Champagne’s climate can be fickle. Of all the fine wine regions around the world it has to be the most unpredictable. Lucie Pereyre de Nonancourt chuckles as she recalls the countless times she has heard the latest vintage described as “unlike any they have seen in 50 years”. She explains: “We hear this all the time. No vintage in Champagne is the same!” It is the region’s capricious nature that dictates the thought process behind Laurent-Perrier’s prestige cuvée, Grand Siècle. A blend of three vintages, all with very different, complementary personalities, the idea is, that when blended together, they capture all the potential qualities a vintage in Champagne is capable of – but are rarely found in one. While Laurent-Perrier is widely recognised as one of the region’s great Champagne houses, Grand Siècle hasn’t necessarily garnered the same sort of attention as other prestige cuvées. Possibly one could argue this is because it is the only non-vintage Grande Marque prestige cuvée – but it is almost definitely because, up until recently, the vintages that made up each new release of Grand Siècle weren’t revealed. That all changed in April 2019 when the house first released Grand Siècle Itération No 24 in bottle and Itération No 22 in magnum – identifying the blend of vintages and what each brought to the blend. Fundamentally each vintage should bring one of the three elements that can typically define a great Champagne year – structure, freshness and elegance or acidity. There have been just 24 different iterations of Grand Siècle since its conception in 1959. Pereyre’s grandfather and Champagne legend Bernard de Nonancourt first had the idea for the cuvée. (It was Bernard who took Laurent-Perrier from a small Champagne house to one of the region’s most recognised brands.) The concept came to him “from observing nature”, says Pereyre. “Champagne has a difficult climate – every harvest is very different but quality is also very different.” The perfect year didn’t exist. For him, a great Champagne was one that has reached aromatic complexity, without losing any of its vivacity and freshness – and that was the aim with Grand Siècle. Bernard’s concept had three rules. Firstly, it should always be made up of three vintages. Secondly, it should always be Chardonnay-dominant – a signature of the Laurent-Perrier house. And thirdly, it must all come exclusively from the Grands Crus of the Côte des Blancs and Montagne de Reims. Speaking with Pereyre, it becomes clear just how much work and time goes into each Itération of Grand Siècle. Each release is 15 years in the making: once all three vintages have been selected, they are blended then spend at least 10 years on lees. The wines do not see any oak and are made as reductively as possible, another key to the cuvée’s freshness. The wine is only released when ready to drink, but Pereyre is confident each has the potential to age 20, 30, even 40 years without losing its vibrancy. As larger-format bottles evolve more slowly, magnums of each Itération are typically released a couple of years later. Pereyre has spent her life in Champagne. Baptised with Grand Siècle as a baby, it seems fitting that today she is charged with the prestige cuvée. Laurent-Perrier is one of the few Grandes Marques still under family ownership. Her mother and aunt took over from her grandfather in 2010, with Peyeyre joining the business in 2019.  Ever since she joined, Pereyre has been training under the watchful eye of Chef de Cave Michel Fauconnet, one of Champagne’s most experienced winemakers. Fauconnet has been working at Laurent-Perrier since 1974 and headed up the winemaking in 2004. He is also the winemaker of the illustrious Salon (also owned by Laurent-Perrier). Fauconnet has Pereyre studying how each parcel tastes, how it develops and how it works in the blend. While Grand Siècle always comes from 11 Grands Crus – Mailly, Ambonnay, Bouzy, Verzy, Verzenay, Tours-sur-Marne in Montagne de Reims, and Cramant, Oger, Mesnil-sur-Oger, Chouilly and Avize in the Côte des Blancs – the proportion in each Itération is different. “The top of the hill versus the bottom can bring very different expressions to each vintage,” says Pereyre. “All the hard work of Champagne is in the blending – every cellar master knows what they have in mind and what style they want to express. Ever since my grandfather created the first Grand Siècle, it has been the cellar master’s job to try to recreate this style – linear, taut, mineral, a lot of acidity, not too open aromatically – but not too acidic and to have some roundness.” It is still very early days for Pereyre, but she is tasting all the time – the only way to learn, and appreciates she is blessed with a great teacher. With the contents of each Itération now in the public domain, the wine is gaining huge scores from the region’s leading critics – perhaps unsurprising given the pedigree of the vineyards and cellar team. Grand Siècle is the greatest expression of Laurent-Perrier’s house style. Browse all Champagne Laurent-Perrier listings

