Think of Bordeaux, and you probably don’t think of skateboarding and denim shirts. Damien Barton-Sartorius, however – Director of Château Langoa and Léoville Barton – manages somehow to combine millennial cool with an effortless suaveness that feels distinctly Bordelais. “When you’re one of these old families, the rest of Bordeaux looks at you in a different way,” he tells me. There have been Bartons in Bordeaux since the 18th century. One of the region’s “wine geese”, Irishman Thomas Barton arrived in 1722, and Hugh Barton bought Château Langoa in 1821, acquiring part of the Léoville estate in 1826. Since then, the empire has grown: alongside their Saint-Julien Classed Growth properties, there’s a Moulis estate (Mauvesin Barton) and a négoce operation. As if that wasn’t enough, Barton-Sartorius has two personal side-projects too: Initio and 225, the latter of which is his latest venture – a sustainability-led project, shipping wine in bulk and bottling in the destination market. He’s restless and enthusiastic, having taken over directing the Classed Growth estates (while his sister, Mélanie is in charge of Mauvesin) from his mother and Saint-Julien matriarch, Lillian Barton, in the last couple of years. This year sees the 200th anniversary of Langoa’s purchase – and when I ask him what has changed in that time, the answer is easy: “Not so much,” he shrugs. It’s the mark of a business like this, handed from generation to generation, that shifts are seamless and gradual, no one looking to make a mark – but preserve a unique heritage. Both Langoa and Léoville are classical Saint-Julien – a style often described as sitting between pinpoint Pauillac and sensual Margaux. For Barton-Sartorius, it’s “a bit like Vosne-Romanée in Burgundy, we have everything”. The Langoa estate is defined by its proximity to the river, the estuary’s constant movement helping to rid the vineyards of humidity and moderating the temperature – shielding it from extreme weather, rarely suffering from frosts (even in vintages like 2017) and allowing them to produce balanced wines in otherwise very warm vintages such as 2003, 2009 and 2018. It is, however, the soils that make Barton-Sartorius swoon. “The gravels are quite extraordinary,” he says, animated in his excitement. The gravels reach between three and six metres below the surface, giving the perfect level of drainage – but not too much, with a layer of clay beneath to hold essential water reserves. “The perfect balance,” Barton-Sartorius sighs. While it was once rare to hear the Bordelais talking about their terroir, there’s a definite shift underway. “For a long time Bordeaux was all about the brand – now they want to know what is behind the bottle,” he says. The shift, he feels, however, is not that the Bordelais are suddenly discovering their soils – but they’re talking about it. The region’s more monied estates have, however, been artful, managing to guarantee their place at the head of the fine wine table for over 150 years – and to do so, they’ve had to create stories. “There’s too much show – look at our new winery, our limited bottle....” Barton-Sartorius explains. Admittedly, he’s busily building a new cellar himself – although it is unlikely to be unveiled grandly with a row of new gleaming stainless steel tanks and the latest contraptions. Construction of the winery is already underway at Langoa (where both the Léoville and Langoa wines are made), set to be completed in 2022, the most recent update since his grandfather built it. Because of the sheer expense involved, they’ve only made tweaks over the years, but are now in a position to have been able to properly rethink it. The aim is for it to be more sustainable and functional, simplifying the process. Everything will be gravity operated, and the barrels will be stored two floors below ground so that less energy is required to keep them cool. Such concepts might seem standard elsewhere, however with Bordeaux’s high water table (remember that the Médoc was a swamp until the Dutch drained it in the 17th century), it’s difficult to build down rather than up. Winemaking at both Langoa and Léoville remains reassuringly traditional – “not by choice, but because it’s still the best”. There are exceptions, though, and where something is better done by machine, or it avoids a potential risk to workers’ health, they’ll do it – but there’s no compromising on quality to save a few cents. As just one example, they still rack everything by hand using a candle, because they feel it is a softer way to separate the wine from the lees, without exposing the wine to too much oxygen. “Details like this are very important,” Barton-Sartorius says. “But the wine is made in the vineyard.” He, like most vignerons, knows that it’s the quality of the fruit that matters most. “I like to think we’re good – but terroir is making 90% of the job,” he quips. The winery is, in his view, “more about a religion. You have to trust in something. You believe it or not.” It might be easy to be lulled into the sense that everything here is done by rote – simply following the recipe of their forebears, but that’s far from the case. “There’s a reason we do things the way we do – but we still like to challenge what we do,” Barton-Sartorius tells me, taking me through a ream of current and recent experiments, from pumps versus gravity (gravity won) to their decades’ worth of tests with organic vineyard sprays – looking not just at how they impact the cleanliness of fruit at harvest, but the wine’s final flavour. I ask him how he feels about Bordeaux’s status and relevancy today. “It feels like nobody knows it or people forgot about it,” he says. The region – in his view – remains one of the most exciting. He describes how the generation above are tired of people comparing the wines to how cheap they used to be – however is determined that they still offer great value. You can’t buy “Château Margaux as a lunch wine”, but Langoa Barton costs £30 – and “Napa is double, triple the price for the same quality”. And no one is able to hide their excitement when he gets an old bottle of Léoville Barton out the cellar. “We are lucky to have some of the best soils in the world – like Chambertin Grand Cru, the quality is the same – except instead of having two hectares, we have 80 hectares. We are lucky to produce 100,000 bottles of it.” That might make the wines, as he says, “a little less posh and fancy” – but it also means there’s more to go around. Is it a burden – a 200-year history and everything that comes with it? He instantly shakes his head, “It’s an honour – but a big pressure at the same time. I don’t want to be the generation that f***s up everything.” As Barton-Sartorius rushes off to meet the curfew in place under current Covid restrictions, it’s hard to reconcile his undeniable stature in Bordelais society with the down-to-earth character filling my screen. It’s that very lack of pomp and circumstance, an understated modesty, that will likely guarantee that Langoa Barton survives another 200 years. Browse wines from Langoa Barton and Léoville Barton

