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  

Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

What makes a wine truly singular? Tamlyn Currin explores the rare bottles that defy convention and challenge the rules of the wine world.

Searching for Singularity in wine

Searching for Singularity

After months of design discovery, client interviews and client testing, we successfully launched the back-end systems in readiness for the new site this spring. Now, we are ready to introduce our new site which has been optimised to improve your global wine and spirits buying and selling journey.    Search and filter functionality improvements have been implemented site-wide. This means you will be able to smart filter wine and spirits in seconds and browse by myriad criteria such as region, style and price point when looking for inspiration. You will also be able to access producer and region profiles, buying guides and long-form features faster than ever before. Signposting to this rich content has been vastly improved to ensure you have all the tools you require to make the most informed purchase possible.   We hope you enjoy familiarising yourself with the new FINE+RARE site. In the coming weeks and months, more functionality will be rolled out for our clients around the globe – some of which are detailed below. All these updates have been designed to ensure you receive the best end-to-end service, tailored for your needs, wherever you are in the world.    If you have any questions or feedback about this, or anything else, please contact Group CEO Patrick O'Connor directly.  A feel for what’s to come:  NEW PORTFOLIO AND TRADING PLATFORM  In August, we will launch the first iteration of the new Portfolio platform, which has been built following your feedback to fundamentally improve your experience. For the first time, you will be able to see a single-page cellar view featuring all the most critical buying and trading facts, which is a significant reduction from the current four pages.  In the next iteration, market data will populate your account and inform you about key trading opportunities and how these might affect your portfolio. Peer-to-peer trading will also become available, as you will be able to set your own trading prices online using market insight and data, list and unlist products, with new features to receive or place bids.  As part of this release, we will also be improving the current checkout journey, making it more intuitive and efficient. GLOBAL FINERARE.COM AND LOCAL DOMAIN LAUNCHES  Significant changes will continue to be introduced to improve your online service needs. Following the launch of the user-centred website in 2023 and the Portfolio update mentioned above, a global website will go-live in 2025. This will provide greater visibility for sourcing new wines and improve your collection management. Order tracking and status updates will also be vastly improved.  New local domains will roll out throughout 2024. These domains will enable global clients to buy, sell and trade with greater ease as they access short- and long-form content tailored to specific local market requirements. You will also be able to explore and register interest in our local events online, and you'll have access to local stock availability, services and listings.

Earlier this year, we brought you exciting news about how FINE+RARE is evolving. Now, we mark a new milestone: the launch of our new-and-improved website. 

Exploring the new-and-improved FINE+RARE website built following extensive user research to provide the best fine wine and spirits buying service possible