Ahead of the long-awaited release of Grand Siècle Itération No 23 in magnum, we speak to Champagne Laurent-Perrier’s Lucie Pereyre de Nonancourt to find out what’s so special about their prestige cuvée 

We speak to Champagne Laurent-Perrier’s Lucie Pereyre de Nonancourt to find out what’s so special about their prestige cuvée Grand Siècle

Laurent-Perrier Grand Siècle and the perfect year

Laurent-Perrier Grand Siècle: recreating the perfect year

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

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

The new Burgundians – Jasper Morris MW 

The new Burgundians

Screaming Eagle winemaker Nick Gislason wears many hats – he is also the Technical Director of Lopez Island Community Fireworks and co-founder of Hanabi Lager. FONDATA's Gavin Lucas caught up with the busy man to discuss how these dichotomous ventures have more in common than you might think.

Screaming Eagle's Nick Gislason on winemaking, beer brewing (Hanabi Lager) and designing fireworks (Island Community Fireworks)

FONDATA: Curiosity & Wonder: Magic’s Secret Ingredients 

Curiosity and wonder: magic’s secret ingredients

It’s not often words fail me. But finding the right words to describe Dr Bill Lumsden to those who haven’t had the great fortune of meeting him has rendered me a little dumbstruck. Many have dubbed him the “Willy Wonka of the whisky world” for his creativity, jaunty style and flair. His latest project, a purpose-built home for innovation named the Lighthouse, where Lumsden can innovate to his heart’s content and create all manner of whacky and category-bending whiskies, somewhat perpetuates this narrative of the eccentric whisky-maker. But, I’d argue, the good doctor is far more than this. He is, first and foremost, an incredibly accomplished scientist. His work at Glenmorangie and Ardbeg over the past 26 years – maintaining the iconic distillery characters and launching innumerable products for each – is nothing short of sensational. He is a workhorse, as well as, it would seem, a bit of a clothes horse. “I’m a bit of a shopaholic,” he tells me with glee. “I love buying clothes.” This isn’t the sort of confession I expected when sitting down with the Director of Distilling, Whisky Creation & Whisky Stocks in November last year. “If something’s in fashion, I wouldn’t be caught dead in it because other people are wearing it,” Lumsden continues. “So I tend to wear things which have been out of fashion for many years or are yet to be in fashion – and it’s just a little facet of my personality, unfortunately.” This, while slightly unexpected, actually makes a great deal of sense when you cast an eye over his professional life. Lumsden has always been the trendsetter rather than the disciple. And he’s quick to assert that his avant-garde attitude extends beyond apparel. “I have absolutely no interest whatsoever in what’s in fashion and what’s not in fashion [in the whisky industry]”, he says. “When I’m doing something it really is all to do with will I like the taste at the end of the day? Will it complement that character of the Glenmorangie or the Ardbeg spirit?”. Since joining Glenmorangie in 1995, Lumsden has been charged with “maintaining and hopefully slightly improving the spirit character” and innovating. While once his role was divided equally between these two tasks, new product development and innovation now take up the majority of his time. “It’s got to the stage now where the demand for new products is almost impossible to keep up with,” he says matter-of-factly. While this might be fatigue-inducing for some, this constant pressure to innovate exhilarates the inquisitive doctor. “I’m a scientist by training,” he explains. “It’s in my blood to experiment, and I’ve always been a curious individual who gets bored very easily and likes to try new experiences, in every aspect of my life. So the move to Glenmorangie was heaven-sent for me from that perspective,” he says with unfettered glee. The decision to build Lumsden’s Wonka-esque Lighthouse was driven to a certain extent by necessity, he tells me. “The Ardbeg and particularly Glenmorangie distilleries have been running absolutely flat-out for the last 12-15 years,” he says. “For me to interrupt the production cycle to get access to the distillery for three to four weeks of a year, where I wanted to try some radically different things was proving increasingly difficult. And also some of the things I wanted to do, I just simply hadn’t been able to do that with the existing distillery plant. “So the Lighthouse has been established to allow me to experiment but while maintaining the volumes that are required for future bottlings and also to try things that I simply can’t do in the main distillery.” These things range from the smallest alteration in primary production to radical innovations, and