As Château Langoa Barton marks its 200th anniversary, Sophie Thorpe caught up with Damien Barton-Sartorius – the 10th generation of the Barton family to run the estate – about tradition, terroir and why Bordeaux remains the most exciting wine region in the world 

Talking tradition, terroir and why Bordeaux remains the most exciting wine region in the world with Damien Barton-Sartorius of Langoa and Léoville Barton. 

Damien Barton-Sartorius on Ch. Langoa Barton

Keeping up with the Bartons

Vega Sicilia is undoubtedly Spain’s most famous winery; a true icon in fine wine with a history dating back to 1864. Its success in retaining such a reputation, and in almost complete isolation in the Ribera del Duero region of Spain, is testament to the quality and consistency of its production, although its history has not been without its challenges. Vega Sicilia claims to be one of the longest-aged and longest-lived red wines in the world, with its flagship Unico capable of maturing in bottle for well over sixty years under the right cellar conditions. Developing its style in such solitary conditions has created a wine distinct from any other and whilst the Ribera region has flourished with the establishment of wineries such as La Pesquera in the 1970s and more recently the cult wine of Pingus, Vega Sicilia today remains at the apex of the appellation.  We explore the history of Vega Sicilia, the secrets behind its success and the changes afoot as it attempts to retain the traditional methods it has become famous for whilst modernising the winery and updating its processes. We also explore the contrasting range of wines it produces from the Valbuena to the Unico Reserva Especial: Vega Sicilia’s nod to the traditional Spanish practice of producing multi-vintage premium blends. The history of the estate The estate that would become known as Vega Sicilia was founded in 1864 by Don Eloy Lecanda Y Chaves, a Spanish vigneron who inherited the property in 1859. After visiting Bordeaux he brought cuttings of the Bordeaux varietals of Cabernet Sauvignon, Merlot, Malbec and Carmenere, as well as Pinot Noir, and planted 18,000 vines at the estate in Ribera del Duero alongside the native varietal of Tinto Fino (Tempranillo). By 1882 he had planted 500,000 vines on the estate, at the time known as Bodegas Lecanda.  The introduction of Bordeaux varieties was perhaps not that unusual at the time, since the Bordelais were becoming more and more influential in Spain (most notably in Rioja) having disbanded their operations in Bordeaux following the phylloxera outbreak and were actively looking for alternative regions to grow their grapes.  However, in Rioja, the Bordeaux varieties were soon replaced by the native Tempranillo which proved a much more reliable and profitable choice. Whilst Don Eloy Lecanda Y Chaves initiated a winery that was to change the history of fine wine, he was initially using the grapes to make brandy rather than still wine. Although the brandy was well received amongst the aristocratic families (no doubt piquing the interest of the Herrero brothers), the estate struggled financially to make ends meet and he died in 1894 never to witness the success of his venture.  The property was bought by the Herrero brothers in the early 1900s who renamed it Vega Sicilia. As phylloxera eventually reached Rioja, the négociant Cosme Palacio was looking further afield to maintain supply for his customers. On discovering Vega Sicilia, he immediately rented the property from the Herrero brothers.  He brought with him winemaker Domingo Garramiola Txomin who introduced the Bordeaux techniques of ageing wine in barrique as well as extending the élevage. He also initiated bottling the wine on the estate (Cosme Palacio was previously shipping the wines in bulk to Rioja).  The Herrero Brothers were a well-connected upper-class family who were galvanised to produce a wine of exceptional quality no matter the cost, to sell to their aristocratic friends. This quest for quality combined with the skills of Domingo Garramiola Txomin, as well as the unique combination of Bordeaux varieties and Tinto Fino (thanks to Don Eloy Lacanda Y Chaves), was the perfect recipe for producing Spain’s first iconic wine – Vega Sicilia Unico. The first vintage of Unico was produced in 1915.  Thanks to the connections of the Herrero brothers, within two decades Vega Sicilia had become the most revered winery in Spain. Even at this time the wine had built up a reputation for its extraordinary ageing capacity. At Vega Sicilia the Bordeaux varieties became a key component to their flagship wine of Unico and have remained in the blend right through to the present day. Throughout this time, the property became almost a self-contained village, with a school and chapel on site and many of the families working at the winery and living on the estate. Despite the winery changing hands a number of times over the last century, Garramiola’s legacy has lived on through the winemakers that followed in his footsteps; figures like Martiniano Renedo, who was initially Garramiolo’s assistant, and especially Jesús Anadón, who was instrumental in maintaining the quality and reputation of the wine through the middle of the 20th century.  Amazingly there are workers on the estate today whose families have worked at the winery for generations. Today the master cooper at Vega Sicilia, along with his brother Jesus Yanez, is the fourth generation of his family to work at the property. The winemaker between 1968 and 1998, Mariano Garcia, was the son of one of the farm workers on the property.  