Introducing our new-and-improved website 

Over the next few weeks and months, you will start reaping the benefits of our new-and-improved buying and trading platform, built following extensive user feedback and testing. Peer-to-peer trading, real-time market updates and richer buying guides will all combine to assist you in making the most informed buying decisions about your collection.  This new technology is designed to improve your experience. Each and every feature is focused on your needs, ensuring your fine wine and spirits buying and selling journey is more intuitive and efficient than ever – receiving the very best service, wherever you are in the world. This article is the first of many regular updates which will introduce and focus on these changes, explaining how they benefit you and the collection you already have with us. NEW MY F+R AND TRADING PLATFORM This year, we will launch a new Portfolio/My F+R platform, which has been built following your feedback to fundamentally improve your experience. Market data will be used to inform you about key trading opportunities and how these might affect your portfolio. There will be even greater integration between the checkout journey and the Editorial section, enabling you to read the most current long-form features on the regions, wines, spirits and producers you are interested in. Fine wine and spirits insights will also automatically populate with newly released critic scores, real-time market demand and signposted relevant Editorial content. Peer-to-peer trading will also become available, as you will be able to set your own trading prices online using market insight and data, list and unlist products, with new features to receive or place bids. For the first time, you will also be able to see a single-page cellar view featuring all the most critical buying and trading facts, which is a significant reduction from the current four pages. EN PRIMEUR + RICHER MORE INFORMATIVE BUYING GUIDES Our first global Bordeaux en primeur campaign will launch in May with a detailed report on the 2022 vintage (read our initial thoughts on the year here), with representatives from all our local teams spending time in the region, tasting the wines. Not only will all clients globally have access to our in-depth reporting (as well as access to expert advice from their local teams), but there will also be the opportunity to pre-order wines. This year, you will also have access to hundreds of in-depth region and producer guides. At present, our site boasts 475 articles and 290 producer profiles – and this number will continue to grow as more at-a-glance shorter-form articles and more comprehensive, multi-page reports on the wines and spirits you are most interested in will be available to help you make the most informed buying decision in your local market.  GLOBAL EVENTS  We are also working on an exciting global events calendar with some of the world’s most venerable producers. Global events have been part of the FINE+RARE Group for several years. Halted during Covid, these returned with a vengeance in 2022 with over 20 intimate tastings and dinners with many of the world's most venerable producers, including Château Rayas, Ausone, Le Pin, Pétrus, Harlan Estate and Domaine des Comtes Lafon at remarkable venues such as The Ritz, Claridge's and The Connaught. OPTIMISED CHECKOUT Features will be introduced later this year to facilitate multi-currency purchasing online. Improvements will also be made to the current checkout journey, making it more intuitive and efficient. There will also be a greater ability for customers to settle delivery costs online, taking into account reservist sales and credit note proceeds at checkout, and offsetting these against orders. GLOBAL FINERARE.COM AND LOCAL DOMAIN LAUNCHES Over the next 12 months, significant changes will also be introduced to improve your online service needs, starting with a user-centred website (with a new URL) which will launch this spring. The global website will provide greater visibility for sourcing new wines, as well as improve how you manage your collection. It will also include improved order tracking and account status updates. Additionally, the existing search and filter journey will be improved and the Editorial section will be easier to navigate, signposting you to richer, localised content to help you make the most informed purchase possible. You'll be able to explore and register interest in our global events online, and you'll now also have access to local stock availability, services and listings. In time, each market will get their own tailored website signposting the most relevant educational and informative content as well as invites to tastings. For the first time, it will also be possible to view and access local services and inventories of wines and spirits in local markets, and connect with other local-market sellers. This is just the beginning of an exciting chapter and we look forward to communicating all of these features, including the ability for suppliers and producers to manage their own marketplace (which will increase the number of real-time products available on the platform), in due course. It has never been a more interesting time to buy and sell wines and spirits in this ever-evolving global marketplace. If you have any questions or feedback about this, or anything else, please contact Group CEO Patrick O'Connor directly 

There are many exciting changes coming your way this year, including a new-and-improved buying and trading platform, industry-leading events and world-class buying and region guides. We examine how these changes will benefit you – and your collection

Exploring exciting changes, including a new-and-improved buying and trading platform, industry-leading events and world-class buying and region guides

