quaffed by Agatha Christie on the Orient Express. It has been a favourite of Prime Ministers and dabbed on the wrists of fashion icon Coco Chanel. So what is it about this Cognac that has captured the hearts and minds of so many influential people throughout history? Working from the outside in, Louis XIII is housed in an instantly recognisable Baccarat crystal decanter. Each one is crafted by hand and no two are the same. It comes in a number of formats, from the miniature 5cl to the six-litre Mathusalem. Few bottles look as exquisite or capture the light like the spiked vessel that wouldn’t look out of place in a gallery. The decanter is fashioned after a carafe that was unearthed on a 16th century battleground. Rémy Martin founder Paul-Emile Rémy Martin decided to model his Cognac bottle on the one that was exhumed because he was so taken with the design. This was quite a radical move at the time as Cognac was historically sold by the barrel. The decision paid off as the decanter has since become an international standard for quality and many have attempted to mimic its design. There are numerous nods to history and Louis XIII’s royal namesake on the handblown decanter, including the 20-carat gold neck and handmade fleur-de-lis stopper. It takes a minimum two weeks’ craftmanship to produce a single decanter. This, however, is a mere fraction of the time it takes to produce the remarkable liquid within. Only the finest grapes from the Grande Champagne region are selected to one day become Louis XIII. Each decanter contains approximately 1,200 eaux de vie, distilled on lees, and aged for up to 100 years in traditional Limousin oak casks called tierçons that are over one century old. It’s no exaggeration to say Louis XIII is the work of a Cellar Master’s lifetime. Baptiste Loiseau became only the seventh person to hold the role – and the youngest in the Cognac house’s history – when he took up the mantle in 2014, at just 34 years of age. Despite all the advancements that have occurred throughout Rémy Martin’s history, it is no easier today than it was all those centuries ago for the Cellar Master to know if the decisions he or she makes will affect Louis XIII’s end taste profile. It is Loiseau’s role to ensure these aromas are the same in a century’s time – something that is becoming ever-more difficult in a changing climate with tools that are disappearing before his very eyes. The tierçons, named as such because Rémy Martin’s Cognac used to be transported in barrels of three on a horse-drawn carriage, are crucial to the history and taste profile of Louis XIII. There are tierçons in the depths of the Rémy Martin cellar that date back to 1744 – 20 years after Martin started producing Cognac under his own name. For a long time, the art of coopering these 550-litre tierçons was lost to the ages, as none was produced after 1917. This has become increasingly problematic over the past 20 years as the number of tierçons started to dwindle as one is sacrificed when another needs repairing. In 2012, then Cellar Master Pierrette Trichet made the bold decision to start this age-old tierçon coopering practice again, for fear there might not be any left for generations to come. This project to resurrect the art and safeguard the future of Louis XIII took years to master. The Rémy Martin team enlisted the help of various experts in their field to recreate a tierçon that was faithful to the ones produced in the 18th century. A tierçon must be made from a Limousin oak tree that is up to 180 years old. Once felled, the oak needs to be split and air-dried for a minimum of three years. The new tierçon is then filled with new eaux de vie to mature before it is ready to be filled with the eaux de vie that is one day destined to become Louis XIII. Even after creating countless prototypes, it’s impossible to know exactly how the resulting liquid will taste when it’s ready to bottle in almost a century’s time. From the grapes, to the maturation vessels, and decanter, everything about Louis XIII is rich in history and savoir faire. The world around might change, but there is some comfort in knowing that the "king of Cognacs" in your decanter – or better yet, rocks glass – is as fine as the liquid dabbed on the wrists of Coco Chanel and imbibed by the statesmen and dignitaries of their respective times. Browse all Cognac listings or read more Editorial 

Louis XIII is one of those spirits that almost transcends its own category – and rightly so. It has everything: the history, the provenance and exceptional quality. Holly Motion explores the fascinating history of the "king of Cognacs"

Learn the incredible story of Louis XIII, the king of Cognacs. A liquid of uncompromising quality, adored by dignitaries, royalty and the glitterati.

