When a red blend from Chile became the first wine from outside Bordeaux to be offered on La Place in 1998, it no doubt ruffled a few feathers. Could the New World, let alone South America, ever rival the quality of wines being made in Bordeaux? In the late 1990s, the answer was frankly no. Today, however, the fine wine market is keeping its eye on Chile’s leading estates with good reason. Not because they can rival Bordeaux in style, but because Chile’s winemakers are defining a style all of their own and discovering the potential of their top terroirs.  Gone are the days of overripe fruit, heavy-handed oak and 15% alcohol wines which dominated the scene during the height of Robert Parker’s influence in the early 2000s. Today vintners are focusing on making chiselled and elegant reds, as a result of much earlier harvesting and more restraint in the cellar – but, most importantly, these wines are all about balancing the freshness and nuance of their mountain terrains with the vibrant fruit profile and fine tannins these sunny lands offer. In the past decade, thousands of soil pits have been dug across Chile’s wine regions as winemakers get under the skin of their Chilean DNA — an endeavour well worth the effort as recent vintages show. Here are the regions at the forefront today.  Alto Maipo  It’s no coincidence that Château Mouton Rothschild’s Chilean venture with Concha y Toro, Almaviva in Alto Maipo, was the first non-Bordeaux wine to reach La Place. Maipo had been at the heart of Chile’s great Bordeaux imitation game since the 19th century, and on paper, Alto Maipo has a lot in common with Bordeaux: the same red varieties planted on similar gravels of river terraces.    Today, however, the best wines – including Almaviva and Viñedo Chadwick – focus on what makes Alto Maipo Cabernet Sauvignon and blends distinctive. In high-altitude Puente Alto in particular, the purity of the Andean sunlight at over 700 metres’ altitude offers a flamboyance of cassis and blackcurrant aromas, while cool mountain nights revive the grapes, giving the wines tension, filigree tannins and fragrant wild herb aromas. It’s this seductive combination which marks Alto Maipo as a Grand Cru of Chile.  Aconcagua  Further north, the Chadwick family has been making bold wines from valley floor vineyards in the warm Mediterranean climate of Aconcagua for over a century. Since the 1990s, however, they have been planting on the slopes and the more interesting colluvial soils found in the Andes foothills and towards the coastal mountain range.  Their iconic Seña blend, which originated as a collaboration with Robert Mondavi in 1995, has become increasingly refined under the hand of Chilean winemaker Francisco Beattig in recent vintages. Select plots of mainly Cabernet Sauvignon and Malbec are synthesised into a balanced wine of 13.5% which prioritises harmony over power and carries graphite, cedar and blackberry aromas, trademarks of contemporary Aconcagua wines.  Apalta  One of Chile’s few DOs reflecting a place rather than a political region, the hill of Apalta has become world-renowned as one of the country’s best terroirs, with some of the best-known estates in Chile. Lapostolle, the biodynamic estate of the Bournet Lapostolle family, has been instrumental in developing the reputation and character of Apalta wines.  The key to Apalta today, and their iconic Clos Apalta property is the unique microclimate and kaleidoscopic palate of profiles the winemaker can draw from on this diverse hill site in Colchagua – from rich old-vine Cabernet Sauvignon on the clay soils of the valley floor, to the linear Merlot and peppery Carménère from Apalta’s southeast-facing granite slopes. These complex blends with black cherry and black pepper aromas, a full body and silky finish have become highly sought-after trademarks of Apalta wines today.  Chile’s winemakers are increasingly site-specific in their quest to show the potential of their unique country, with new and exciting vineyards being planted from the limestone-encrusted soils on the coast of the Atacama Desert down to the volcanic slopes of Osorno in Chilean Patagonia. And while there are no doubt many more Grands Crus in the making in Chile, those that have risen to the fore in the fine wine market today show precision, focus and a far greater self-understanding and appreciation than ever before.  Explore all current Chilean wine listings or read more Editorial 

Chile’s most iconic wines have come a long way in the last decade. With producers increasingly focusing on expressing site rather than creating a particular style, a handful of areas are emerging as the country’s Grands Crus, as Amanda Barnes reveals

Chile’s most iconic wines have come a long way in the last decade. We explore the region and producers such as Clos Apalta, Almaviva, Chadwick and more