How the company is evolving

How FINE+RARE is evolving

This year sees the release of the 20th vintage of Cheval des Andes – Cheval Blanc’s operation in Mendoza. Since the team from the legendary Saint-Emilion estate embarked on the venture with Terrazas de los Andes, 25 years ago, much has changed – and this is the start of a new era for the property. What was once a working concept has taken root.  “This is the beginning of our adult life,” says Technical Director Pierre-Olivier Clouet. “We have a real identity today.” It’s taken a quarter-century for the property to shake off the uncertainty of youth and find firm footing – something that hasn’t necessarily been easy.  “We made mistakes,” Clouet confesses. Not having a historic reputation to rely on, the team at Cheval des Andes had sought out high scores, chasing points to prove their worth. But, in a still Parker-dominant era, that meant making wines with “ripe grapes, a lot of extraction, a high level of alcohol – you [had] to show the muscle to explain that you are a great wine”, explains Clouet. “For a long time, the recipe was in the cellar; nobody cared where the vines were.” Now, however, that’s all changed.  From 2011, the team started shifting focus to the vineyard, working more closely with their French counterparts and vice-versa. The arrival of Lorenzo Pasquini (now the man at the helm of Ch. d’Yquem) in 2015 was key to the transition, as Cheval des Andes started to focus on a shared vision of fine wine – one that is about freshness, balance and ageing potential, and one that defines Cheval Blanc.  Only with a few wrong turns, however, can you be sure you’re on the right path – and Clouet is clear that those first 16 years, figuring out what Cheval des Andes should and could be, has been “super important” in helping them build “something with real sincerity, real authenticity”. Most importantly, Cheval des Andes is not intended to be, nor is a copy of Cheval Blanc: “It is, in our mind, absolutely an Argentine wine,” says Clouet.  The original 31-hectare vineyard is in Las Compuertas in Luján de Cuyo, a subregion of Mendoza. It is on these clay-dominant soils at around 1,000 metres’ altitude that Pierre Lurton discovered a plot of ungrafted Malbec in 1998. Planted in 1929, the vine material pre-dates phylloxera, descended from a selection imported to Argentina in 1852 – back when the grape dominated Bordeaux. This selection is key to the DNA of Cheval des Andes and, along with the huge diurnal shift, produces Malbec that is fresh, precise, perfumed and delicately structured. For Clouet, the “true” Malbec is closer to Pinot Noir in style – more floral than fruit-led, vibrant and even ethereal.  In 2001, the team purchased an additional parcel in La Consulta in the Uco Valley, at higher altitude and with more gravel-driven soils, a cooler site that has an even more significant diurnal swing in temperature. While they once might have used only a fraction of the estate to produce the flagship wine, they have moved to using as much as they can – to create a pure expression of the entire property, declassifying only plots that don’t fit in the blend or meet their stringent quality standards.  All 50 hectares are farmed with the same philosophy as their vines in Saint-Emilion – employing extensive cover crops, trees scattered throughout the vineyard, and with the same incredible attention to detail and focus on sustainability. “We work with the same vision and the same conviction,” says Clouet. One key difference, of course, is that irrigation is essential in this part of Argentina – but, here again, they’ve changed tack over the last decade or so. Rather than traditional modern drip irrigation where necessary water would be eked out drop by drop over the season as needed (“too artificial”, Clouet tells me), they irrigate extensively over the winter to ensure the soils are replenished fully between seasons (as well as help protect ungrafted vines against phylloxera), then – on a plot by plot basis – when the vines are starting to suffer, they give the vines around 40mm of water (still via drip irrigation), over 24-48 hours, replicating a day or two of steady rainfall.  They’ve reduced the height of the canopy (the engine of the vine for sugar production), while using trees, cover crops and minimal leaf-pulling to avoid sunburn. They’ve started pruning each vine according to its vigour, and are now picking significantly earlier – as much as two months earlier than 15 years ago. With this detail in the vineyard, the challenge is simply to guide the fruit through the winery: “No mistakes is enough in the cellar,” says Clouet.  In some ways, the wine echoes Cheval Blanc. While the Saint-Emilion property blends Cabernet Franc and Merlot, Cheval des Andes focuses on Malbec and Cabernet Sauvignon – the Malbec bringing freshness and silkiness that complements the backbone of powerful Cabernet. And the Cheval Blanc style, one of restraint and precision, shines through in recent vintages of the wine – and especially the soon-to-be-released 2021. As Clouet tells me, “Our vision is absolutely delicacy, freshness, balance, ageing potential, complexity.” Unlike Cheval Blanc, however, which needs 10 years in bottle to start even hinting at its potential, Cheval des Andes offers an immediacy – something that Clouet is clear doesn’t inhibit its ability to last; the 2021, for example, can be drunk now, but will evolve over the next 25 years at least, he tells me.  Even the association with the Cheval Blanc name doesn’t make Cheval des Andes an easy sell to fine wine lovers; but that, says Clouet, is part of what makes it fun – a challenge for the team to be pushed. Even better, his team gets the chance to learn and make wine not just once a year, but twice, as well as gaining additional insight on how Cheval Blanc might adapt to climate change. But Cheval des Andes isn’t just an intellectual exercise (that is merely an added bonus), Clouet firmly believes in the potential of this site – something they’re now finally beginning to realise. Browse all current Cheval des Andes listings or read more Editorial 