The history of Louis XIII, the king of Cognacs

Louis XIII: the making of an icon

Burgundy expert Jasper Morris MW has had his finger on the region’s wine pulse for several decades. Especially for FONDATA, he profiles eight domaines to watch, producers that are bringing vital energy and fresh winemaking talent to the celebrated wine region 

Jasper Morris MW on eight of Burgundy’s most exciting domaines – including Eleni & Edouard Vocoret, Chantereves, Alvina Pernot and more 

The new Burgundians – Jasper Morris MW 

The new Burgundians

Wine journalists are jaded folk – spoilt by too many impressive tastings, lunches and dinners. But when Champagne Louis Roederer invites you to an event celebrating 50 years of Cristal Rosé, few refuse. Cristal Rosé is, as Chef de Cave Jean-Baptiste Lécaillon told us, still “a hidden gem” and the rarest cuvée Roederer produces. It’s not often shown, and even visitors to the estate don’t get to taste the wine.  While Cristal – Champagne’s first prestige cuvée – was created in 1876, its pink sibling was born almost a century later. It was Jean-Claude Rouzaud, current CEO Frédéric Rouzaud’s father, who created the wine, aged 32. He had been managing the company’s vineyards and took over the winemaking in 1974.  “His great vision was to put the vines back in the centre of the creative process,” explains seventh-generation Frédéric Rouzaud. For Roederer, site and farming have long been key to what they do (long operating both as a grower and négociant), but Jean-Claude’s move from vineyard to cellar pushed this further, allowing for – as Lécaillon put it – “a creative and constant dialogue between the vineyard and cellar”.  The same year that he started leading the cellar team, Jean-Claude decided to make a rosé version of Cristal. Almost all rosé Champagne was – and is – made by blending a still red wine in with the base white wines. Jean-Claude, however, wanted to use co-fermentation to keep the wine in the style of Cristal, a decision that Lécaillon says was key, making the wine more ethereal, precise and “Pinot-y”, with a juicier texture.  The wine was built around parcels of Pinot Noir in the Bonottes area of Aÿ, which Lécaillon describes as the “Musigny” of Champagne. In his mind, the Pinot Noir from these plots offers a “special tannic complexity” – tannins that are more saline, integrated and aromatic; the Pinot Noir here is, he says, “effortlessly perfect” and the heart of Cristal Rosé. These three vineyards (Bonotte Pierre Robert, Gargeotte and Côte du Moulin) had been used for Cristal since the 1870s, and more recently became the source for Pinot Noir material for their vine nursery – with 150 different massal selections taken from the plots – long recognised for their quality.  The three original Pinot Noir plots are now being replanted and – while the vines mature – another site in Aÿ, La Villers, a mid-slope parcel at higher altitude, is currently being used in the blend (from the 2018 vintage). It is set to form part of the wine long-term, its cooler position thought to be of particular benefit with climate change. Complementing the 55% Pinot Noir is Chardonnay from two sites – Pierre Vaudon in Avize (bringing more power and richness) and Montmartin in Le Mesnil (lending length, salinity and a chalky minerality).  The first two vintages (1974 and 1975) were more experimental, as Jean-Claude figured the wine and style out, but the third attempt in 1976 produced something special – with sufficient phenolic ripeness to produce a rosé truly worthy of the Cristal name. Even now, 48 years later, that wine is singing – combining savoury rye and brown miso notes with pear tarte tatin and an earthy power. While it had a flurry of three vintages at the start of its life, just 25 vintages of Cristal Rosé have been produced to date. The wine needs a year where not only the quality of fruit is outstanding, but the Pinot Noir and Chardonnay ripen at the same time – allowing for their co-fermentation – something that is relatively rare.  Only made with vines that are minimum 20 years old, yields are low for Champagne (at 35-40hl/ha).  The Pinot Noir is destemmed, crushed and left to macerate. Earlier vintages saw this happen over two to four days and at warmer temperatures, but the winemaking has evolved over the years, with a pivotal shift from the 2008 vintage. From 2008. Lécaillon started chilling the Pinot Noir down to -4̊C overnight, prior to de-stemming and crushing the fruit – something which he believes avoids extracting any green character.   