Chile's Grand Cru wines explained

Chile's Grands Crus explained

While at the top end, Chile has historically been known for its Bordeaux-style blends, the country has a staggering range of climates to choose from. But prior to Errázurriz’s Las Pizarras range of Chardonnay and Pinot Noir from Aconcagua Costa, the Burgundy grapes had not seen great success in Chile. The last few vintages of these wines – made by Francisco Baettig – have, however, turned the tide, proving that Chile can work with much more than the Bordeaux varieties. But why did it take so long for the country to reach this realisation? Francisco believes that up until 15 years ago the Pinot Noir in Chile simply wasn’t good – low-quality clones, infected with viruses, and often planted in the wrong place. He also thinks that the influence of Bordeaux hung too heavily, meaning Pinot was being picked far too late, producing wines that were too sweet and too heavy. Since the mid-2000s, however, better plant material has been available and now, 15 years on, these vines are reaching maturity – and their potential.  But Las Pizarras is just one style of Pinot Noir and Chardonnay – and Francisco knew that a very different style could be achieved further south, where radiation is lower and there’s enough rainfall to allow vines to be dry-farmed. Francisco’s grandparents lived in the southern region of Traiguén, on a farm fittingly called “La Vigna”, and it had always been his
dream to return to his roots to make wine there. It so happened that his friend, and business partner in his new venture, Carlos had ties to the region too – and so together quickly settled on making wine here.  Traiguén is the southernmost wine-producing region in Chile, in line with Argentina’s Patagonia; as such radiation is 25% lower than in Central Chile. For Francisco, this was key: there’s less chance of the grapes being sunburnt (especially important for delicate Pinot Noir and Chardonnay), while also not requiring as thick a canopy to shield the grapes from the hot sun (as having lots of leaves can lead to green flavours in the grapes). Higher levels of radiation also cause grape skins to thicken, meaning wines are more tannic – something that Francisco was looking to avoid in ethereal expressions inspired by Burgundy. Finally, there’s also much more natural acidity in the fruit, meaning he could craft wines with real tension.  Another incentive behind the project was to discover a more sustainable solution for the long-term wine production in Chile. Irrigation is becoming a real concern in Central Chile. While Chile and Argentina have been blessed with the Andes, producers rely on snow melt to irrigate vineyards. In a dry season like 2019, there was no snow on the mountains and water reserves completely dried out. Francisco states that 40 years ago the average rainfall in Santiago was around 500mm a year: now the average is close to 300mm, and in 2019 it was just 70mm. Traiguén, by contrast, saw 850mm of rain in 2019 – meaning there is no need to depend on irrigation. Beyond the issue of sustainability, however, in Francisco’s view irrigation can be a problem when it comes to fine wine, as it’s all too easy to over-water vines, preventing them seeking out water and establishing deep roots. He believes that deep, complex root systems are essential for producing a wine of the soil, rather than a wine of the sun.  It took two years to find the perfect spot for the new project. Francisco brought Burgundian geologist and friend Françoise Vannier-Petit over to help seek out the right site. Eventually they found a corner of Francisco’s cousin’s property in Traiguén with the right soils and microclimate. Together they planted 15 hectares in 2013 at high density (7,000 vines per
hectare) with carefully selected Burgundy clones. There are nine hectares of Pinot Noir and six of Chardonnay, with three clones and rootstocks for each variety spread over five distinct parcels. Long-term, Francisco hopes to produce single-vineyard wines from these plots, showcasing the varied terroir of this volcanic region. The first commercially available wines are remarkable. The entry-level bottlings are the Vino de Viñedo Los Parientes Pinot Noir and Chardonnay – with fruit sourced from across the property, while the top grapes are reserved for the top Seleccion de Parcelas Los Primos cuvées. All the wines clearly display the nervosity, tension and minerality of cool-climate Pinot Noir and Chardonnay, but with a New World ripeness thanks to Chile’s sunny climate. Production in these early days is miniscule – with less than 150 cases of each wine made in 2018 – and the aim is to keep the operation human-sized. This project is a true labour of love for Francisco, investing significant personal savings in what he believes to be the ideal terroir for ethereal-styled Pinot Noir and Chardonnay. With such exciting results already, we can’t wait to watch the project evolve over the coming years. Explore all Baettig listings or read more Editorial 

Francisco Baettig – the man behind Errázuriz, Seña and Viñedo Chadwick – is without doubt Chile’s most celebrated winemaker. But 25 years into his career, he’s striking out to make wines under his own name. We caught up with him to find out about the exciting project

We talk to Francisco Baettig, the winemaker behind Seña and Viñedo Chadwick, about his new wine project in Traiguén in Chile