Despite its global reputation, its exclusive allocation list and long history, the winery and vineyards went through bouts of dilapidation during the 1950s, through to the late '70s, whilst at the same time producing some of the most legendary vintages. On purchasing the property in 1982 the Álvarez family began to make huge investments into the estate, renovating the winery and carrying out an extensive replanting program in the vineyards. 1982 was also the year Ribera del Duero was awarded its DO appellation status and no doubt helped further promote Vega Sicilia as the historical icon of the region. The winery and the appellation has never looked back since.  In the vineyard Vega Sicilia is situated on what is known as the “golden mile”, a stretch of road between Pañafiel and Tudela de Duero, where the prestigious wineries of Vega Sicilia, Pingus and Pesquera are all situated. Driving through, it is a somewhat underwhelming sight as far as vineyard vistas go, so much so you could almost pass through it without noticing.  Being an altiplano there are no sweeping mountainous views, you only feel the altitude from the freshness of the air. In the higher vineyards of Soria at the edge of the Ribera appellation you are rewarded with more vistas, as well as a sense of history with evidence of prehistoric cave-like dwellings where farmers sheltered from the extreme climatic conditions of this largely desolate region.
 Whilst there are pre-phylloxera ungrafted vines dating back over 100 years dotted around the region, the vines at Vega Sicilia - with vineyards at 700 meters - average around 35 years of age. Vega Sicilia have an extensive replanting scheme in their vineyards preferring the quality of their fruit in their mid-life as opposed to old age, with typical vine age in Unico around 60-65 years old, with the younger vines going into the Valbuena cuvée. The high altitude and continental climate mean extreme conditions are at work in the vineyards. Winters can be very cold whereas the summers can be fierce. Most notably in regards to grape growing, due to the altitude, there is a huge diurnal shift in temperatures from day to night helping to retain the acidity and freshness in the grapes whilst reaching high levels of ripeness. The main grape in all Vega Sicila wines remains the Tinto Fino (the particular clone of Tempranillo) distinct to the region. The Tinto Fino is said to produce smaller berries with higher concentration of tannins compared with the Tempranillo grown in Rioja. The Unico also has a proportion of Cabernet Sauvignon in the blend (anything from 6-20% in more recent releases) with a higher proportion in older vintages. In the Valbuena, the majority of the blend is Tinta Fino with a small amount of Merlot (typically 5%) . The property is huge in scale with 200 hectares of estate-owned vines producing anything from 40,000 to 100,000 bottles of Unico each year depending on the vintage.  
In the winery
 Unico  The style of the flagship cuvée of the winery has remained virtually unchanged since its inception in terms of production, although assemblage has modernised. Élevage times have reduced and the influence and proportion of Bordeaux varieties has become less in more recent releases.  In the past, Unico was only made using huge 40,000-litre fermentation tanks (this was all that was available at the winery) therefore in a difficult vintage, if this sort of volume was not possible at the quality level they expected, then no Unico would be released that year. Since 2010 the winery has introduced smaller 8,000-litre tanks, enabling smaller micro-vinification of their wines and suggesting a release of Unico every year (in varying quantities) is more likely. The winery today operates at a spec similar to the top estates in Bordeaux. They have introduced 81 separate fermentation tanks allowing them to carry out intra-plot fermentation. They have introduced highly sophisticated sorting tables, there is more temperature control of the wine and the winery is now completely gravity fed enabling greater precision when it comes to winemaking.   Following fermentation, the wines destined for Unico are blended in small oak barriques (50% French oak / 50% American oak) for 12-24 months depending on the vintage. The French oak is 100% new whilst the American oak, coopered on site, tends to be one to four years old. Following barrique ageing, the wine is then transferred to large old oak casks where it typically matures for five years before being bottled and aged further prior to release. Unico is typically released at 10 years old. Valbuena 5° The Valbuena typically comes from the younger vines of the estate and is aged in oak in barriques for 12-18 months before being transferred to larger old oak casks for a further 18 months prior to bottling. It is then aged for two years in bottle. Valbuena is typically released at five years old. Unico “Reserva Especial” The Reserva Especial is the mythical bottling that initiated the Vega Sicilia legend. It is made up of choice parcels from a blend of vintages (in recent releases it tends to be select parcels from three vintages). Prior to the 2001 release, details of the blends of older bottlings are not very easy to come by. With only 15,000 bottles produced this is the rarest cuvée from Vega
Sicilia and a nod to the traditional multi-blend wines that were typical prior to vintage specific bottlings becoming more popular in the mid to late 1800s. Explore more Editorial