The must is then left to cold-soak for between seven and 10 days, with no punch-downs or pump-overs – a true “infusion” (to avoid any microbial spoilage, they cover it with dry ice for the first four days, then use nitrogen). The must isn’t chilled during this time, and the temperature gradually rises to a maximum 8-9̊C. Moving to a cold-soak was inspired by an accident. In the warm 1989 vintage, Lécaillon’s first year at Roederer, they didn’t have a cooling system in the cellar, and the Pinot Noir was left in a reefer – undergoing an inadvertent cold-soak. The resulting wine was so good that it inspired Lécaillon.  Just as the fermentation starts, the must is racked off and blended with the Chardonnay which has been whole-bunch pressed pneumatically (Lécaillon argues the grape’s reductive nature needs a little skin contact to avoid being overly thiol-driven and Sauvignon-esque). Around 20% of the base wine sees oak. After secondary fermentation (under crown cap, something with Lécaillon argues helps preserve precision and terroir versus cork), the wine spends eight years on its lees, developing immense complexity.  “Since 1974, it has been our laboratory of farming, of winemaking,” says Jean-Baptise Lécaillon of the wine. Cristal Rosé was in fact the House’s first cuvée to be farmed biodynamically, and the first biodynamic prestige cuvée in Champagne, from the 2007 vintage. He explains that he is looking for phenolic ripeness, integrated with the salinity of Champagne, seamlessly combining the tannins and acidity; a wine complemented – but not dominated – by bubbles of salt.  The wine is undeniably remarkable. Tasting through a range of vintages from 1976 to the present day, all in magnum (find full tasting notes below), the vibrancy, purity and moreish, saline, minerality of these wines left me speechless. Their ability to age is effortless, with the 1989, for example, still tasting incredibly youthful. Talking about Cristal Rosé’s evolution, Lécaillon explains that he finds the first decade is all about fruit, but then the wines return to their site and soil, becoming wines of place. Conversation strays into weather Champagne today, with global warming, can still make wines that will age as beautifully.  “Champagne is not just about acid; it’s about freshness,” says Lécaillon. He points to the 1976 and 1989 vintages – both incredibly hot years, with the fruit picked at almost 12% potential alcohol and modest acidity levels – and yet the wines are full of freshness. Back then, producers were on holiday throughout August, and the fruit was picked in September (1st for the 1976 and from 5th for the 1989), but with such conditions today they would have harvested in mid-August. It is perhaps, he suggests, a lesson that the region is overreacting to warm conditions – with too many producers chasing acidity, rather than phenolic ripeness. For the skins are, he argues, the key to this sense of freshness, the dry extract that allows the wine to age.   The House has introduced a Cristal Rosé Vinothèque, or late release. To date, there have only been a handful of vintages – the 1995, 1996, 1999 and 2002. The maturation for this wine isn’t set and varies according to the vintage, normally spending longer on its lees, both sur latte (lying down) and sur pointe (upside down), the idea being to build umami complexity in the wine. The sur pointe ageing is unusual, something Lécaillon favours for its more reductive nature, keeping the wine aromatically fresh (the wine is still riddled four times a year in the same position, to agitate the lees and absorb any oxygen). Generally these releases are offered around 15-17 years after the vintage. The dosage is often lower than the original bottling, with the longer lees ageing lending balance without a higher sugar addition. Tasting the 2002 Vinothèque (a wine that feels infantile), Lécaillon says: “Is it better? I don’t know, but it’s another expression.”  I’ve written before about Lécaillon’s tireless approach to wine-growing – constantly looking to learn and evolve, and the week after our dive into Cristal Rosé he was flying to Japan to visit the Fukuoka farm (founded by Masanobu Fukuoka, the author of The One-Straw Revolution and a pioneer of permaculture or “natural” farming). His fight against the “banalisation” of taste continues, as he looks for ever-more ways to enrich the world of Louis Roederer. If the next 50 years of Cristal Rosé is nearly as good as the first, we’ve all got a lot to look forward to.  