Francisco Baettig beyond Seña and Viñedo Chadwick

Looking south: Francisco Baettig’s cool-climate quest

Il Maule è la sala macchine dell’industria vinicola cilena. Con oltre 37.000 ettari di vigneti, è di gran lunga la più grande regione viticola del paese, producendo un quarto della produzione nazionale. Sebbene abbia una lunga storia, piantata per la prima volta nel XVI secolo, la sua reputazione moderna è quella di fornire frutta a buon mercato per “allungare” i blend che sono diventati sinonimo dei portabandiera cileni da supermercato. Ma è in corso una rivoluzione silenziosa, con un piccolo gruppo di produttori che valorizza il patrimonio di vecchie vigne di questa regione. E ora Francisco Baettig si aggiunge alla lista, puntando i riflettori sulla regione. 
 Baettig – l’uomo che ha costruito la sua reputazione creando i vini iconici di Errázuriz, Seña e Chadwick – ha fondato Vinos Baettig con il suo socio Carlos de Carlos nel 2012, mettendo letteralmente radici nel poco noto distretto a clima fresco di Traiguén, nel Malleco, alla stessa latitudine della Patagonia. Hanno realizzato la loro prima annata commerciale di Chardonnay scolpito e Pinot Noir vibrante nel 2018, ma quello era solo l’inizio per il duo. 
 Avevano, mi dice Baettig, sempre pianificato di fare Cabernet Sauvignon. E non sorprende, dato il background di Baettig, che ha studiato a Bordeaux e si è fatto un nome creando blend di Cabernet Sauvignon che rivaleggiano con quelli del Médoc. Decisero, tuttavia, di iniziare con Chardonnay e Pinot Noir al sud, dove avevano già legami familiari e la terra era più accessibile, mentre cercavano il sito giusto per il loro progetto Cabernet. Per Baettig, lavorare i propri vigneti è parte integrante di Vinos Baettig, così come il dry-farming – e, per il Cabernet Sauvignon, Baettig desiderava in particolare avere vecchie vigne, e questo, scrolla le spalle tristemente, non è così facile da trovare. Oltre a essere abbastanza resilienti da essere coltivate in asciutta, le viti di Cabernet Sauvignon più vecchie generalmente producono livelli inferiori di pirazine (composti responsabili del carattere verde nel vino), nonché livelli di zucchero più bassi alla maturità fenolica e aromatica – permettendogli di produrre vini con gradi alcolici più moderati. 
 Aveva già lavorato con una parcella di Cabernet Sauvignon nel Maule e amava l’uva di queste viti a bassa resa, che conservavano acidità e offrivano grandi aromi, colore e tannini ghiaiosi che, a suo avviso, sono quasi nello stile di Saint-Estèphe. Era, sentiva, “un Cabernet con una personalità speciale”. E così, hanno guardato al Maule, ma evitando le aree più calde che possono produrre stili più grandi e maturi – dirigendosi invece a sud di Cauquenes, verso la Cordillera de la Costa, o catena costiera. 
 C’è voluto più di un anno, ma alla fine hanno trovato un vecchio vigneto di País – piantato 120 anni fa – dove due ettari erano stati innestati a Cabernet Sauvignon. Il conferitore chiedeva solo 15 centesimi al chilo per l’uva – ma il Cabernet veniva vendemmiato insieme al País, buttato dentro tutto insieme e venduto per una miseria. Baettig chiese se potesse quadruplicare il prezzo e farlo vendemmiare separatamente. Il conferitore non poteva credere alla sua fortuna. Baettig e Carlos hanno trovato altri pochi vigneti promettenti, che insieme hanno costituito la base per la prima annata del Los Compadres Cabernet Sauvignon. Questo è uno dei loro Vinos de Viñedo, ovvero l’equivalente “villaggio”, con il nome “Los Compadres” (amici stretti) in tributo ai conferitori con cui stanno lavorando. Accanto al loro vino “villaggio”, però, Baettig crea sempre un imbottigliamento da singolo sito, una Selección de Parcelas (selezione di parcelle, letteralmente) – e questo proviene solo da viti di loro proprietà. 
