It has been an exceptional few weeks for FINE+RARE events. From Hong Kong to London, Milan to the Scottish Highlands, this run of extraordinary occasions – each distinct in character – has been united by the thread that runs through everything we do: bringing people closer to the world's most exceptional wines and spirits in settings that do them justice. Tiberio Dinner Table by Sandy Keung, Hong Kong — Wednesday 21 May The run began with one of the most eye-opening evenings of recent weeks, centred on the wines of Tiberio, the Abruzzo estate whose commitment to a no-oak philosophy — for both fermentation and ageing, with the sole exception of Archivio — continues to challenge assumptions about what Italian wine can achieve without the influence of wood. The evening opened with three vintages of Fonte Canale: 2016, 2018 and 2023. The 2023 drew immediate attention — many guests found it hard to believe that a wine of such depth and power had not seen any oak influence whatsoever. Vibrant acidity and a clear capacity for long-term ageing were immediately apparent. The 2016, with more time in bottle, had moved into more evolved territory, displaying nutty and dried fruit notes while retaining impressive freshness. The 2018 proved a wonderful companion to the mixed clam dish, its texture and salinity enhancing the natural sweetness of the seafood. Among the whites, the standout for many was the Quarmari 2023 — exceptionally aromatic, revealing layers of beeswax, jasmine, caramel, lemon cream, basil and sweet spice. It was universally appreciated around the table, with some guests going so far as to compare its quality and presence to Corton-Charlemagne. The reds were equally compelling. Four vintages of Colle Vota — 2014, 2018, 2019 and 2021 — demonstrated remarkable depth and character across the board. Full-bodied and structured, with pronounced notes of dark fruits, liquorice, cedar, cinnamon and spice, the 2018 and 2021 in particular showed great power and concentration, their style subtly reminiscent, for some guests, of Château de Tours from Rayas. Paired with the lamb neck course, these wines were in their element. What surprised many most was that, despite their weight and complexity, not one had been aged in oak — a testament to the intrinsic power and expression of old vines. The inaugural 2014 vintage of Colle Vota was a particularly memorable moment. Despite showing early tertiary notes, it retained excellent fruit, freshness and structure, offering a compelling demonstration of the outstanding ageing potential these old-vine wines possess. It was an evening that left a very strong impression on everyone present, and a powerful reminder that great winemaking is, above all, about the vine and the land. Update by Jonathan Leung, Sales Manager, Hong Kong Castello di Ama — Vigneto Bellavista Vertical Dinner The River Café, London — Thursday 18 June One of the most memorable evenings of the year so far took place at The River Café, where proprietor Lorenza Sebasti guided a remarkable retrospective of Castello di Ama's Bellavista — the estate's defining wine, drawn from one of the highest and most historic sites in Gaiole in Chianti. Presented across nine vintages spanning more than three decades, from 1990 through to the newly released 2022, the dinner offered a rare opportunity to explore both the evolution and the extraordinary consistency of one of Tuscany's great wines. The oldest vintages were deeply impressive. The 1990, 1995, 2004 and 2006 demonstrated that great Chianti Classico belongs among the world's most ageworthy wines, maintaining freshness, detail and vivacity decades after harvest. For many around the table, however, the greatest surprise came from the 2011 — universally praised and the favourite of numerous guests — which has now entered an ideal drinking window, combining maturity, complexity and harmony in a way that rewards the patience Bellavista has always asked of its admirers. Among the younger vintages, the 2018 impressed for its purity and transparency, while the 2021 and 2022 elevated the conversation further. Both displayed remarkable polish, power and refinement alongside the freshness that has become an increasingly important hallmark of the site. It was the 2022 Bellavista that generated the greatest excitement. Awarded a perfect 100-point score by Antonio Galloni, the wine was the subject of considerable discussion throughout the evening, though the consensus was clear: the score tells only a small part of the story. What made the 2022 so fascinating was what it represents — a convergence of decades of technical progress, viticultural understanding and winemaking refinement in a single wine. It possessed concentration and potency, but delivered these with remarkable elegance, precision and energy. More than any previous vintage tasted, it felt like a blueprint for the future of the estate. Throughout the evening, Lorenza and Arturo offered invaluable personal reflections on the evolution of Castello di Ama, transforming the dinner from a vertical tasting into a living history of one of Italy's great estates. The River Café, with its understated elegance and deep connection to Italian cuisine, proved the perfect setting. The main takeaway was a simple truth: Bellavista is one of Italy's great wines, and only growing in stature and completeness. Across more than thirty years, through changing vintages and shifting climates, it has maintained a consistency of purpose and identity that very few wines anywhere in the world can match. Update by Dara de Lacy, Senior Sales Manager, UK EAWCO Rarities Selection — Bowmore & Springbank Masterclass FINE+RARE HQ, London A masterclass that set the bar high from the very first pour. We were delighted to welcome Christian Leusder, founder and owner of East Asia Whisky Company, to FINE+RARE headquarters for an evening dedicated to some of the rarest independent bottlings in existence. East Asia Whisky Company has been a longstanding and deeply valued partner of FINE+RARE. An exclusive independent bottler built on principles of understatement, exclusivity and meticulous attention to detail, EAWCO's portfolio spans blue-chip distilleries including Macallan, Bowmore, Springbank, Chichibu and Caroni. They remain the only independent bottler to have released multiple successful Mizunara cask bottlings from these houses — releases that have, remarkably, achieved higher prices than the original distillery bottlings of the same vintages. Christian guided guests through the history of the company before leading a tutored exploration of five extraordinarily rare expressions from Bowmore and Springbank: Bowmore PX Mizunara, 31 Year Old Bowmore Japan Edition, 30 Year Old Springbank Lumen Refill Sherry, 30 Year Old Springbank Yokai Series Asanoha Dragon, 24 Year Old Springbank Yokai Series Yurei (Ghost) Cat, 25 Year Old With a few surprises woven in along the way, the evening was a genuine privilege — one of those rare tastings where every bottle opened carries real weight and significance. For those who were unable to attend, a small number of these bottlings remain available, though given how few exist, they are being offered very selectively. All come very highly recommended. Update by Morgan Richards, Senior Account Manager An Extraordinary Journey Through Bordeaux's Greatest Estates Trattoria de La Trebia, Milan — Tuesday 23 June In Milan, an evening of extraordinary ambition brought together a side-by-side exploration of the 2012 and 2014 vintages through Bordeaux's most celebrated First Growth estates and the legendary Petrus. Far more than a tasting, this was a rare opportunity for guests to compare the expression of each château across two very different vintages — discovering how terroir, philosophy and vintage character shape wines that stand among the finest ever produced. The lineup was nothing short of remarkable. Across both vintages, guests tasted Château Margaux, Château Cheval Blanc, Château Haut-Brion, Petrus, Château Lafite Rothschild, Château Mouton Rothschild and Château La Mission Haut-Brion — fourteen wines in all, representing the very pinnacle of Bordeaux winemaking. The tasting was complemented by an exclusive five-course menu designed by the culinary team at Trattoria de La Trebia, crafted to enhance and showcase each wine served throughout the evening. If one wine captured the room above all others, it was the Château Haut-Brion 2012. Explosive from the first moment, with blackcurrant, smoke and herbs, it simply grew in the glass — every passing minute revealing more power, richness and intensity. Full-bodied, multi-layered and framed by wonderfully chewy tannins, this is a wine of real charm: approachable now yet built to last another twenty years with ease. A blend of 65.5% Merlot, 32.5% Cabernet Sauvignon and 2% Cabernet Franc, it offers extraordinary quality for its level — the kind of Haut-Brion that gives joy from the very first sip. Not to be missed. The Château Margaux 2012 also showed beautifully, drawing considerable admiration from guests throughout the evening. Designed for collectors, enthusiasts and connoisseurs alike, the dinner brought together extraordinary wines, great conversation and a shared passion for excellence — everything a FINE+RARE evening in Italy should be. Update by Jonathan Bruni, Sales Director, Continental Europe Visit to Hazelwood House Speyside, Scotland — Thursday 25 to Friday 26 June The series closed with something truly special: a private, two-day visit to Hazelwood House, the Gordon family home in the Scottish Highlands and the inspiration behind the House of Hazelwood collection — one of the world's greatest inventories of aged and rare Scotch whisky. Over two days, a small group of guests were given rare access to a world that very few ever see: private tours of the Balvenie and Glenfiddich distilleries, a whisky tasting drawn from House of Hazelwood's private reserves, a Gordon family archive session led by archivist Andy Fairgrieve, and an evening of wine, whisky and storytelling over a four-course dinner at the house itself — each course paired with exceptional wines from FINE+RARE alongside whiskies of extraordinary age and provenance. It was the kind of experience that simply cannot be replicated — not just rare access, but a genuine connection to the family, the place and the history from which these remarkable whiskies come. These past few weeks have captured everything we love about what we do at FINE+RARE – connecting people with the world's most remarkable wines and spirits, in the most exceptional settings, surrounded by the stories and the people that bring them to life.  We look forward to sharing what lies ahead for the rest of the year. Interested in joining us at future events? We are pleased to announce that it is now possible to browse, book and purchase event tickets directly through our website, with all tickets viewable in your portfolio. Get in touch with your account manager or visit frw.co.uk/events to see what's coming up — we'd love to see you at the next one.