Five decades of Cristal Rosé: the tasting  2013 Cristal Rosé: A beautiful, late-ripening growing season that provided the last October harvest to date. A wine Chef de Cave Jean-Baptise Lécaillon describes as having “eternal youth” – something that is hard to disagree with after tasting the wine. This is a baby, the nose enticing with delicate floral aromas and bright citrus, not giving too much away. The palate is long and saline, tightly wound, but bursting with bright fruit on the mouthwatering finish, combining lush redcurrant and lemon. Gorgeous. Dosage 7g/l, tasted from magnum.  2012 Cristal Rosé: Lécaillon notes how 2012 was seen as an “easy” vintage on release, riper and richer with a little more Pinot Noir in the blend, but is now entering its second life, with reductive, chalky notes that bring it back to its soils. The wine is beautifully earthy and drastically different to the 2013, with power and intensity. It’s very savoury, a wine that is all about breadth and structure, with wild strawberry and raspberry notes mingling alongside a sea-spray freshness, driving on to a long, mineral finish. Dosage 8g/l, tasted from magnum.  2008 Cristal Rosé: This was the first fully organic vintage for the entire Roederer estate, and marks the start of a new era for Cristal Rosé with its cool “infusion” technique for the Pinot Noir. Paired with the 1995 vintage, the two wines are windows into two completely different worlds of Cristal. With the copper tone of a sunset, it’s a wine of muscle. It’s almost haughty, with length, power and elegance – showing off its flawless structure, with a zesty citrus drive complementing its austerity. The finish is long and saline. It will be incredible to taste this in 20 years’ time. Dosage 8g/l, tasted from magnum.  1995 Cristal Rosé: This vintage was one of the last to see the Pinot Noir soaked at 20-24̊C. It is, in Lécaillon’s mind, the “same terroir, but a different story” versus more modern iterations of the wine. The wine glows golden in the glass – the colour of the sun just as it breaks the horizon. It’s incredibly open, the aromatics constantly shifting to reveal new layers. There’s a touch of mushroom or truffle, but with layers of rich, almost tropical, fruit behind – think peach, mango, peach tea and the bite of pomegranate, with caramel sweetness, but still a saline twist to the finish. A wine of weight and depth. Dosage 12g/l, tasted from magnum.  1989 Cristal Rosé: This was a very warm vintage, harvested from 5th September, and the wine technically doesn’t have high acidity – yet is a wine of impressive freshness. Grilled hazelnuts edge a nose of candied orange peel and pomegranate, and a coffee note that emerges with air. There’s a liveliness to the palate here, even over three decades on, with a gorgeous freshness and creaminess to the mousse. The fruit on the palate is lush, with generous mouth-watering peach and a taut, mineral backbone. It’s amazing how young this tastes still. Dosage 12g/l, tasted from magnum.  1976 Cristal Rosé: Despite coming from another warm vintage (with a very hot, dry August – and harvested from 1st September), Jean-Baptiste Lécaillon notes the freshness on the 1976 vintage, and how it seems to have never become too evolved. It’s much more savoury than the 1976, with rye bread and brown miso sitting alongside caramelised pears, tarte tatin and a hint of Oloroso Sherry. The palate is a rush of fine bubbles, fresh and with a citrus bite but a savoury framework behind. A remarkable wine. Dosage 10g/l, tasted from magnum.  2002 Cristal Rosé Vinothèque: This was disgorged in 2019, spending 11 years on lees sur latte, and then another five sur pointe, followed by an additional four years’ post-disgorgement ageing prior to release. This wine is so tightly coiled, a wine not yet revealing everything it has to offer – although you can see the incredible structure. It’s so vibrant, with energy and a lushness as it drives toward a seemingly never-ending finish. It’s gorgeous, layered with mandarin, grapefruit pith, chalky minerality and smoked salt, lingering on the soft, saline tail of the mouthwatering finish. Dosage 8g/l, tasted from magnum.    The releases of Cristal Rosé to date: 1974, 1975, 1976, 1978, 1981, 1982, 1983, 1985, 1988, 1989, 1990, 1995, 1996, 1999, 2000, 2002, 2004, 2005, 2006, 2007, 2008, 2009, 2012, 2013 and 2014  Browse all current listings from Champagne Louis Roederer or read more Editorial 