 Fortunatamente, forse, il conferitore dietro il vigneto di País centenario stava pensando di vendere, di fronte alla sua insostenibilità economica e agli sviluppatori in fila per la terra. Il duo è riuscito ad acquistare cinque ettari, inclusi i due già innestati a Cabernet Sauvignon, salvando le viti centenarie dall’essere estirpate. Hanno innestato i tre ettari rimanenti a Cabernet Sauvignon nel 2023 (con l’uva destinata a essere utilizzata a partire dall’annata 2025). Questo sito è ora la fonte del loro singolo cru Los Padrinos (che significa “i padrini”). 
 Ci sono distese di vigne antiche come queste, tutte a rischio di essere strappate per opzioni più redditizie. Ed è facile capirne il motivo: queste vecchie viti ad alberello sono bellissime – ma producono volumi minuscoli. Baettig ottiene appena due tonnellate per ettaro – “in un anno buono”, precisa subito. Sono coltivate in asciutta – qualcosa di raro nel clima secco del Cile, ma reso possibile dall’elevata piovosità media nel Maule (tra 500 e 700 mm all’anno, anche se il 2023 ha portato 1.000 mm – nutrimento benvenuto per gli innesti appena fatti di Baettig). Non c’è modo di meccanizzare viti così vecchie, quindi tutto il lavoro deve essere fatto a mano – e le parcelle di Baettig vedono poco più che zolfo e altri trattamenti biologici. Se, come la maggior parte dei coltivatori della zona, potete solo vendere la vostra uva alla cooperativa locale per vino da cartone a basso costo, è facile capire perché tali sforzi semplicemente non abbiano senso finanziario. Accanto a queste parcelle di vecchie vigne, ci sono vasti vigneti più giovani appartenenti a realtà come Concha y Toro e Santa Rita, che rendono fino a sette volte più frutta rispetto ai loro nodosi vicini. La terra qui rimane significativamente più economica rispetto alle più famose Maipo, Aconcagua o Colchagua (da cui il suo appeal per i maggiori player del paese) – ma è lo stile distinto di Cabernet della regione ad aver attirato qui il team Baettig. 
 Per Baettig, verso la catena costiera si trova un microclima totalmente diverso, che produce vini di impressionante tensione e brillante acidità. Con le vecchie radici di País, le viti affondano in profondità nel suolo e producono rese limitate di acini concentrati. I tannini hanno un’impronta particolare, meno levigata di quella del Maipo, e data la naturale concentrazione e struttura del frutto, è importante gestire con attenzione l’estrazione – con temperature più fresche, macerazioni più brevi e rimontaggi ridotti. Semplicemente, dice Baettig, sono “vini che puoi invecchiare”. Freschi e al limite dell’austero in gioventù, è facile vederne il potenziale – e Baettig suggerisce che i Compadres dovrebbero invecchiare bene per un decennio, mentre i Los Padrinos continueranno a evolvere ben oltre. 
 Baettig ha già fatto scalpore con il suo Pinot Noir e Chardonnay e – data la natura di questi vigneti speciali – il loro Cabernet Sauvignon è destinato a fare lo stesso. Ma non è solo la qualità qui a fare la differenza. Queste piante imponenti, nodose, dal tronco spesso e contorto, sono sopravvissute nonostante l’economia. Il fatto che un nome così prestigioso investa nel Maule e nella sua ricchezza di viti centenarie ad alberello aiuterà a garantire che questo patrimonio viticolo non vada perduto per sempre. 
 Scopri l’intera gamma di Baettig, incluse le prime annate del loro Cabernet Sauvignon