We explore the history of Vega Sicilia, the secrets behind its success and the changes afoot as it attempts to retain the traditional methods it has become famous for whilst modernising the winery and updating its processes. 

The history of Spain's Vega Sicilia iconic wine estate, the secrets behind its success, the contrasting styles from the Valbuena to the Unico Reserva Especial

Vega Sicilia, a Spanish wine icon

Vega Sicilia: a Spanish wine icon

Much has been written about Promontory. The property was discovered by Bill Harlan in the 1980s, hidden behind a ridgeline in Oakville, and its story – one that almost feels mythical – has been told many times (including by us).   Those stories, however, don’t prepare you for standing in this vineyard. “The territory”, as the team refers to the estate itself, is totally hidden from view – a good 10-minute drive from the winery (which looks out over the Harlan Estate vineyards), tucked to the south, over the hills from Dominus, found via a warren of dirt-tracks that cut through the forest, until – suddenly – you’re there.  Perched at the top of just one of the various parcels of vines, Cory Empting (Managing Director of Winegrowing) stops the truck as our jaws drop. We scramble to get out, blinking in the peaceful sunshine that beats down on an enchanting, untamed idyll. “There’s a quality to the silence out here,” Empting says – breaking the quiet that we’ve been soaking in. As the crow flies, Promontory isn’t far from Harlan Estate – yet the difference is, in Empting’s words, “kinda scary”. Fault lines make for a unique mix of soil types – sedimentary, volcanic and, most importantly and rare for Napa, metamorphic. Plots of vines are sparsely scattered across the wild, forested mountains, the undulating, varied slopes offering an almost endless range of aspect and microclimate. (As one alum told me, laughing, “It’s beautiful – but a total b**** to farm.”) The elevation is higher than at Harlan Estate – with the lowest point at Promontory the equivalent altitude of the highest point at its sibling property – making it generally cooler. Harlan Estate is manicured, while Promontory has a rawness about it – a sense that it isn’t, and never will be, totally domesticated. It's taken a long time to get here. Bill Harlan’s quest to create a Californian rival to Bordeaux’s First Growths (started in the 1970s) had kept him hunting for land, enough that would allow him to produce the same volume as the Left Bank’s most grandiose addresses. He bought his first 40 acres in 1984, the founding stone for Harlan Estate, and has continued tracking down special vineyards ever since, first for Harlan, then BOND and Promontory.  Although he’d first identified the location for Promontory in the 1980s (while hiking through this part of the valley), the property was developed by Girard Winery in the meantime, and he didn’t have the chance to buy it until 2008. Bill got a call that it was going on the market – and that’s when he rang up Will (his son, now Managing Director for the Harlan family of wineries) and Empting. “Then the economy started tanking,” Empting says – and suddenly the property that had been a stretch became increasingly affordable as its price dropped. The decision to buy was easy. But there was no reference point for the project, no historic bottlings to judge against, just a feeling about the place, and its potential.  “It was the wild west when we got out here,” Empting explains. The vineyard was in terrible shape – trees had been cut down and left where they fell. There were weeds growing taller than the vines. It had been left to become truly feral. There were even end-posts suggesting a row of Pinot Noir that was clearly Cabernet Sauvignon, while there were Cabernet Sauvignon clones that looked like nothing they’d seen before.  They committed to farming the site for three years before changing anything, so they knew what they were dealing with. But it soon became clear that the soils had been destroyed, robbed of organic matter, the vines emaciated, producing truncated shoots.  To date, they have replanted half of the 80 acres of vines. And the redevelopment work has been substantive, including un-doing terracing. They worked with superstar consultant agronomists Claude and Lydia Bourguignon (the first in the US to do so) to help regenerate the soils. But the philosophy here is ultimately Fukuoka-inspired: “How can we do one thing less? … That’s our church,” says Empting.  Fifteen acres have been replanted, rather unconventionally for Cabernet Sauvignon, untrellised – goblet-trained. This is partly because the metamorphic rock is so fractal that a unified hedge just didn’t make sense. Air flows in all directions, the sun hits each vine differently, they’re resilient for dry-farming and it allows the team to pick and move in any direction in the vineyard. Even more unusually, they’re planting rootstocks by themselves, grafting only once they’re three or four years old – when deemed ready. “I’m a Montessori parent,” Empting jokes, referencing what he describes as his “mixed pace” vineyards, letting each vine develop at its own rate. And this sense of responding to and working with, rather than against, the vines is key.  