Tiberio in Hong Kong, Castello di Ama and rare whiskies in London, First Growth Bordeaux in Milan and a private Scottish estate — a glimpse of our events programme week to week. Plus, you can now purchase event tickets directly through our website.

From a Tiberio dinner in Hong Kong to rare whiskies in Scotland, a look back at recent FINE+RARE tastings, dinners and experiences.

Looking back at our recent events

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

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

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

Jay Fielden on Wine, Words and Distraction

How one became another  

“Right, Richard, what do you think of this?” Gus Paterson, a second-generation whisky blender, said to his son, then aged eight, thrusting a glass in front of his nose. The young Richard – destined to become one of the world’s foremost blenders – had just entered a whisky warehouse in Glasgow for the first time.  “I still remember the bustle of the city,” Richard tells me, almost 65 years later. “He unlocked these doors, and we walked into his world. It was dark and dingy. The smell – of maderised wine and whisky – it’s something you never forget.” But as for the glass in front of him, he didn’t know what to say – a response that earnt him a slap round the back of the head from his father. “Pay attention. Swirl it around. Say hello. Is it as heavy as your grandmother? Light as your mother? Sweet as a chocolate bar? Dry as the dust on the floor?” Suddenly, the young Richard Paterson got it – he was hooked. Skip to the current day and the Master Blender – after 50 years at Whyte & Mackay (the company behind the likes of Dalmore, Jura, Fettercairn and Tamnavulin) and 55 in the whisky industry – has just been awarded an OBE in the New Year’s Honours. “I haven’t quite got my head around it yet,” he says. Talking to me via Zoom, Paterson is a character that refuses to be diminished by a screen. Slickly dressed in a suit and scarlet tie, the showman in him leaps across the WiFi connection, with moments of Mrs-Doubtfire-esque comedy in our conversation, his grandiose moustache dancing beneath one of Scotch whisky’s most famous noses (at one point insured for £1.6 million). Whisky was the family’s trade, his grandfather having established a blending, bottling and broking business in Glasgow in 1933. Richard, however, was determined to prove himself when he joined the industry in 1966. After a battle with his MD at the time, he persuaded them to fund his Wine and Spirit Education Trust courses. He travelled the world to visit vineyards and get to grips with wine – an exploration of flavour that laid the foundation for his work pioneering and experimenting with wine-cask finishes. His skill of blending, choosing the perfect barrel and knowing when it is at its best, is unparalleled. When I ask him how he does it, he tells me that it’s key first to know the style of your single malt – to recognise its personality and character, and then be able to see whether a particular cask will enhance its beauty. “You need to make sure you give it the right clothes,” he explains. Each year he checks in on the casks at Dalmore, tasting hundreds in a day, working through six a minute, nosing each one in an almost trance-like state to, in his words, say hello. It’s only, however, after adding a little hot water and leaving the spirit at room temperature and humidity, allowing each spirit to wake up, that, he says, you get to see what it’s really like. “How are you? Ah, yes, you’ve decided to come away… You’re beautiful.. hmm... You’re a bit of a bitch… and you’re a bit of a bum,” Paterson says, miming his way through an imaginary flight of samples on screen. While there are many elements in determining the style of a whisky – the barley, yeast, distillation time, shape of the still, cut-off times, reduction, the warehouse and more – for Paterson, “the cask is king”. The barrels that hold a whisky can represent up to 80% of the final style – and when you get it right, it’s like nothing else. He tells me about one of the most memorable spirits he’s tasted, a 62-year-old Dalmore of his own making. “Dave Broom [the famous whisky writer] was with me,” Paterson says. “We wanted to make sure that the particular aged Sherry Oloroso casks were going to give us the right quality. A bit like when you cut a pork pie – with the meat evenly distributed. When we nosed it… all those flavours came together in perfect harmony. It really, truly reflected an aged icon.”  Whiskies of this ilk fetch enormous sums, with a bottle of the aforementioned dram (one of only 12 released by the distillery in 2002) selling for £91,650 at auction a few years ago. Paterson seems somewhat baffled by the prices, but mostly hopes it doesn’t put people off drinking the bottles. “You mustn’t sit and look at it; it’s for sharing. The memories that you get – you never forget that,” he says. “And – with whisky – you can always put the cork back.” Over five decades at Whyte & Mackay, he established Dalmore as one of the world’s finest and most collectable single malts; but last year announced he’s taking a step back (working 100 days a year, largely dedicated to Dalmore) to focus on a new project, and the reason for our conversation. Wolfcraig is a brand new distillery and, with Paterson joining a team of serious pedigree, it’s one of the most exciting projects the Scotch whisky world has seen.  With demand for fine single malts higher than ever before, there are over 30 new distilleries at some stage of opening – and no shortage of demand for a man with the skill and sheer brand strength of Richard Paterson. So, of the many offers he’s received over the years, why did the master blender decide to take the plunge with Wolfcraig? In short, he explains – he’s never seen a project with the long-term commitment, capital and combined experience. The team includes Dr Alan Rutherford OBE (former Production Director at Diageo, Master of the Quaich and previous President of the Malt Distillers Association of Scotland), Ian Macmillan (a Master Distiller, also a Master of the Quaich and a member of the Worshipful Company of Distillers), Iain Lochhead (former UK Bacardi Operations Director, and another Master of the Quaich) and Michael Lunn – whom Paterson worked under for 17 years at Whyte & Mackay. For Paterson, it’s a unique opportunity to create a new Highland single malt from scratch, and he’s confident they’ll craft “something special”. The plan is to use a double ball still, with the reflux creating a gutsy, muscular profile, while of course remaining true to the Highland style.
Only the finest wood will be used, and Paterson expects to use Sherry casks to add softness to the spirit. Construction of the £15 million distillery is scheduled to start in summer this year, with a restaurant, bar, private tasting room and extensive visitor centre planned. The distillery has the capacity to produce 1.5 million litres, but production will be strictly limited, with the focus firmly on quality over quantity, and no spirit released until it’s absolutely ready. In 25 years, Paterson expects it to be one of the top whiskies in the world. He grins, his excitement about the possibilities uncontainable: “We’re gonna put our money where our mouth is.” Find out more about Wolfcraig, browse all Scotch whisky or read more Editorial 