Baettig è stato pioniere nella produzione di Pinot Nero e Chardonnay di Malleco, ma ora ha lanciato il suo primo Cabernet Sauvignon. Sophie Thorpe ha incontrato Francisco Baettig per saperne di più sul progetto.

From Malleco to Maule: as Chile’s Baettig releases their first Cabernet Sauvignon wine, we caught up with winemaker Francisco Baettig to find out more

Discovering Baettig’s Maule Cabernet Sauvignon

La missione Maule: il nuovo Cabernet Sauvignon di Baettig

Chile is already well-known for producing top-quality Chardonnay and, to a lesser extent, Pinot Noir. But the wines tend to translate the intense solar energy synonymous with the region – producing fat, juicy, candied-fruit wines that lack the tension and minerality that the world’s very top examples exude. Baettig, however, is a notable exception – something that was highlighted by a recent vertical of the young estate’s first three vintages. The project came out of Francisco Baettig’s obsession with finding the right place for these finickity grapes in Chile. Following his own experiences growing Pinot Noir and Chardonnay elsewhere, he knew what he had to avoid. He was adamant that he wouldn’t rely on irrigation, which leads to shallow root growth and therefore, in his view, less terroir expression. Secondly, he wanted better clonal material. Baettig went to the very best to source his vines – his Pinot Noir vines come from a top vine nursery in Gevrey-Chambertin. He also needed a cooler climate where he wouldn’t have to rely on thick canopy growth to protect the grapes from the sun – something which Baettig believes can lead to overt green flavours. High-intensity sunshine also leads to thicker-skinned berries, but – for Baettig – thinner-skinned berries produce fresher wines and more ethereal tannins, both elements he seeks in his Pinot Noir. A cooler climate would also mean lower alcohol and fresher fruit profiles. With all these components in mind, it took Francisco Baettig (of Errázuriz, Seña and Chadwick) and his business partner Carlos de Carlos two years to find what they felt was the best place for this project. Fortunately, for Baettig and Carlos, it was familiar territory. The remote Traiguén district of Malleco in Patagonia is close to where both Francisco and Carlos’s families are from. On the 38th parallel south, the region has enough annual rainfall to allow dry-farming, the solar intensity is 25% lower than in central Chile (allowing for lighter canopies and thinner skins), and the volcanic bedrock on top of clay soils is poor enough to produce naturally low-yielding, high-intensity fruit. They planted vines in 2012 and their first experimental vintage was 2016, making a tiny amount of wine for family and friends. After all that time and effort, it was only then that they found out if this place was as good as they hoped. “It was a nervous time,” chuckles Carlos. But the wines quickly brought a sense of relief – it was early days, but they could sense the promise and they could already feel the elusive tension present in the wines. It would be another four years before they launched their first commercial vintage in 2020. The wines were from 2019 – and it proved not the easiest vintage to launch a new wine. Baettig always wanted vintage variation, a region on the margins where the vintage leaves its stamp. But 2019 was a very hot vintage in central Chile and, though Baettig’s wines suffered a lot less in the cooler south, they were still affected. Now with three commercial vintages under their belt, the critics that have managed to taste the wines have been more than impressed. From the outset, their 2019 releases were met with much fanfare. James Suckling described them as “compelling… rare gems that make you contemplate Burgundy”. The 2020 Baettig Vino de Viñedos Los Parientes Pinot Noir was selected among the top 10 Chilean Pinot Noirs by a Decanter tasting panel and Joaquin Hidalgo from Vinous wrote that Baettig’s “ wines leave behind a trail of tension that is the stuff of drinkers’ dreams”. Francisco Baettig is no stranger to such accolades. He is already one of Chile’s most celebrated winemakers. Awarded Chile’s winemaker of the year in 2018 by Tim Atkin thanks to his work at Viña Errázuriz, he was instrumental in establishing the winery both in the fine wine world with Seña and Chadwick, but also amongst everyday drinkers with their consistent quality at lower price points. While Viña Errázuriz has become a hugely successful business with production amounting to over five million bottles every year, Baettig’s Traiguén project is tiny. Entirely self-funded, it is a real labour of love and production today is just 55,000 bottles per year.  These early years have not been without difficulty. Being able to dry-farm was important, but this came at a cost. While the rainfall should be sufficient to dry farm and protect them from potential drought in the early days, Baettig still chose to irrigate half the vineyard and left the rest without water. In the 10 years since they first planted, the unirrigated young vines suffered terribly and only the irrigated part of the vineyard grew strong. Once established these vines can now survive without irrigation. Since then, Baettig has replanted where the vines suffered most and irrigated the young vines before weening them off their water supply once established. It was a costly mistake that saw their production reduced by almost half. The quality of tannins in their Pinot Noir has also not been straightforward. Vine age, Baettig believes, is essential to create the quality tannins he is looking for. At the moment the Pinot Noir vines are too young to provide the texture he is ultimately seeking. He is using whole-bunch fermentation (up to 15%) to add texture, as well as more herbal spice aromas. He is also using new oak (at varying levels) to provide a bit more structure and backbone to the Pinot Noir. As the vines mature and the tannins become more present, he hopes he can taper his use of oak and whole-bunch to find the perfect balance. If the wines are already this good with such young vines, the future here is tantalising. The Chardonnay production has been more straightforward, and the wines are outstanding. The taut mineral expression, salinity and richly fruited body belie their modest price tags. Tasted blind you would never guess they were from Chile – but the early success of these wines is no doubt setting the benchmark for Chardonnay and Pinot Noir in Chile, as well as changing our expectations of the flavour profiles in the region.  Beattig and Carlos remain convinced about the region, and today the results speak for themselves. With so much going for it, you can’t help but feel this remote region will transform in the next few years as more and more vignerons realise its potential. 