In a move that’s incredibly rare for hillside or mountain sites in Napa, their goal is to dry-farm. While the inspiration might have been wine quality (looking for more concentrated, balanced fruit), it is now ultimately about long-term survival in a changing climate. “We’re not going to have the water,” Empting says frankly. Convention suggests that each vine in the ground acts like a straw, sucking water from the soils. But, as Promontory have proven through experiments, it is not that simple – relating to the number of leaves on the vine, as well as its age, among other things. In fact, they have found that higher density plantings are easier to dry-farm.  To help avoid irrigation, they focus on respecting the vine energy – that means they don’t hedge or leaf-pull, and will only green harvest if they absolutely must (when nature throws them a curveball) – pruning to what they want the vine to grow, avoiding wasting any inch of the plant’s efforts. The resulting clusters are tiny, with yields reaching a maximum 38hl/ha, but often a mere 20hl/ha.   Cover crops and permanent grass cover, as well as grazing, have been key to repairing the soils. They’re still having to use a little bit of compost in some areas, Empting confesses almost guiltily – something he considers “a sign of imbalance”. Animals are a key part of “holistic farming”, Empting says, and he’d love to have chickens in the vineyards – “If the coyotes didn’t see them as a free meal,” he jokes. They’ll bring sheep in to graze early in the season, so that the cover crop has time to grow back. The regrowth can then be trampled naturally by the vineyard team as they work – operating as a rustic form of crimping or rolling. This aids water retention, the natural layer of “thatch” keeping the soils cool and preventing evaporation. If it’s not already clear, this isn’t a standard vineyard or estate – or, more accurately, family of estates. This is all part of Bill Harlan’s original vision, a 200-year plan to create a wine dynasty to match those of the Old World. The level of detail, effort and expense that goes into BOND, Harlan and Promontory is remarkable. They have a team dedicated to Research & Development – ensuring that they are at the forefront of viticulture and vinification, pushing any and every boundary in the name of quality.  One key element of this is their Vine Masters program – elevating what might historically have been seen as blue collar work to the skilled profession it really is.  The large majority of vineyard workers in California are of Mexican origin (some statistics suggest as high as 95%). There’s reason for this, with a long history of seasonal-working that stretches back to 1917, yet there’s often a division between vineyard and winery – a division that the family is working hard to broach.  The Vine Master program was first introduced at Harlan. The principle is not alien – a “Vine Master” is dedicated to a specific block, giving a sense of ownership, yet also meaning they know that block inside out. But – and this is what sets Harlan apart – to earn that responsibility (and it is a significant responsibility when the wine sells for upwards of £800 a bottle), the Vine Master has to go through a modular education program (developed in-house), passing both theory and practical exams. The Vine Masters can then take ownership for a block, and have the freedom to do what is required for their plot of vines. In what feels distinctly Californian and ever-so-slightly hippy-inspired, they’re also encouraged to, for example, hike through the surrounding hills, helping them think laterally.  Empting explains how one of the Vine Masters was sitting in his block on a break, looking up at a tree, and realised that trees naturally find their balance by dividing the diameter of their trunk fairly at each divide – only if there is sufficient girth will it split. He took this concept and pruned his block accordingly, only leaving multiple shoots where the vine could handle it. In the dry 2020 vintage, his vines were the only ones that reached the top wire (of the trellis), with the others all struggling. His methodology was rapidly implemented throughout the vineyard. The vineyard supervisor is more like a coach than a manager, and the vineyard work is more integrated with the final product. For example, the pruning process starts with tasting the wine from the previous vintage, so they can align on the energy of the vines and any challenges, before taking their shears to the vine. “You can’t prune a vine without thinking what it tastes like,” Empting says – yet that is what many vineyard workers will have to do.  This responsibility isn’t something that everyone wants – but skilled labour is, along with water, key to the future in California.  Empting expects the valley floor to be entirely mechanised in the imminent future – and if that’s the case, the question is: “How are you going to retain the talent that you have – and gain more?” he says. While originally they didn’t want to give each Vine Master too much land, they’ve found they work almost 40% faster than a crew – able to work more efficiently, doing what is needed when it’s needed, saving on the transition time within plots.  There’s been a constant evolution in the winery as well, inevitable as they learn more about this remarkable place, and realise the potential of its terroir. The challenge is to tame the significant phenolics – and the shift here fits with that familiar pendulum swing, with a move towards elegance. As with the vineyard, the goal is to do less not more – something that isn’t always easy. “We wait all year to turn grapes into wine,” Empting explains – the excitement sometimes becoming overzealous.  