Richard “the Nose” Paterson has been crafting The Dalmore for Whyte & Mackay for half a century. But now he’s launching a new project, Wolfcraig – a Highland distillery that has the industry awhirl. We caught up with the larger-than-life character to find out more

The Dalmore Master Blender Richard Paterson on his new project, Wolfcraig, a Highland distillery that has the industry awhirl. 

The Dalmore's Master Blender Richard Paterson

On the nose: Richard Paterson

When it comes to whisky, the conversation has long been dominated by maturation – on how long the liquid spends slumbering in which cask, on how big the cask is and what it held before, whether a Sherry butt, wine barrique, first-fill Bourbon barrel or the fashionable mizunara. Recently, there’s been an increased focus on the base product, with producers such as Waterford’s Mark Reynier championing single-site, single-barley, terroir-driven whiskies (and rums, with his Renegade project). But, somehow, there’s a tendency to skip on by the magic that happens in between: distillation.  While grain whisky is column distilled, malt whisky is almost exclusively distilled in copper pot stills – indeed, it’s a legal requisite for Scotch whisky. Crafting these copper beauties is an art – and one that depends on a handful of specialists. Kentucky has Vendome, Germany has Kothe and CARL, Italy has Frilli and Scotland has Forsyths. The equipment these coppersmiths produce lays the foundation the DNA of its new-make.  To the untrained eye, these onion-shaped pieces of kit look almost identical, but the size and shape is distinct to each distillery – defining its style. As distilleries expand and increase production, they don’t buy a bigger still – but commission exact replicas of their existing still(s), with every dent and dimple carefully recreated. Macallan, famously, replaced all its stills when building its new state-of-the-art distillery in 2018, asking Forsyths to create 36 stills that were identical to those it had previously used.  Although there have been attempts to use other metals, copper has long been favoured for distilling – originally for its pliability, making it easy to work and shape. But by the early 20th century, it was apparent that copper had other benefits – stripping the spirit of impurities. As the vapour rises through the still, it reacts with the copper, capturing sulphur, cyanides, carbonates and acids, meaning the liquid that is eventually collected is purer. Coppersmiths play on this purifying effect to create a range of stills, for the longer the vapour spends in contact with the copper, the lighter the spirit you’ll produce. Take Glenmorangie’s tall, 17-feet-high stills which produce a very light spirit, and compare them to the small, squat stills and typically heavy spirit of the Macallan. Of course it’s not quite as simple as that. As well as the ratio of copper to liquid, the speed of distillation, the shape of the still, the size of the neck, the level of reflux, the angle of the lyne arm and venting of stills all have an impact.  Rothes-based Forsyths has been hammering copper into shape for Scotland’s leading distillers for over 150 years. Richard Forsyth OBE (who has now passed management of the business to his son, Richard Jr) was the third generation of his family to run the coppersmiths. The frank, self-effacing Scot remembers working in his father’s workshop aged 15, “I knew this is what I wanted to do… I found it fascinating.” And after 55 years, his eye still twinkles when he talks about the arch of a still’s swan neck, the art of wielding a planishing hammer and the characters that make the industry so interesting.   He joined the family business in 1967 – at what happened to be a pivotal moment for the industry. During the Second World War, the whisky business ground to a halt – and with it the need for stills. In the 1950s and ’60s, however, the industry grew rapidly – too rapidly, it turned out. What was a golden era turned into a whisky lake, with many distilleries soon mothballed. Forsyths – for whom 99% of its business was servicing the whisky industry – had to find something else to pay the bills, and it was up to Richard to find that something else. They branched out first into paper, then stainless steel and – by the late 1990s – oil and gas. Although coppersmithing remained the foundation and heart of the business, these other disciplines became the main money-makers until the early 2010s, when whisky’s current boomtime set in. Today, Forsyths maintains over half of the pot stills in Scotland. For a wash still (distilleries that double-distil have wash and spirits stills, first distilling the wash into “low wines” and then distilling the “low wines” into new-make spirit), the head, neck and condenser wears out in eight to 10 years, while the pot itself may last 25. Add to that developing new stills for the thriving industry – as well as their expansion into rum, Bourbon and tequila – and the company’s not short of work.   Although there is clear resistance to change with an industry that is entrenched in tradition, things have shifted, slowly but surely, over the years. And there have been two significant changes over the last century that have transformed the Scotch whisky world: the firing of stills and the nature of condensers.  When shell-and-tube condensers were invented in the 1880s, as an alternative to old-fashioned worm tubs, it took time for producers to be persuaded. Although shell-and-tube condensers are significantly more efficient and take up much less space, they are completely different – with the copper surface area at least 20 times larger, something which has a key impact on the spirit. To this day some producers (15 to be exact – including Craigellachie, Mortlach, Glen Elgin and Springbank, the latter only for their wash still) retain their worm tubs, valuing the heavier, richer, more complex (and in some instances, even meaty, savoury) spirit character.   Traditionally stills were direct-fired – heated by flames fed by peat, coal or gas. “It’s dirty, messy, difficult to handle – and to control,” Forsyth tells me. A push for safety and efficiency saw producers switch to using steam in the 1970s. But some argue that this shift wasn’t for the better. Fire created a less consistent heat, with hot spots that would burn the wash and promote Maillard reactions (the same reaction that takes place when you brown meat, or during the bottle-ageing of Champagne or other traditional-method sparkling wine) – adding nutty, roasted notes that build complexity, or so proponents would argue. Glenfarclas is known for having briefly dallied with steam before returning to direct-firing, along with the likes of Macallan, Glenfiddich and Springbank.  As the whiskies of this pre-modernisation era – Scotch’s so-called “golden age” – become increasingly coveted, distilleries (both new and old) are looking to recreate these practices. Along with traditional floor maltings, producers like Glen Garioch (owned by Suntory) and Dunphail are investing in direct-firing. (Although, with worm tubs no longer produced, new distilleries have little choice regarding shell-and-tube condensers.)  However they are fired, given their custom nature, copper pot stills don’t come cheap. Much of the work continues to be done by hand, hammering to strengthen and finish the copper. Stills can range from 5,000 to 50,000 litres in capacity, but an average 15,000-litre still and its condenser will require between 1,800 and 2,000 manhours, and set you back around £250,000. And that price has only increased recently, thanks to rising energy and material costs – with a copper shortage proving challenging for Forsyths, a business that is the UK’s second-biggest buyer of the metal.  With the distinct nature of stills and their impact on spirit, plenty of new producers will ask for copies of a particular distillery’s stills – wishing to emanate their style of spirit. Forsyth tells me how one Japanese customer requested a pair each of Macallan, Glenlivet and Glenrothes stills. While of course there are many problems with this imitation game, there’s also no guarantee – as Forsyth tells me – that the same equipment will have the same results, especially when not run with the same wash, in the same way, by the same people. And, of course, a company like Forsyths isn’t going to give away Macallan’s proprietary designs, for example. As such, they’ll recreate something similar, but ensure it’s tweaked so no two distilleries have exactly the same design.   But how much impact do stills really have on the final spirit? Despite his half-century in the trade, Forsyth is quick to suggest, “I don’t think a lowly coppersmith can talk too much about that.” He’s clear that you need good equipment to make good spirit, but it’s one factor in amongst everything else – the barley, water and fermentation times, for example. And how a still is used is as important as its shape or size, with both the speed of distillation and the all-important cuts – dividing the heart from the foreshots and feints. Forsyth firmly believes that good wood is “the single biggest effect in a bottle eight, 10 or 12 years later”. There’s little use having a good base spirit if it’s ruined by a decade in bad oak – but good oak also can’t salvage bad spirit.  Forsyth has seen it all during his 55 years in the whisky business – and has been forced to be as malleable as the metal his family has worked for generations to survive the booms and busts. Despite the challenges, the coppersmith is as enchanted by his trade as when he first picked up a hammer in his father’s workshop. The industry will doubtless continue to ebb and flow, but with a spirit that takes decades to produce, the pace of change is reassuringly gentle. “It almost goes as slow as the running of the spirit,” Forsyth says whimsically. The still room remains the beating heart of distilleries – the basis of a producer’s fingerprint, all thanks to the careful hammering of the artful coppersmith.  Browse all current Scotch whisky listings or read more about spirits  