 Vertical tasting of Baettig’s wines from 2019 to 2021 
2019 Baettig, Vino de Viñedos, Los Parientes Chardonnay: The 2019 Los Parientes Chardonnay is starting to show the first signs of development with honeyed, citrus aromas and dried fruit tones. The palate remains clean and taut, very fresh with lime fruit flavours and structurally vertical in style. There is a contrasting mix of sweet, honeyed fruit and sharp acidity on the finish. 2020 Baettig, Vino de Viñedos, Los Parientes Chardonnay: Compared to the 2019, the ripe citrus fruit is better integrated with the acidity. A cool vintage for the region produced a wine with lovely contrasting lemon and orchard fruit flavours with more savoury, earthy, lightly smoky, mineral tones. The wine has great tautness, and the vibrancy really lends persistence to the palate. Again, it has a very vertical Chablis-esque style that is beautifully balanced and refreshing. 2021 Baettig, Vino de Viñedos, Los Parientes Chardonnay: The 2021 vintage in Traiguén is looking very special based on these early bottlings of Vino de Viñedos (the more premium Selección de Parcelas will be released next year). The nose is complex, with green herbal tones allied to chalky, briny, mineral notes. The palate retains that distinct vertical, Chablis-esque character, but also has a lovely, rich mid-palate. The tautness brings great energy to the wine. The wine has all you want in an acid-driven Chardonnay – varietal expression, verticality, salinity and a long, refreshing finish. This is exceptional value at under £20. 2019 Baettig, Selección de Parcelas, Los Primos Chardonnay: The Selección de Parcelas are the top bottlings from Baettig. The wine is barrel-fermented and aged for 14-15 months in oak. Compared to Los Parientes, at three years of age, the wine shows less development in bottle. The peppery spice from the oak along with the textural layering on the palate gives the wine a great mouthfeel. It is rich and concentrated, but still has plenty of tension and a refreshing mineral salinity on the finish. 2020 Baettig, Selección de Parcelas, Los Primos Chardonnay: The 2020 Los Primos Chardonnay is much more reductive on the nose than the 2019 tasted alongside. The mineral, struck-match reductive tone eases with air followed by lovely honey and delicate white-flower aromas – bringing beautiful lift to the wine. The textural quality is outstanding, and the oak ageing gives the wine a textural layering that is rich, concentrated and juicy. The orchard fruit and pepper spice from high-quality oak are all beautifully integrated. The refreshing saline notes come through on the finish and leave the palate feeling super fresh. 2019 Baettig, Vino de Viñedos, Los Parientes Pinot Noir: The 2019 Pinot Noir has just 7% whole-bunch fermentation, but it adds complexity, bringing lovely grilled, herbal, savoury notes to the wine as well as a bit of texture. The savoury tones gel nicely with earthy, wild strawberry and a touch of menthol. The inclusion of whole-bunch here is quite noticeable and dictates the character of the wine. 2020 Baettig, Vino de Viñedos, Los Parientes Pinot Noir: The 2020 is noticeably richer and full-bodied compared to the lighter-styled 2019. The whole-bunch, grilled, herbal, stemmy tones again add complexity but seem better integrated and balanced with the rich blackberry and plum fruit. Despite having a higher percentage of whole-bunch than in 2019, the vintage’s riper fruit and tannins are better able to balance out the additional complexity.  2021 Baettig, Vino de Viñedos, Los Parientes Pinot Noir: The 2021 Los Parientes is easily the best Pinot Noir Baettig has made at the estate so far and a real jump up in quality from 2020 and 2019. The nose has great fruit clarity with rich, ripe black cherry and blackberry fruit aromas. The grilled herbal notes sit beautifully in the background, adding depth and complexity to the aromas. The whole-bunch is also better integrated on the palate, bringing lots of texture, matched by vibrant acidity and saline notes on the finish. It reminds me of a village Morey-Saint-Denis from a ripe vintage in its fruit profile with earthy, blackberry coulis fruit. The wine certainly has a more European/cool-climate edge to it. 2019 Baettig, Selección de Parcelas, Los Primos Pinot Noir: Like the 2019 Selección de Parcelas Chardonnay, the 2019 Pinot Noir has handled the warmer vintage conditions much better, but the warmth of the vintage shines through in the sweet, candy-like blackberry fruit. This is more New World in style – full-bodied, rich, ripe and full of juicy fruit. The herbal tones from a proportion of whole-bunch comes through nicely on the finish, adding savoury complexity. 2020 Baettig, Selección de Parcelas, Los Primos Pinot Noir: The 2020 has a very dark, deep purple colour and some charry, smoky and peppery tones from high-quality oak that is well balanced by fresher, grilled, herbal notes from the portion of whole-bunch fermentation. The wine is very rich, ripe and juicy, with textural tannins adding lots of structure. Browse all listings from Baettig or read more Editorial