While soil health was, as Empting describes it, “the first hurdle”, David Cilli (Winemaker at Promontory) had been doing much in the winery, gradually dialling in the extraction, with shorter macerations and cooler temperatures (with a maximum of just 26˚C), halving the number of pump-overs. The wine is now mainly fermented in concrete (all with indigenous yeast) and aged in Stockinger foudre – ranging in size from 10 to 60 hectolitres – for 30-36 months.  When they first made the wine, they thought that they’d want and need to separate out the different blocks – since they had such varied profiles. They decided they were willing to sacrifice as much volume as was needed to make the best wine possible for the first vintage, and set about making various micro-blends, as well as one that included everything. The whole was so much more – its harmony so much more appealing. “They need each other, in a weird way,” Empting explains.   Until now, the wine has been made exclusively with the old vines, those that were planted when they arrived, with the new vines not yet mature enough (the young-vine fruit has instead been used for The Mascot). The 2022 will be the first vintage to include some of their earliest replants, which are now 10 years old.  While shifts here have mainly been gradual, 2020 was a significant moment. The first wildfire took hold on 18th August, although it was across the valley – far enough away for there to be no urgent threat, but the team was (especially with 2017’s fires fresh in their memory) on edge. Empting recalls spending time driving up and down the valley watching what was happening. They grouped together and decided to start picking on 22nd August – a good two weeks earlier than normal. They weren’t certain it was the right decision, but also weren’t prepared to risk everything to wait. Two weeks after they finished, the Glass Fire swept through the valley. Anyone that hadn’t picked was at significant risk of smoke taint.  Nature might have forced their hand, but it was a push they needed. The resulting wine stunned them all. It’s a world away from the high-octane reds that Robert Parker favoured – and any Napa stereotype. This is a bright, pure and elegant expression of site that sits at around 13%. And while the team’s fear was that it might not have the tannic depth of a true “Grand Cru” – a wine destined to be cellared – that is simply not the case.  They realised they didn’t need those extra two weeks on the vine for phenolic ripeness. The dry growing season had meant the vine only had a small crop to ripen, helping them out, but the year totally shifted their perspective. In 2021, they picked on the same date. In 2022 – a noticeably hot and dry year – they picked even earlier.  Tasting the 2020 alongside the 2016, ’17 and ’18, the difference is drastic – although the progression is there in the earlier vintages. It marks a sea-change for the estate – one that may divide pundits. But the 2020 matches their vision of this place: while they think of Harlan as a wine of gravity, Promontory is a wine of “lift”.  The Harlan family’s wines don’t come cheap – but you aren’t just paying for good wine (and it is, undoubtedly, very good). Yes, it’s a smart winery, with the very best equipment. But the money isn’t going on new barrels and expensive consultants each year, it’s being invested in the people, place and practices that guarantee its legacy. The 2018 has only just been released, so the 2020 won’t hit the market until 2025. But like anything these visionaries do, it will be worth waiting for. Tasting Promontory 2016 Promontory Will Harlan describes the 2016 vintage as one of the first wines that they felt allowed them to compete on a global stage. Still incredibly youthful, it’s somehow almost approachable yet has significant structure behind. There’s a plush richness to the fruit, a firmness and depth to the tannins that needs time, yet a vibrancy too. It’s just starting to become more supple, yet the phenolics grip onto the finish, drying it out very slightly. The fruit is starting to mellow, mingling with savoury tones. Significantly more weight than the other vintages. 2017 Promontory Deeper and darker, the 2017 shows an intensity and firmness – its framework almost aggressive after the 2016. The structure is boxy, yet also refined, and starting to meld together with the bright, fresh fruit. With air the wine shifts from black to red fruit, relaxing into itself. Fruit reverberates on the mouth-watering finish. 2018 Promontory The 2018 confirms the direction of change. Although on paper the wine looks similar to 2016 (in terms of analytics), this is significantly different – offering a transparency and vibrancy. Empting describes it as “athletic” – a fitting way to describe a wine that feels lithe. The fruit sits on the red spectrum, with super-fine velvet tannins forming a chiselled, linear structure. There’s a lift and florality to the nose, complementing the long, pure palate. 2020 Promontory This is a wine of amazing precision and perfume. A pivotal vintage for the estate, picked two weeks earlier than normal and before fires swept through the valley, it’s a stunning wine. Extraction was gentler and the alcohol is around 13%. It’s a wine of brightness and texture – a fine, chalky, powdered grip of tannins that complements the seamless fruit. The nose shifts with florals and earthier minerality, a savoury, saline edge to the crunchy fruit and juicy acidity. There’s purity and delicacy, with a finesse that is truly remarkable. Find out more about Promontory, or read more Editorial