There’s something romantic about the bulbous sheen of a copper pot still. These behemoths glimmer with the promise of fine spirit – but it’s rare that we talk about what happens within. Sophie Thorpe sat down with Richard Forsyth OBE of Scotland’s leading coppersmiths, Forsyths, to find out more 

Cult coppersmiths Forsyths on the art of crafting copper pot stills for the biggest names in Scotch whisky – and how they define a distillery’s spirit style

How copper pot stills define whisky styles

Copper craft: the art of the still

Cos’è Krug? 
 Krug è una delle più famose Maison di Champagne al mondo. È insolita perché produce solo cuvée di prestigio ed è apprezzata dagli amanti del vino raffinato, considerata da molti come l’apice dello Champagne di alta qualità – in competizione con nomi come Cristal e Dom Pérignon. Quando è stato prodotto per la prima volta Krug? 
 Joseph Krug fondò Krug & Compagnie nel 1843 insieme a un amico commerciante di vini, Hyppolyte de Vivès. Nato a Magonza nel 1800, Johann-Joseph Krug era figlio di un macellaio. Abbandonò il nome Johann, si trasferì a Parigi nel 1834 e lavorò come contabile presso Champagne Jacquesson prima di iniziare a miscelare i suoi primi vini con De Vivès, prove che avrebbero portato al progetto Krug. Krug è ancora di proprietà della famiglia Krug? 
 No – anche se la famiglia è ancora molto coinvolta. 
 Quando Joseph morì nel 1866, suo figlio Paul prese in mano l’attività. Nel 1868 trasferì l’azienda al numero 5 di Rue Coquebert a Reims, indirizzo che ospita ancora oggi Krug e le sue storiche cantine. L’azienda passò al figlio di Paul, Joseph II, nel 1910, ma fu la moglie Jeanne a prendere le redini quando Joseph II fu fatto prigioniero di guerra durante la Prima Guerra Mondiale. Il nipote di Joseph II, Jean Seydoux, divenne co-direttore dopo la guerra, e l’attività passò a Paul Krug II (figlio di Joseph II) nel 1959, poi a Henri e Rémi Krug, che entrarono in azienda negli anni ’60 e la rilevarono nel 1977. 
 I fratelli Henri e Rémi furono fondamentali nello sviluppo della Maison – ampliarono la gamma, ne costruirono la reputazione internazionale e ne supervisionarono la vendita al colosso del lusso LVMH nel 1999. Anche se continuarono a gestire la Maison, il supporto finanziario di LVMH permise a Krug di prosperare. Nel 2009, Olivier Krug – sesta generazione della famiglia – divenne Direttore della Maison e ancora oggi è al suo comando. Qual è lo stile Krug? 
 Spesso di colore dorato intenso, Krug è rinomata per l’uso del legno, scegliendo di fermentare tutti i suoi vini base in vecchie botti di rovere da 205 litri, permettendo la micro-ossigenazione. Questo, unito a un lungo affinamento sui lieviti (minimo sei anni per i non millesimati e dieci per i millesimati), produce uno stile potente, ampio e riccamente autolitico, con strati di pane, biscotto e brioche. L’enorme numero di componenti usati per la Grande Cuvée crea un vino non millesimato – o, come preferiscono chiamarlo, multi-vintage – particolarmente complesso. La Maison tende inoltre a vendemmiare leggermente in anticipo per mantenere freschezza nei vini. Il dosaggio è medio, con i vini etichettati come Brut, e si aggira normalmente sui 5–6 g/l nelle versioni moderne. 
 È interessante notare che Krug considera il Meunier un elemento importante nei propri assemblaggi (talvolta considerato un vitigno minore dalle altre Maison), apprezzandone la generosità di metà palato che dona ai vini. Il Meunier rappresenta spesso il 15–25% dei blend millesimati della Maison. Quali sono i diversi vini Krug? 
 Joseph Krug aveva idee molto chiare su come realizzare il miglior Champagne e le descrisse nel suo famoso taccuino di pelle color bordeaux (oggi esposto nella sede della famiglia Krug). Dichiarò che la Maison avrebbe prodotto solo due cuvée, concepite per essere di pari qualità. La Cuvée n. 1 era un vino non millesimato, pensato come “la più completa espressione dello Champagne ogni anno” (oggi incarnata dalla Grande Cuvée), mentre la Cuvée n. 2 avrebbe espresso ciascuna annata. Credeva anche fermamente nell’importanza del terroir, scrivendo: “Non possiamo ottenere buoni vini senza buoni elementi e buoni terroir.” 
 Per molti anni, la Maison continuò a produrre solo due vini, ma la gamma si è da allora ampliata. Sebbene i vini non millesimati e millesimati fossero concepiti per essere di pari qualità, i vini millesimati oggi raggiungono prezzi più elevati. 
 La gamma Krug comprende sei vini: 