For 25 years, Cheval Blanc – one of Saint-Emilion’s leading names – has been crafting wine in Argentina. We sat down with Pierre-Olivier Clouet to find out more about the project today, and why the 2021 vintage is the most exciting to date

Technical Director Pierre-Olivier Clouet on the start of a new chapter at Cheval des Andes, the Argentinian wine project from Saint-Emilion’s Cheval Blanc

Turning the page at Cheval des Andes

The glitterati of the food world gathered in Antwerp last night to celebrate the World’s 50 Best Restaurants. It’s perhaps no surprise that Copenhagen’s Noma came out on top yet again (with its original location having won four times before, 2010-2012 and 2014). René Redzepi’s iconic New Nordic concept, championing the finest foraged ingredients and the art of fermentation, is rightfully at the top of many gastronomic wish lists.  This year’s list includes eight new entries – including Lido 84 (Gardone Riviera, Italy) which came in at no 15. Other new entries were: Diverxo (no 20 – Madrid, Spain), Burnt Ends (no 34 – Singapore), SingleThread (no 37 – Healdsburg, USA), Florilège (no 39 – Tokyo, Japan), Atomix (no 43 – New York, USA), Nobelhart & Schmutzig (no 45 – Berlin, Germany) and Wolfgat (no 50 – Paternoster, South Africa).  Hong Kong’s The Chairman climbed a massive 31 places to no 10, while two chefs earnt special recognition. Victor Arguinzoniz of Asador Etxebarri (Atxondo, Spain) was named Chefs’ Choice and Will Goldfarb (Room4Dessert – Bali, Indonesia) took home the title of the World’s Best Pastry Chef. Steirereck (Vienna, Austria) won the Art of Hospitality Award and Boragó (Santiago, Chile) was recognised for its sustainability. Spain and the US were confirmed as gourmet hotspots – each having six restaurants in the top 50.   Previous winners of the top spot include El Bulli (2002, 2006-2009), The French Laundry (2003-2004), The Fat Duck (2005), El Celler de Can Roca (2013, 2015), Osteria Francescana (2016, 2018), Eleven Madison Park (2017) and Mirazur (2019).  The list is decided by 1,000 industry experts who vote for the establishments they feel are the best. Voters are given certain freedom, with no strict criteria to consider – and previous winners of the coveted number-one spot are no longer allowed to vote. The 1,000 voters are food writers, critics, chefs, restaurateurs – in short the globe’s most experienced diners. The group is evenly split between male and female, with a panel of 40 members in 26 different regions. Each year, 25% of any panel has to change. The process and results are even independently adjudicated by Deloitte.  The 2021 awards are based on a combination of pre-pandemic votes and more recent updates, depending on restrictions in each region.  The top 10 restaurants in the world 2021  Noma (Copenhagen, Denmark)  Geranium (Copenhagen, Denmark)  Asador Etxebarri (Atxondo, Spain)  Central (Lima, Peru)  Disfrutar (Barcelona, Spain)  Frantzén (Stockholm, Sweden)  Maido (Lima, Peru)  Odette (Singapore)  Pujol (Mexico City, Mexico)  The Chairman (Hong Kong)  Explore the full list here 

After a year off, the 2021 edition of the World’s 50 Best Restaurants has been announced. Here’s a run-down of the year’s biggest winners – and the establishments that should be on any post-pandemic dining hit list 

A rundown of the 2021 World’s 50 Best Restaurants biggest winners – and the establishments that should be on any post-pandemic dining hit list 

The best restaurants in the world right now

Journalist and author Dylan Jones talks to some of the world’s most revered wine critics and writers about what they do, how they do it, and how their lives – or rather lifestyles – have changed as a result of the global pandemic

Dylan Jones talks to some of the world’s most revered wine critics and writers about what they do, how they do it, and the impact of the global pandemic

FONDATA: The Worth of Wisdom

The Worth of Wisdom 

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

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

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

The FONDATA genesis story

FONDATA: The genesis story

Loriot Pagel

France

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