This year marks the 50th birthday of Cristal Rosé, Champagne Louis Roederer’s rarest wine. Sophie Thorpe caught up with CEO Frédéric Rouzaud and Chef de Cave Jean-Baptiste Lécaillon about this very special prestige cuvée and tastes through five decades of the wine

As Champagne Louis Roederer celebrates the 50th birthday of Cristal Rose, we talk to Jean-Baptiste Lecaillon and Frederic Rouzaud 

Celebrating 50 years of Cristal Rose Champagne

Five decades of Cristal Rosé

A prince’s kiss rouses the cursed princess from a century-long slumber in Sleeping Beauty
but the man responsible for Bordeaux’s long-overdue reawakening was not a prince (this being the French Republic after all) but Alain Juppé, France’s former Prime Minister.  Bordeaux had been comatose, earning it the nickname la belle endormie, but the indefatigable politician has given the city the kiss of life. Listed as a UNESCO World Heritage site in 2007, it is now the most desirable place to live in France and was voted “European Best Destination 2015’. Bordeaux's renaissance is a real-life fairytale. Bordeaux was a “melancholy, unwelcoming place” just 20 years ago but the arrival of Alan
Juppé as mayor in 1995 has transformed the city’s fortunes, making its centre as elegant as its wines. Blackened buildings and abandoned warehouses are now a thing of the past and, with the arrival of the high-speed rail link, connecting the city to Paris in just two hours, living in Bordeaux is as aspirational as drinking its first growths.” When Juppé was elected as mayor in 1995, Bordeaux was not the modern and vibrant place it is today. Deputy mayor Stephan Delaux, who worked alongside Juppé for more than two decades, admits: “Bordeaux had a reputation as a melancholy, unwelcoming town. The town wasn’t modern – that is to say that in the town centre, cars, trucks, buses, car parks dominated. The building fronts were black, the waterfront was a relic of a once-busy
port; the warehouses [on the waterfront] were empty. The people of the city no longer knew they lived by a river – there was no life there.” He paints a rather depressing picture but throughout its history, Bordeaux’s sons have
portrayed the city in a none-too-flattering light: the novels of Nobel-prize-winning writer François Mauriac (1885-1970) whose bust now stands in the leafy public gardens, depicted Bordeaux and the surrounding areas as a bleak and uptight place to live in the early 20th century. Similarly, one of Alfred Smith’s (1854-1932) best-known works ‘Le Tramway devant les Quinconces par temps de pluie’ depicts a grey, wet day on the banks of the Garonne, umbrellas up and those without hurrying, heads bowed. It’s not a place you would have aspired to live.  Things didn’t get much better during the 20th century: local tour guide Veronique Baggio recalls a ramshackle apartment she lived in in the 1980s. “The building’s bathroom was in the attic so I had to leave my apartment to use it.  At that time the city was trying to push locals to improve the inside of buildings [to improve living conditions].  It wasn’t until the late 1990s that they started to focus on cleaning up the outside of the buildings and the public places.” Today, the buildings are impeccable – a mass sandblasting effort has unveiled the natural caramel and blonde tones of the local limestone, which were long hidden. Here and there, a few reminders of the past can be seen along its narrow streets: a blackened façade, as if smeared with charcoal.  Yet the renaissance of Bordeaux required more than a spit and polish. The length of the city’s riverbank had long been hidden by a line of ugly warehouses designed to cater to the needs of a port city. Since the 19th century, sugar and spices from far-flung places were unloaded to be reloaded by local timber and wine. The commercial port moved away in the 1970s from the city centre but the warehouses remained, as did the businesses that catered for the all-male docking crews.  Charles Sichel, export director of Maison Sichel, a wine merchant in the Chartrons district since 1883, explains:  “20 years ago there were a few seedy bars [on the quais] and where the new bridge is [Pont Chaban-Delmas] there were working girls. It was interesting taking customers out to lunch when there were girls standing in the doorways waiting for business – it was quite something – but I can’t remember them ever saying anything!” How times change. The waterfront is now the playground of the Bordelais, filled with joggers,
cyclists and prams promenading along its length; a place for concerts, festivals and open-air markets.  It is a sunny day and a Viking cruise liner lounges at the edge of the city centre overlooking children skipping in the water mirror, a slick of water that, as its name implies, reflects the classical architecture of the Place de la Bourse (Stock Exchange Square). It has become Bordeaux’s iconic postcard picture (and an unwitting urban water park) and represents the new face of the city – clean, bright and, dare I say it, fun.  The reawakening of the city has been noticed far beyond the city’s ring road; it has become the most desirable place to live in France, according to a survey commissioned by the Observatoire du Bonheur in 2015. Asked in which French city they would most like
to live, nearly one in five respondents answered Bordeaux – ahead of Montpellier, Toulouse and streets ahead of Paris.  Just an hour’s drive from the beaches of the Atlantic and three hours to the ski slopes of the Pyrenees, Bordeaux is now within commuting distance of Paris. A high-speed rail link (TGV) cuts the travel time between the two cities from more than three hours to two hours and five minutes in July 2017.  The spruce-up now continues beyond the city centre. Gliding north along the quai past Sichel’s office in the Chartrons district, the tram has started to deposit an unprecedented number of tourists in the Bacalan district. It’s certainly not the prettiest of suburbs, home to run-down docks, abandoned factories and a huge concrete mass that was once a submarine base, but the Juppé magic dust is now being sprinkled here and the opening of the Cité du Vin in June 2016, a towering sphere of gold and silver in a Frank Gehry meets Zaha Hadid-construction, is a pivotal part of its future. Tourists  - and most locals -  have had no reason to come here but that’s changing with 421,000 visitors walking through its doors in 2018. La belle endormie has woken up but the city continues to dream big. Sichel is rightly proud of his hometown. “Now, every time my customers come here they all comment on how beautiful the area has become. Juppé has turned this city around.” Explore more Editorial