 Krug Grande Cuvée: La Grande Cuvée è il vino di punta non millesimato (o multi-vintage, MV) di Krug, la moderna Cuvée n. 1, precedentemente conosciuta come Private Cuvée (fino al 1978, vedi sotto). Ogni imbottigliamento contiene fino a 200 componenti provenienti da oltre 10 annate (la più giovane di sei anni, la più vecchia oltre 20). Sebbene oggi sia il vino “d’ingresso” della Maison, Krug riserva per esso molti dei suoi migliori vini delle annate top. Affina per almeno sette anni sui lieviti prima della sboccatura, con un ulteriore anno in bottiglia prima della vendita. A differenza di molti non millesimati, l’obiettivo non è la totale coerenza tra le versioni, ma “la più completa espressione dello Champagne”. Dal 2011, ciò è stato ufficializzato con l’introduzione del Krug ID su ogni bottiglia (vedi sotto). Nel 2016, la Maison ha aggiunto anche un numero di Edizione a ogni release, partendo dalla Edizione 163 (base 2007). Alcuni collezionisti ricercano edizioni specifiche della Grande Cuvée, come la 164 (base 2008) o la 168 (base 2012). Le mezze bottiglie non riportano il numero di edizione in etichetta, quindi serve il Krug ID per identificarle. 
 Krug Rosé: L’altro vino non millesimato della Maison, Krug Rosé, fu creato da Henri e Rémi Krug negli anni ’70, con la prima uscita basata sull’annata 1976, rilasciata nel 1983. Il vino è un assemblaggio di vini bianchi con circa l’11% di Pinot Noir rosso fermo, combinando da 20 a 70 componenti di cinque annate, con un affinamento minimo di sei anni sui lieviti. Come per la Grande Cuvée, nel 2016 Krug aggiunse il numero di Edizione anche all’etichetta del Rosé, iniziando con l’Edizione 21 (base 2008). 
 Krug Clos du Mesnil: Clos du Mesnil è uno Champagne Blanc de Blancs millesimato da un unico vigneto, ed è uno dei vini di punta di Krug. L’esperto Richard Juhlin lo descrive come “il miglior vino del mondo”. Henri e Rémi Krug acquistarono sei ettari di Chardonnay a Le Mesnil-sur-Oger nel 1971 e scoprirono un appezzamento murato di 1,84 ettari nel cuore del villaggio. Sul muro si legge: “Nell’anno 1698 questo muro fu costruito da Claude Jannin e Pierre Dehée Metoen e nello stesso anno le viti furono piantate da Gaspard Jannin, figlio di Claude.” Reimpiantarono il sito e inizialmente l’uva fu utilizzata nei blend della Maison, ma il microclima più caldo – circondato da edifici – produceva un vino distintivo, che decisero di imbottigliare separatamente. La prima annata fu il 1979, rilasciata nel 1986 – quando un vino da singolo vitigno e singolo sito era un concetto pionieristico. Affina per almeno dieci anni sui lieviti ed è prodotto solo nelle annate di qualità eccezionale. 
 Ad oggi, le annate di Clos du Mesnil prodotte sono: 1979, 1980, 1981, 1982, 1983, 1985, 1986, 1988, 1989, 1990, 1992, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 e 2009. 
 Krug Clos d’Ambonnay: Pinot Noir puro da un appezzamento di 0,68 ettari, Clos d’Ambonnay è l’altro vino millesimato da singolo vigneto di Krug. Henri e Rémi scoprirono il sito ai margini del villaggio di Ambonnay, sul versante sud-orientale della Montagne de Reims, nel 1991, e riuscirono ad acquistarlo nel 1994. Come il Clos du Mesnil, il sito è recintato, con muri risalenti al 1766, anche se le viti furono piantate solo nel XX secolo. La prima annata del Blanc de Noirs fu prodotta nel 1995 e rilasciata nel 2007. Come il Clos du Mesnil, subisce un lungo affinamento sui lieviti (minimo dieci anni) ed è prodotto solo quando le condizioni dell’annata lo consentono. Data la dimensione del vigneto, Clos d’Ambonnay è particolarmente raro. 
 Ad oggi, le annate prodotte di Clos d’Ambonnay sono: 1995, 1996, 1998, 2000, 2002, 2006 e 2008. 
 Krug Clos d’Ambonnay Rosé: La prima annata del Krug Clos d’Ambonnay Rosé verrà rilasciata nell’autunno 2025, l’annata 2008. È la prima nuova cuvée dalla creazione di Clos d’Ambonnay, un rosé dallo stesso vigneto, con il 15% di vino rosso fermo nel blend. 
 Krug Vintage: L’altro vino concepito dal fondatore Joseph Krug, la Cuvée n. 2, era un millesimato che la Maison produce ancora oggi. È realizzato solo in annate ritenute degne e affina per oltre 10 anni sui lieviti prima della sboccatura. 
 Le annate recenti di Krug Vintage sono: 1988, 1995, 1996, 1998, 2000, 2002, 2003, 2004, 2006, 2008 e 2011. 
 Krug Collection: Negli anni ’80, Krug introdusse la sua Collection – una versione a sboccatura tardiva di vini maturi, generalmente offerta circa 25 anni dopo l’annata. Questi vini sono stati conservati nelle cantine della Maison, in condizioni perfette. Le uscite fino ad oggi includono: 1981, 1982, 1985, 1988, 1989, 1990 e 1995. Cos’è la Private Cuvée? 
 Private Cuvée era il precedente nome della Grande Cuvée, il vino non millesimato della Maison, etichettato così dal 1862 al 1978. L’esperto di Champagne Richard Juhlin osserva che lo stile cambiò con il cambio di nome: la Grande Cuvée risulta un po’ più leggera, più incentrata sullo Chardonnay e più sfaccettata, mentre la Private Cuvée era più simile a un vino millesimato, con maggiore corpo. “Lo stile dagli anni ’20 agli anni ’60 è sorprendentemente costante e, se trovate una bottiglia in buone condizioni e a un prezzo accessibile, è un’occasione da non perdere”, scrive Juhlin a proposito della Private Cuvée. Quanto Champagne Krug viene prodotto? 
 La produzione della Maison è tenuta strettamente riservata, ma si stima che vengano prodotte circa 425.000 bottiglie all’anno. Cos’è il Krug ID? 