The Harlan family isn’t like other families. We spent time with Will Harlan and Managing Director of Winegrowing Cory Empting to talk about Promontory, the vision and philosophy behind it – and why the 2020 vintage is a pivotal moment in this special estate’s tale

How the Harlan family is creating Napa wine estates that are destined to become the stuff of myth: Promontory, Harlan and BOND

The Harlan legend and legacy – Promontory

Legend and legacy in Napa: the Harlan family and Promontory

È difficile fare affermazioni generali su un'annata come il 2023 a Bordeaux. Dopo la nostra panoramica dell'annata, approfondiamo ulteriormente l'argomento, suddividendolo per comune per offrire una panoramica su come ogni sottoregione si è comportata in questa singolare annata.

Bordeaux 2023: a breakdown of the vintage by region, with top picks from Saint-Estephe, Pauillac, Margaux, Saint-Julien, Saint-Emilion and Pomerol 

Bordeaux 2023 – breaking the year down by commune

Bordeaux 2023: l'annata per comune

Over two trips to the region, our team delved into the 2022 vintage – visiting, tasting with and talking to a range of producers up and down the Côte d’Or. Here we break down the year by producer, from north to south, with a summary of how each fared and our favourite wines from the tasting table

A run-down of the Burgundy 2022 vintage wines en primeur by producer: from Fourrier to Lamy via Bernstein, Lamarche, Lambrays, Duroche and Hudelot-Noellat

Burgundy 2022 – the vintage by producer

Burgundy 2022: by producer

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