Listed as a UNESCO World Heritage site in 2007, it is now the most desirable place to live in France and was voted “European Best Destination 2015’. We explore the renaissance of Bordeaux 

Exploring the renaissance of Bordeaux, from being named a UNESCO World Heritage site to being crowned the most desirable place to live in France 

Bordeaux revival - the city's transformation

Bordeaux revival: A reinvention of the city

Peat in whisky is divisive – both in terms of its intense flavour profile, but also its sustainability. It has long been used in Scotch whisky, adding complexity to the region’s spirits, but has – over the last two decades – been thrust into the limelight.  Essentially, peat is baby coal – decomposed organic matter, in particular sphagnum moss, that takes thousands of years to form. Historically, these peatlands – wetlands such as bogs and fens – were used for fuel, especially where other energy sources weren’t readily available. Slabs of peat, cut out of the ground and left to dry, were burnt, valued for their ability to (like coal) smoulder steadily. Peat would have originally been used to heat pot stills, giving off intensely scented smoke that distillers eventually looked to capture.  Today, energy sources are largely more sustainable, and peat is used in significantly smaller volumes in the kilning process. After the barley has been malted, it is kilned (essentially dried). For peated whiskies, this is done (at least in part) over a peat-fed fire, so that the barley picks up the flavours from the smoke. This barley is then milled, mashed, fermented and distilled to produce the whisky, with the peat smoke lending flavours that range from soot, smoke and asphalt to seaweed and iodine.   Peatlands have been put in the spotlight with climate change, given their incredible capacity to hold carbon – and release it. As a NatureScot report (2023) states, “Although peatlands cover less than 3% of the world’s surface, it is estimated that they store double the amount of carbon held in global forest biomass and more than 30% of the total global soil carbon store (Bonn et al., 2016). Peatlands make up some 9.5% of the UK’s land area with an estimated carbon store of over 3,200 million tonnes, of which 1,600 million tonnes are estimated to be in Scotland (Bonn et al., 2016).” But while they have an impressive ability to lock away carbon, once peatlands are damaged they release some of that carbon – and the same report estimates that degraded peatlands account for circa 13% of Scotland’s carbon emissions. (It’s worth noting that the same institution – then known as Scottish National Heritage – came under fire in 2020 for its agreement with Diageo, allowing for unlimited peat extraction on Islay.)  Peat accumulates at a mere 1mm a year, so it’s easy to see why peat extraction is a hot topic. Protecting and restoring Scotland’s peatlands are firmly on the national agenda, and in 2020, the Scottish government announced £20 million earmarked for restoration, with a commitment to invest more than £250 million by 2030. Unsurprisingly, it’s put Scotch whisky’s use of peat under the magnifying glass. In reality, a fraction (just 1%) of Scotland’s peat goes to the spirits industry – with horticulture the main culprit.  As Bruichladdich’s Head Distiller Adam Hannett says, however, it has provided “a great lens to look at what we’re doing with peatlands”. For him, “It’s about responsible extraction.” Bruichladdich’s production director is also looking at restoration projects with local farmers. In 2021, two giants of the industry announced significant projects – one from Diageo’s Johnnie Walker, partnering with the RSPB to repair wetlands, and a more ambitious pledge from Beam Suntory, with its Peatland Water Sanctuary Initiative. The project aims to restore twice the volume that the company harvests for use in whisky production, with $4 million invested by 2040. Some producers – such as Nc’nean – have sworn off peat totally, while others are moderating usage, or looking for alternatives.   