 Questo codice a sei cifre appare sull’etichetta posteriore di ogni bottiglia di Krug e consente di scoprire informazioni specifiche su quella bottiglia, con le prime tre cifre che indicano il trimestre e l’anno della sboccatura. È possibile consultare l’ID sul sito web o sull’app della Maison per scoprire il blend, i vini più giovani e più vecchi, le note di degustazione e i suggerimenti di abbinamento con cibo e musica. Il Krug ID è stato introdotto nel 2011, quindi compare solo sulle bottiglie rilasciate dopo tale data. Krug possiede vigneti? 
 Storicamente, l’esperienza di Krug risiedeva nella vinificazione e nell’assemblaggio, operando sempre come négociant, come era consuetudine per le Grandes Marques in Champagne. Krug acquistava uve da siti accuratamente selezionati per i propri vini, ma Henri e Rémi acquistarono i primi vigneti della Maison nel 1971 – tra cui il celebre Clos du Mesnil. 
 Oggi Krug possiede 21 ettari di vigne, che rappresentano circa il 20% della produzione, integrando il resto con uve acquistate. Krug si approvvigiona di Chardonnay, Pinot Noir e Meunier dai villaggi di Ambonnay, Aÿ, Le Mesnil-sur-Oger e Trépail. Tutti i contratti riguardano parcelle specifiche, spesso basati su relazioni di lunga data, con il contratto più antico risalente al 1876. 
 Krug si è concentrata sempre di più sulla sostenibilità, non utilizzando erbicidi né pesticidi nei propri vigneti, e quelli di proprietà sono certificati biologici a partire dalla vendemmia 2024. Chi produce Krug? 
 Come in ogni azienda vinicola, un ampio team è coinvolto nella produzione di Krug – inclusi i coltivatori che forniscono l’uva e il personale della cantina. Eric Lebel è stato per lungo tempo il chef de cave, dal 1999 al 2019, passando poi il testimone a Julie Cavil, che aveva lavorato al suo fianco per 13 anni prima di assumere la direzione all’inizio del 2020. 
 Per quanto riguarda la decisione sui blend, esiste un comitato di degustazione guidato da Cavil e solitamente con Olivier Krug. Il comitato si riunisce ogni giorno tra la fine della vendemmia e marzo, degustando 15 campioni al giorno (un massimo rigoroso per evitare l’affaticamento del palato). Durante questo periodo, l’obiettivo è degustare tutti i 400 campioni due o tre volte in totale. Ogni degustatore deve descrivere ogni campione con una sola parola, che non può essere duplicata da altri – un metodo che, secondo Cavil, aiuta a ottenere un quadro complessivo più accurato dei vini. Come viene prodotto Krug? 
 Come già menzionato, tutti i vini base di Krug sono fermentati in vecchie botti di rovere. Si utilizzano botti da 205 litri, con un’età media di 20 anni, spesso ritirate dal servizio intorno ai 40 anni. Non si blocca la fermentazione malolattica, ma non la si incoraggia neppure, quindi alcuni vini la svolgono naturalmente. Dopo la fermentazione, i vini vengono trasferiti in serbatoi di acciaio inox (non vengono affinati in legno, come accade ad esempio da Henri Giraud). I blend vengono decisi dal Comitato di Degustazione della Maison (guidato dalla Chef de Cave Julie Cavil) tra la fine della vendemmia e aprile, prima dell’imbottigliamento, e restano almeno sette anni sui lieviti (dieci per i millesimati). Dove viene prodotto Krug? 
 Per quasi due secoli, i vini sono stati prodotti nella storica sede di Krug a Reims, ma dal 2024 la produzione si è spostata nella nuova cantina Joseph, situata proprio accanto al Clos d’Ambonnay. Qual è la storia di Krug e Burning Man? 
 Krug suscitò alcune polemiche quando, nel 2011, girò una campagna pubblicitaria durante il festival Burning Man a Black Rock, in Nevada. Lo shooting e il marchio furono criticati dall’organizzazione del festival per non aver rispettato i suoi principi, commercializzando l’evento e la sua comunità. Perché la bottiglia di Krug ha una forma diversa? 
 La caratteristica bottiglia a collo stretto di Krug fu introdotta nel 1978, contemporaneamente al cambio di nome da Private Cuvée a Grande Cuvée. In precedenza, la Maison utilizzava bottiglie standard di Champagne. Oltre a rendere le bottiglie di Krug più distintive, il collo stretto è pensato per ridurre lo scambio di ossigeno durante l’invecchiamento. Come invecchia Krug? 
 Krug è rinomato per il suo potenziale di invecchiamento – tutti i vini della Maison, comprese le cuvée non millesimate, sono progettati per evolversi in bottiglia. L’esperta di Champagne Essi Avellan MW osserva: “Tutti i Krug beneficiano dell’invecchiamento. Cinque anni dopo la loro uscita, tendono ad aprirsi magnificamente, mostrando maggiore espressione e un carattere armonioso. Le Grand Cuvée sono una vera delizia dopo 10–15 anni dal rilascio, spesso al culmine della loro espressività. I millesimati sono tutti longevi; dopodiché dipende dall’annata (e ovviamente dalla singola bottiglia) come evolveranno. Se conservati correttamente, tutti dovrebbero invecchiare almeno 15 anni dopo la loro uscita, e i migliori per diversi decenni.” Scopri tutte le etichette Krug, incluse le nuove uscite di Grande Cuvée e Rosé, o leggi di più su Champagne e vini spumanti.