Francisco Baettig’s new project in Chile’s volcanic south is wowing critics. Tasting through the first three vintages reveals a fascinating evolution. We caught up with founders Francisco Baettig and Carlos de Carlos to find out more 

Francisco Baettig (of Errázuriz, Seña and Chadwick) on how his new Pinot Noir and Chardonnay project in Chile’s volcanic south is wowing wine critics

Baettig, the rising star in Chile

Baettig: the rising star of Traiguén

The knife is a descendant of the sword, that emblematic and destructive weapon of war. We learn to respect it from an early age. Though powerful and dangerous, this day-to-day working tool is the one item in the culinary arsenal used to cut flesh in the preparation of food. Fingal Ferguson of the renowned Gubbeen cheese family in Ireland, and maker of world-class knives, remembers his mother Giana in the early days of his parents’ farmhouse cheese revival in the 1970s, cutting the curds with her grandfather’s dressage sword on the side of the Aga. It was not, however, this splendid, dramatic rapier that triggered his passion for the craft, but a hobby that grew out of butchering. Ferguson’s handsome handcrafted knives, which he started making 20 years ago, come in all shapes and sizes from small paring knives to cleavers, and have acquired cult status at home and abroad. They are coveted by those who love cooking – from domestic cooks to celebrity chefs – and those who value craftsmanship and beauty, not to speak of functionality, in the tools they use. His collection, full of character, ranges from high quality satin hand-finished steel to the higher end Damascus patterned blades with handles carved from maple, beech, chestnut, bog oak, spalted poplar, alder, Micarta (a composite), carbon fibre, buffalo horn and, more unconventionally, compressed rock-hard Donegal tweed, and gemstone turquoise.  These knives are much in demand – at one point in 2017 he had 980 people on the waiting list. Francis Mallmann – the world-renowned Argentinian, Michelin-trained, Patagonia-loving chef famous for open fire cooking – declared Ferguson’s knives the best, and ordered a set of 22, one for each of the tasks in his kitchen. “He is one of my heroes as I love cooking with fire,” Ferguson reveals when we meet in his workshop on the family farm not far from the fishing village of Schull in west Cork, one sunny September morning. Located far out on the most south-westerly tip of Ireland, nestled beneath Mount Gabriel with breathtaking views across the Atlantic to Fastnet Lighthouse, Coney Island and Cape Clear, Gubbeen (which means little bite) is a 250-acre coastal farm with a 140-strong cheesemaking herd of Friesian, Holstein, Jersey and Kerry cows that graze peacefully in the surrounding fields. It is here Ferguson grew up and became in turn a farmer, cheesemaker, butcher, charcuterie-maker, knifemaker, husband and father.  “I was two and a half when mum and dad started making cheese, so I grew up with it. The farm is the backbone of everything we do, and you are either mucking about in the yard or putting on whites to clean the cheese,” he says with a smile. Tousle-haired, dressed in a bleu de travail workman’s jacket, followed by his border terrier, Mouche, he shows me around the farm where the cheesemaking is in progress, and to a barn piled high with straw bales at the entrance to his workshop. Flocks of geese and Barbary ducks patrol the yard, undisturbed. A nifty Jack Russell called Sunny makes an occasional appearance, checking out newcomers.   Grounded, thoughtful, practical and creative, Ferguson comes from pedigree stock on both sides of the family. His father Tom was in his twenties when he inherited the farm, run by four generations of resourceful Fergusons, including his great-grandfather who introduced an innovative and successful milking system in the 1880s that benefitted the whole area. Tom’s mother Mary was a founding member of the Irish Countrywomen’s Association and ran one of Ireland’s first farm guesthouses.  Tom met Giana Luke – then in her twenties, of Austro-Hungarian ancestry, and daughter of the playwright Peter Luke – when she was visiting an uncle, a writer living in Inish Beg beyond Baltimore. “I was drifting around with a dog and a tent,” she later recalled. The pair fell in love, married in 1975 and started their life together. “She was a dreamer with a fascinating culinary background, and he was a west Cork farmer and a doer. Opposites attract,” Fingal smiles, adding that his own marriage to Dubliner Ciara Rogerson, a high-powered, Oxford-educated consultant statistician, carries on the family tradition.   Giana’s grandfather, hugely influential in her love and appreciation of food, was the Eton-educated Sir Harry Luke who spent 40 years in the British Colonial Service and dined for England in far flung places like Aleppo, Tonga, Tbilisi, Sierra Leone, Transcaucasia (present day Georgia), Armenia and Azerbaijan. His 1954 book, The Tenth Muse: A Gourmet’s Compendium, is a tour de force of descriptions of the culinary cultures he encountered on his extensive travels. Fingal’s own name he attributes to his parents’ love of Oscar Wilde whose middle name was Fingal – indeed one of his own five children is called Oscar. Memories of growing up between west Cork and occasional trips to his grandfather’s house in Jimena de la Frontera, in Andalusía, Spain, were huge influences: “being immersed in Spanish food and those long tables and robust flavours and if there was no garlic, there was no menu. That Spanish influence led us to preserve food with nothing left to waste. Food preservation was logical – we either share, swap or preserve,” explains Fingal whose self-built smokehouse was a pioneering step in establishing the farm’s charcuterie business. A strong work ethic is part of the Ferguson dynamic. “I was never pushed or forced into farming,” he says. At the Quaker school in Newtown in Waterford where he was educated, “if you were crap at something you were allowed to fail, but you had to compensate somewhere else and I was drawn to hands-on learning like woodwork because I love making things and hate having nothing to do. I can take most machines apart and put them back together again.” Having become the farm’s butcher, he got into knives, and with a family connected to food, needed to learn how to sharpen the tool of his trade properly. After school, when he spent some time in New Zealand “milking 800 cows on the North Island”, he made his first knife, then did a knifemaking and bladesmith workshop with Owen Bush & Bushfire Forge in the UK. “But my real inspiration,” Ferguson reveals, “was the knifemaker Rory Conner up the road here in Ballylickey who had trained with Bob Loveless in the US, one of the world’s top knifemakers. We used to contact Rory for knives for special occasions, for wedding presents – he is a real craftsman. All this led to knifemaking becoming my hobby.” In the workshop furnished with machinery, grinders, belts and assorted tools, Ferguson gives me a lesson in knifemaking, explaining that it has two essential parts – the metallurgy “taking the steel to make a blade