In Sweden – where peatlands represent up to 20% of the entire land area, Mackmyra’s Blender Lii Johnson explains how there is strict regulation around their usage. They are one of a growing number of producers looking to use peat as another way to explore their terroir. As few producers malt and kiln their own barley today, often this is shipped from Scotland (in turn adding to distilleries’ carbon footprints). At Mackmyra, they instead use Karinmossen – local peat, harvested around 40km south of the distillery – seasoned with juniper twigs. She estimates they use a mere 0.1% of the peat bog, bringing in around 30 cubic metres per year.  Johnson feels that it is the juniper in the Karinmossen, along with the small twigs they add (picked from the woods around the distillery), which give a light citrus, almost medicinal note to their peated malts. In Seattle, Westland has pioneered using local peat, and a process with a backhoe to keep the bog intact and limit their carbon footprint. Co-Founder and Managing Director Matthew Hofmann feels the local peat brings Mezcal-like aromas to their peated whisky, Solum.   This quest for sustainability, combined with emphasis on the concept of terroir in whisky, has had interesting results at distilleries around the world. In Minnesota, Brother Justus sources peat from the Boreal Forest and has trademarked a cold-peating process to produce more delicate aromas. Tasmanian distillery Lark looks to Browns Marsh for its peat (around one cubic metre a year) and has had the International Mire Conservation Group confirm that it is having zero impact on the marsh. Others are looking to use alternatives – New Zealand’s Thomson Whisky uses manuka, while Archie Rose has looked to Australian hardwoods and, perhaps most distinctively, Iceland’s Eimverk sources sheep dung from local farms in lieu of peat.  As we’ve touched on, however, it’s not just what is used to peat malt – but how it’s used, that impacts the flavour of the final whisky. “Duration, in my opinion, is the key,” says Mackmyra’s Johnson, emphasising that it is how long the barley spends in contact with the peat smoke that influences the level of peatiness, while it is only the type of peat (or peat alternative) that will effect the nature of the peat flavour. She explains how whether the barley is peated pre- or post-break is also important: it’s most common to do pre-break, as if it is done post-break, when the barley is largely dry on the surface, it doesn’t pick up phenols – the compounds that produce peat’s smoky flavours. For Mackmyra’s peated barley, it is kilned for one day with peat and then for a second day just with hot air.  There are other factors too however – with fermentation times and cuts often a focus. While longer ferments are generally thought to engender complexity, shorter ferments preserve phenols. There are three factions to a still run – the foreshots, heart and feints. The foreshots and feints, the liquid that runs off first and last, are generally discarded, and the cuts between these determine the character of the heart. Phenols generally come late in the distillation process, so later cuts can be preferential when looking for peat character. For Mackmyra’s Extra Rok 2.0 – an extra-peated malt, they do shorter ferments and a later cut, to preserve the phenols.   It's become fashionable to talk about “ppm” in peated whisky – parts per million (perhaps familiar to wine lovers as the same term that is used for sulphur levels), to measure the level of total phenolic compounds. It’s perhaps unsurprising that the compounds are the same as those for smoke taint, including guaiacol and 4-methylguaiacol, for example, but while in the world of wine these are avoided, distillers of peated whiskies have competed to produce the spirit with the highest. This race to make the peatiest whisky possible was arguably inspired by Compass Box’s Peat Monster (first produced in 2003), building to and culminating with Bruichladdich’s Octomore 8.3 (released in 2017) – a whisky with a remarkable 309ppm, the highest level measured to date (compare this to the first Octomore release which had 131ppm). In this frenzied period, Ardbeg’s Dr Bill Lumsden even buried a barrel of peated whisky in a peat bog (which was released as an NFT in 2022, Ardbeg Fon Fhòid). But while one number is an easy way for whisky drinkers to grasp how peaty a spirit is, not everyone believes it’s helpful.  “We don’t like to talk about those numbers,” says Johnson. She explains how ppms are somewhat farcical, in her view. When the reading is taken varies from distillery to distillery, and therefore provides something that is almost impossible to compare. While most are taken at the mashbill stage, if you are later blending, it’s an estimate at best. Not only that, but the make-up of the phenolic compounds will influence how peaty one 100ppm whisky is versus another 100ppm whisky. For Mackmyra, their pure peated malt sits at around 300ppm, but the mashbill for their peated and extra peated whiskies are respectively around 70 and 140ppm, Johnson reluctantly tells me. The level of phenols can also vary significantly between batches of barley – and at Mackmyra they aim to combat this by doing one kilning a year, distilling all their peated whisky at once and blending the batches to create a consistent product.  It's almost for this exact reason that Bruichladdich created Octomore, Head Distiller Adam Hannett explains. The project’s numbered releases have significantly different levels of peatiness, and were a project inspired by their curiosity to see how far they could push the peat level, as well as their partnership with Bairds maltings, who had batches of barley with irregular phenol numbers.   Although peat is intrinsically associated with Islay’s malts, things aren’t as clear-cut today – and as Hannett says, “You can’t categorise flavour by region”. Islay-based Bruichladdich produces both peated and unpeated whiskies. Originally the distillery made heavily peated malts, switching to unpeated styles in the 1960s, and today makes both. Its Port Charlotte brand was first conceived to capture what Bruichladdich would have been like in the old days, as a heavily peated malt. Intriguingly, Bruichladdich briefly tried using Islay peat, however found that they couldn’t get the phenol levels as high. Hannett highlights that another element in phenol levels is the depth the peat is cut from – with lower levels having more vegetation and therefore more phenols.  For Bruichladdich, when they’re looking for an overtly peated spirit, the quality of the underlying spirit is key – working with the right barley and fermentation times, for example. While peated malts might be thought of as heavy, oily and medicinal, they try to avoid this character. He deliberately won’t delay making a cut in the name of phenols, with that decision based on quality – and the result, he feels, is that, “The essence of the peat smoke is light – it’s barbecued.” For him, it’s about the balance between the peat character and everything else.  For blending specialists, House of Hazelwood, peated whisky “is a tool in our arsenal we can use to build a complex blend”, says Eilidh Muir from their Whisky Blending Team. She emphasises that using peat doesn’t necessarily equate to a smoky whisky, but can contribute something to a blend that is much harder to pin down – but something you’d notice if it wasn’t there. “A whisky dominated by a single flavour is often too one-dimensional,” she says – they too are looking for that fine balance.  Peat is just one element that can be used to shape a spirit – and there remains a certain amount of mystery to its influence. The sustainability question isn’t going away, but – as Bruichladdich’s Hannett says, “I don’t know what the solution is at the moment… but we’re looking for one.” As producers look for an answer, they’re pushing boundaries – experimenting with local sources and alternatives – something that will only benefit whisky-lovers, and the environment.  Browse a range of peated whisky or read more about spirits 

Iodine, seaweed, soot and smoke: for some, peat’s trademark tasting notes are off-putting, for others they’re the pinnacle of fine whisky. Sophie Thorpe spoke to Bruichladdich, House of Hazelwood and Mackmyra about peat, ppms, its potential sustainability problem, and how it’s being used today

Bruichladdich, House of Hazelwood and Mackmyra on peat – how it’s used, whether it’s sustainable and the alternatives being employed in whisky today

How whisky distillers are using peat today

The big smoke: peat and whisky

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

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

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

What winemakers are drinking this Christmas

Patland Hidden Gallery

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