Krug è un nome che va ben oltre gli amanti del vino, l'etichetta dorata e la forma iconica della bottiglia sono immediatamente riconoscibili. Con l'uscita delle ultime edizioni di Grande Cuvée e Rosé, abbiamo compilato una guida privilegiata su questa leggendaria casa di champagne e sui suoi vini

Everything you need to know about Krug Champagne – the luxury House and its iconic Grande Cuvee, Rose, Clos du Mesnil, Clos d’Ambonnay and vintage wines

Your essential guide to Krug Champagne 

Tutto quello che devi sapere su Krug

Dalmore, Mortlach and Macallan fetch tens of thousands of pounds at auction today – but they likely wouldn’t exist if it wasn’t for an independent bottler. In times of great economic hardship, Gordon & MacPhail provided cash-strapped distilleries with much-needed capital when they secured new-make spirit to mature and bottle as a single malt, rather than a blend. “The world was so focused on blends in the 1970s that to get the financial return on the malts was really challenging,” Gordon & MacPhail’s Director of Prestige Stephen Rankin says. To put that into perspective, a bottle of 35-year-old Macallan from 1937 that would fetch approximately £32,000 in today’s market would sell for a mere £4.54 then. A top-end blend might sell for £2. Rankin says if it wasn’t for his forebears’ patience and foresight, 50-, 60-, and 70-year-old bottlings wouldn’t be available today. “It’s not just matching spirit with oak,” he explains. “It’s actually matching the spirit with the oak and then time and the patience.”   The Gordon & MacPhail name has endured where countless others have not. Today, the fourth generation can pull out samples dating back nine decades from more than 100 distilleries. “It’s that lineage that stands us apart,” Rankin says. “As a company we have had this incredible respect for whisky and depth of relationships forged from 1895.”   “Business was done on the strength of a handshake when my father started the company in the 1940s,” Fred Hamilton Laing – Douglas Laing & Co Chairman and second-generation family member – says. “And so many of our filling programmes still continue today because there was a trust given and a confidence that there would be no abuse of the stock.” If it wasn’t for the “fairly substantial” stocks Laing’s father had built up since the 1950s then the Scottish independent blenders and bottlers might not have survived the 1990s financial crash in Asia Pacific. “All of a sudden our blended business was made very difficult to continue. We were constantly adding to our stocks of grain and malt whisky for these blends, so it was a survival instinct that took us into the single cask business in the year 2000.” This business proved to be “very good” and steadied the ship. Laing says it was with great delight the company was able to come back into the blending business with Big Peat in 2009, much to the dismay of the “crusty old men in the industry”. This launch, looking at younger, slightly more rebellious whisky consumers heralded a new era for the company and brought them full circle. It was the filling programme’s breadth of stock and the relationships with the distilleries that allowed Douglas Laing to carry out the same process for Big Peat and Scallywag into the Scottish Highlands for Timorous Beastie, into the Lowlands with the Epicurean, into the Campbeltown area with the Gauldrons, onto the Island distilleries with Rock Island and introduce the Remarkable Regional Malts. “It’s a busy game,” Laing adds.  Fledgling in comparison, That Boutique-y Whisky Company stormed onto the independent bottling scene in 2012 with their 50cl illustrated bottles. “We are all about throwing fun back into whisky,” Head of Whisky Sam Simmons says. “We take the whisky very seriously, but we don’t take ourselves seriously.” The goal here is simple: curate delicious whiskies you would never see from an official bottling. This disruptive attitude has led to a cult-like following which Simmons readily acknowledges “doesn’t speak to everybody”. The Boutique-y whiskies might originate from around the world, but they are all bottled in the Scottish tradition – bought direct from the distiller or from brokers and other independent bottlers. The retail price is always calculated from the cost of the liquid rather than market value or cost. “The kind of whiskies we want to bottle may not be delicious to everybody, but they are the kind of whiskies that make you say: you got to try this,” Simmons adds. When it comes to bottling exquisite liquids, few ventures are as compelling as “curators of the most remarkable spirits”, The Last Drop Distillers. “I really love the word remarkable,” Managing Director Rebecca Jago says with a smile. “Because it is not saying it is the oldest or the best even, but that it is intrinsically delicious. If I gave you a glass of something from The Last Drop, I would want you to find it as delightful as someone who has been nosing spirits for 50 years.” The company started by Rebecca’s father Tom and his long-term friend James Espey OBE in 2008 is somewhat unique in that it crosses category. The two drinks industry icons initially set out to bottle single malts, but that all changed when they tasted a certain 47-year-old blended Scotch. From that day onwards, the two men – who had previously developed the likes of Johnnie Walker Blue Label and Chivas 18 – broadened their brief to seek out exceptional old parcels of any amazing spirit. By the time the company was sold to Sazerac in 2016, The Last Drop had released seven remarkable liquids and both Espey and Jago’s daughters (Beanie Geraedts-Espey and Rebecca Jago) had joined the business. In addition to being a source of great pride for the two founders, the acquisition also brought new freedoms and opportunities for the team. The US drinks group backing enabled The Last Drop to source stock for immediate release, granted them a greater ability to lay down stock and create their own libraries of future stock, and gave them the opportunity to venture into liquid creation. “I think finding treasure is not just about uncovering it,” Jago says. “It would be disingenuous to suggest that we’re Indiana Jones in Scotland, going and hunting out that barrel that is hidden at the back of the cellar because it is not,” Jago says. As romantic as the image might be, every single barrel of Scotch whisky of any age, of any sort, is known about by HMRC.  “We can talk about some of the lovely discoveries that we have genuinely been party to,” Jago adds. “Going back to the very first release of three unassuming barrels of an old blend. The treasure in that was the liquid inside. It had perhaps been discounted or forgotten about.” Or the “genuine discovery” of a Cognac barrel that had been lying untouched in an outhouse for over 70 years that was happened upon by a family member doing renovation work at the distillery. “I think that is the sort of ultimate Indiana Jones story,” Jago adds, “not by us, but we were fortunate enough to be there and I suppose our story of making the liquid the hero is sufficiently compelling that they are prepared to let us put it in a bottle.” All four bottlers, whether in their infancy or maturity, are bound by a sense of honour and wanting to do right by the liquid. And everyone benefits.   Browse all Scotch whisky or read more Editorial 

From traditional single malt Scotch to the weird-and-wonderful and everything in between, there’s every chance an independent bottler had a hand in bringing this liquid to your lips. Holly Motion spoke to four bottlers about the important role they play in the spirits world

Exploring the history of independent bottling with Gordon & MacPhail, Last Drop Distillers, That Boutique-y Whisky Company and Douglas Laing & Co,