and how different steels make different things. And the second part is the handle which can be classic or crazy – we live our personalities in our things, so you can have a carbon steel knife with a jet-black bog oak handle sitting right next to a shiny Damascus steel knife with a vibrant multicoloured handle.” Strangely, most of the parts of the knife are named after parts of the body – the belly, the throat, the cheek, the heel and the spine. Sheets of steel of different types are stacked in a corner of the workshop. The painstaking method of making a knife begins, Ferguson carefully explains, when suitable steel is cut and drilled into the shape of the blade, and he shows me the design of the blade marked out on the steel. “It then goes into a kiln for a short specific period at temperatures as high as 1,080ºC depending on the type or process. It is at these temperatures where the magic of metallurgy takes place and we can transform it from soft into hard steel. It is then quenched or cooled rapidly as a key part of the process. After some little adventures with the tempering cycles which balance the hardness and makes the knife more useable, it is ready to become a blade, ready for more grinding and thinning out, defining the edge and then polishing ready for the handle.” Demanding skill and precision, “you could be hours making a knife – and the level of obsession will determine the outcome,” he adds. The level of workmanship in a knife can, in turn, inspire a reverence that affects how its owner wields it. Some of Ferguson’s knives are made from Damascus pattern welded steel which adds an eye-catching beauty when polished and etched – these steels can be outsourced or, as he explains, makers can go through the lengthy, highly skilled and more advanced process that involves more than 60 layers of lamination and that can take years to master. Japanese knifemakers, in particular, have embraced these skills, drawing on Japan’s great historical swordsmithing tradition; when the Samurai were forbidden to carry weapons, their swordmakers turned their craftsmanship to making cutlery instead. “One of the interesting psychological things about a Japanese-influenced knife, with its hidden tang design, is that you might treat the knife differently, use it differently,” says Ferguson. “Images will be conjured up of the precise, thoughtful and accurate knife skills of the Japanese.” In some of his work, he draws on such influences to make knives based around thinner edge geometry and around more precise use. “Western knives tend to be sturdier for more general use.”  Ferguson believes that “a knife is either practical or emotional. You can have a Damascus steel knife, beautiful to look at, but another with a broken handle may be your go-to knife. Knifemaking has to do with weight, balance, edge geometry and geometry. A knife goes through the ultimate form of abuse – every day it is wet and dry. It might be left on top of the cooker. There is a knife for every job in the world and that’s what makes our life so interesting. With all these different knives there is an element of creativity that allows for specialisation and so many elements that one can get obsessed about. One of the easiest knives for a cook to use, with an edge like a razor blade and a light handle, can be the first knife to break if used to cut up bones, so the boundaries and capabilities are endless.” His views on popular TV shows about knifemaking are interesting. “Forged in Fire is not aimed at knifemakers, just as MasterChef is not for chefs. These are shows for lay people that give you a little insight wrapped in drama, and help them learn about your world. The most important process is the attention to detail.”  He stores materials for the handles in a disused kiln and describes how they are attached to the blade with Loveless bolts. “These countersink nuts into the hole in the handle so as you tighten them, they become like a clamp. The bolster area is the most vulnerable area of the knife, so you are strengthening the bolt hole at its weakest point.” Back at his house – a beautiful building dressed in stone from Mount Gabriel, with mesmerising views of the sea – Ferguson keeps the finished knives in wooden boxes in an upstairs room away from the chaos of children’s toys and a busy kitchen downstairs. This is where orders are dispatched, packaged in heavy-duty canvas rolls, tied in a similar fashion to his charcuterie netting, and stamped with his logo: crossed knives that form the shape of a capital F. The appeal of Ferguson’s knives is stunningly obvious. But despite huge demand, his output isn’t set to increase any time soon. “After one of my knives became a viral sensation on social media, I had more than a thousand people wanting it, so I could spend the rest of my life making them. But the knifemaking side of the business has become a way in which I can channel my creativity.”  Ferguson invests a range of emotional energies into the knives he makes, each of which is a unique creation. “You can be gung-ho and vent if you are tired or emotional – or, if in a calm mood, you can be precise and careful. There is also a point where you can cut yourself or break the knife, so there is room and a role for every state of mind.” It is a delicate balance, and he feels blessed in that people want these knives, but they are not something that can be mass produced.  His profile has led to some odd demands. He has been asked for knives with handles made from the wood of a sentimental apple tree, or to be bejewelled with precious gems. He’s even been asked to work gold into the process of making a blade. “You can go to extreme lengths, and part of me wants the knives I make to go up on a wall and be displayed. You can have your haute couture of knives, and indeed the ones I’ve done now are very different; there is an evolution because I’m part of a community of knifemakers. Another part of me wants to see my knives on family tables being used every day.” While he is happy to work to specific requests from his clients, Ferguson is a man in tune with the fluidity of process, and the never-ending learning curve. “You can spend your life becoming a cheesemaker, gardener, farmer, making really good silage for the cows, but these are adaptable moving targets and as soon as you feel you know everything, you realise how much you don’t know – it is a process of continual learning and that’s how food led to the knives. The handmade knife is a tool that makes sense to a cook like a Mont Blanc pen to a writer. Carpenters respect their chisels. You don’t need to buy a handmade knife unless it is something that brings you pleasure. But you want people to enjoy the knife for what it is. Rory (Conner) always said that a good knife should be recognisable in the pitch dark – that you should know which way is up.” This article was originally published in FONDATA, Issue Two.

Fashion editor and author Deirdre McQuillan meets Fingal Ferguson to find out how butchery inspired him to become a knifemaker.


FONDATA: A Descendant of the Sword

A Descendant of the Sword 

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