Exploring the world of independent bottling 

Message in a bottle

It’s no secret that Scotch whisky is dominated by two giants – Diageo and Pernod Ricard, who represent 60% of the market, with three other big players taking the next 20%. That leaves a mere 20% for those who have the wallets and mettle to fight over the rest – but that’s an increasing number of people. There are currently over 30 single malt distilleries at some stage of opening.  “I think it’s a bit of a worry to be honest,” Mark Reynier, Renegade Spirits founder and CEO, says. Reynier has been behind three of the most talked-about distillery projects in the past 20 years – the resurrection of Islay powerhouse Bruichladdich in 2000, the renovation of a former Diageo brewery into Irish single malt distillery Waterford in 2015 and the construction of Renegade rum distillery in Grenada from scratch in 2020. All three have a dogged focus on terroir and have not been without their struggles. “Superficially it does look easy - but it sure as hell isn’t,” he says. “With Bruichladdich we almost went bust twice. With the best will in the world and two-distillery experience I got it wrong with Renegade and almost went bust last September.”  In Reynier’s view, many of those opening distilleries are driven by romantic ideas and the desire to make a quick buck – from landowners looking to monetise estates to “crooks” who “promise fortunes to be made”. Few, however, have the knowledge, business nous or money to back up their ambitions.  Wolfcraig – a new distillery in Stirling – is one of the industry’s most interesting projects, largely thanks to the experience of the team involved. While neither of the founders Jamie Lunn or John Moore had worked in whisky before (coming, respectively, from construction and finance), Jamie Lunn’s father is former Whyte & Mackay chairman and chief executive Michael Lunn – and happened to be eager for a new project. It hasn’t been plain sailing though: the team had a false start with an ill-fated attempt to take a controlling stake of an existing distillery. Downhearted but not defeated, they made the decision to go it alone. Moore and Lunn have assembled a first-rate team with over 200 years’ experience. Master Blender Richard Paterson OBE was the most recent addition to the roster – which Jamie Lunn affectionately refers to as “the Harlem globetrotters of whisky” – including Dr Alan Rutherford OBE (former Production Director at Diageo, Master of the Quaich and previous President of the Malt Distillers Association of Scotland), Ian Macmillan (a Master Distiller, also a Master of the Quaich and a member of the Worshipful Company of Distillers) and Iain Lochhead (former UK Bacardi Operations Director, and another Master of the Quaich). But even with a team of such pedigree, it hasn’t been easy. “It was three and a half years of pain,” Moore says. Every decision has been driven by an unwavering mission to produce a truly special liquid, considerable industry experience and business acumen. Stirling, for example, was chosen not just for its infrastructure, but its accessibility – within an hour’s drive of 70% of the Scottish population. The team ensured they were fully funded and have consciously built a brand – and decided on the style of spirit they’ll be making – before physically breaking ground. “Out of all the new whisky distilleries,” Moore says, “very few of them are designing their own unique spirit and they have not put any thought into why they have a particular shape of still.” Wolfcraig, by contrast, is having their still handmade by Forsyths, with a distinctive double-ball design to produce a more muscular, full-bodied spirit. It’s not just new players and mavericks behind the trend though, with some of whisky’s most historic names being given a new lease of life. Halewood International, for example, is bringing malt whisky distilling back to the heart of the Scottish drinks industry in the Port of Leith, Edinburgh, for the first time in 100 years with the John Crabbie Distillery.  Today, the name John Crabbie might be synonymous with ginger wine, but he was an independent bottler, single malt producer and recognised blender in the 19th century. For the team here, creating something new brings great freedom. “One of the key parts of our distillery is its versatility,” Global Dark Spirits Manager Andy Wallace says. “Because of the type of distillery we have, we can change our new make spirit and we can be very adaptable. That flexibility, put in the hands of somebody who knows what they are doing, like our Master Blender Dr Kirstie McCallum – a chemist with an excellent palate – and we’re going to experiment.”   Experimentation with different casks is high on the agenda. In addition to PX and Oloroso casks, the team is looking at how Manzanilla might work and playing around with other wine cask finishes.   Prior to joining Halewood, Wallace spent six years at William Grant & Sons, the home of Balvenie and Glenfiddich since 1887. “They are beautiful, incredible distilleries in a beautiful part of the world,” Wallace says, “but they come with their own inherent limitations… some people will see them as being a bit aspirational and not for them.” In his view, building something from scratch – even with a history like Crabbie’s – means they don’t have to produce a certain type of product. “What we want to do is bring new people into the category and allow people to drink differently,” he explains. Free from the burden of a legacy, a new distillery can be more agile. This can, however, be a catch-22. In a quest to stand apart, rather than play the old boys at their centuries-perfected game, innovation – if not managed in a considered, well-financed, way – can end in tears. “A lot of people have got rather carried away with the romance and [they] don’t really understand the consequences and the costs, and the durability that you need,” Mark Reynier explains.  “And above all you need a unique proposition. Just to be another distillery isn’t enough. The distilling bit is the easy bit. I think this is what’s going to be the downfall for a lot of people. The maturation and the time and cost is the crunch. And then you have got to bring it to market.” Wallace agrees. “You must have a long-term plan for selling your product because you have got a several-year timeline before you can launch anything in the first place,” he says. “One of the big challenges for whisky companies is predicting demand. If you have to predict how much 12-year-old product you’re going to sell on day one, that is a really difficult challenge.”   This was one of the many reasons Wolfcraig was determined to be fully funded from the get-go. “A lot of new whisky distilleries are just living hand-to-mouth and raising money year-on-year and that is emotionally draining,” Moore says. “But, also more importantly, it takes time away from the business when you are constantly fundraising.” It’s no small amount of money required, either. While you might be able to start a gin distillery with £50,000, whisky is a different beast. “Even the small craft distilleries, you’re talking several million pounds to set up,” Moore explains. “Our overall investment will be close on £20million… So, it’s not something you go into lightly.” “Running a distillery is an expensive business,” Reynier adds. “Just when you most need the revenue to get into the market, that is when you are least likely to have it. You are building in a lag period. You have created this brand over a decade, but you don’t actually have enough stock maturing to satisfy the sales that you have created or are creating. So, you have got to plan forward.” Waterford is a distillation of everything Reynier got wrong at Bruichladdich and everything he felt he wasn’t able to do because of a “lack of resource, lack of desire perhaps, tradition getting in the way, and the lack of logistics”. “We had a war chest because we knew that to do it properly, we had to be able to insulate ourselves financially to be able to buy ourselves the time to do it properly, with proper, premium-quality barley, single-farm distillations for uniqueness and for complexity,” Reynier explains. “Practised at Bruichladdich, perfected here.” Ultimately, once you get past the business and branding, it’s the quality of the liquid that will sort the wheat from the chaff. “We need to achieve the same core things any distillery does,” Wallace says. “We want to make genuinely brilliant drams that people will enjoy in years to come.” Browse all Scotch whisky or read more Editorial 

As demand for single malt whisky continues to soar, the number of distilleries – big and small – preparing to fling open their doors increases at a bullish rate. Holly Motion talks to a few of the industry’s newest names to see if everything is as rosy as it seems

Investigating the sharp rise in the number of single malt whisky distilleries with Waterford, Wolfcraig and John Crabbie. 

Distilling dreams

The 2023 vintage was rare for Burgundy – offering both quantity and quality. But it isn’t quite that simple, with an atypical growing season, almost too much fruit, and a less homogenous crop. We report on the vintage and its wines – the best of which are remarkable

The 2023 vintage was rare for Burgundy – offering both quantity and quality. We report on the growing season and the wines it produced

Burgundy 2023 vintage overview

Burgundy 2023: vintage overview

DOMAINE RICHARD ROTTLERS

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DOMAINE RICHARD ROTTLERS

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