everything in between. “Some of the time it can be a very, very simple change,” Lumsden tells me. “It can be something as simple as offering one of your expressions in a natural, cask-strength form, for example, and other times it can be something dramatically different, where you’re actually using completely new materials. I am continuing to experiment with just about anything you can think of.” For the past 10 years, this experimentation has largely focused on different aspects of production. “We’re about to see some products coming out for both the Glenmorangie and the Ardbeg brand where I’ve been playing around more with primary production – it’s been great fun,” he teases. The challenge with this approach, he says, is two-fold. “You’ve got a very long lead time until your product comes to market,” he explains. “Sometimes you’re talking 10 years’ maturation.” At the very least. If you’re experimenting with barley varieties, or looking at fermentation profiles, you have an even lengthier wait. Secondly, by the very nature of these experiments, the difference between spirits is most emphasised in the new-make. “For example, using the barley varieties, it’s not giving you black and white differences,” Lumsden explains. “It’s more shades of grey, and you really pick that up in the new spirit. “But after many years of maturation, you risk losing these differences. So you have to choose your cask type accordingly to try and make sure that you still have the point of difference coming through.” Lumsden says Glenmorangie is launching a product in 2022 that is an experiment he’s always wanted to carry out. “I did this many, many years ago. I can’t say any more about it at this stage, but I will probably bottle this [whisky] slightly younger than my original target, which was 12 years, because I don’t want to continue to minimise the difference in character, if that makes sense?”  In addition to maintaining the two distillery’s very distinct characteristics, and inventing all manner of whiskies, Lumsden sits on a number of prestigious judging panels. In this capacity, he tastes hundreds upon hundreds of whiskies and sees first-hand the changes in the industry and trends that are being adopted – good and bad. He says there has been a “real divergence” in recent years. “Some of the whiskies I taste have become much more characterful and I’m delighted to see whiskies that are non-chill filtered,” he says hopefully. On the controversial subject of chill filtration, the process whereby distillers remove esters and fatty acids to prevent the liquid clouding at low temperatures, Lumsden ardently believes less is more. He does, however, acknowledge its place in markets where drinkers might not understand that cloudiness is caused by oils coming out of suspension rather than a fault. But, he believes, producers are taking its use to the extreme. If Ardbeg and Glenmorangie whiskies are chill-filtered, it is only ever done so “very gently”, because Lumsden feels that lipids – fatty acids from the base barley that would otherwise be removed by full chill filtration – add texture and character to the spirit. Sadly, he rues, this is not true for others who are “very brutally” applying this technique to hasten up processes, and character is lost as a consequence. Corner-cutting exercises like this, speeding up distillation methods and reusing barrels too many times are becoming all too common, he says. When it comes to producing or judging a perfect whisky, Lumsden says he’s after complex harmony. “I’m looking for the flavours to be nicely integrated together and not having any one aspect dominate,” he says. “That’s what I think good quality whisky, particularly Scotch whisky, should be". “The final thing I’ll look for is the length and character of the aftertaste of the whisky,” he explains. “Because I really don’t like to see a whisky just completely fade – it shouldn’t do that. It’s a richly flavoured product and it should linger on the palate for a while.” Whether he’s sitting on a judging panel or looking out from his monstrously tall Roald Dahl-esque Lighthouse, Lumsden’s vantage point, you sense, will always be forward-facing and progressive. It is for others to catch up or catch onto the trend. Browse Ardbeg and Glenmorangie whiskies or read more Editorial 

Glenmorangie and Ardbeg are two Scotch whisky brands famed for quality and innovation. Behind every bottle is the heart and mind of one man: Dr Bill Lumsden. He talks to Holly Motion about what it takes to be at the distilling vanguard for decades

Dr Bill Lumsden, the man behind some of Glenmorangie and Ardbeg’s greatest single malts, talks about consistency and creativity in Scotch whisky

Dr Bill Lumsden talks about whisky innovation 

Dr Bill Lumsden: the eternal inventor

Serge Valentin has been one of the few truly independent voices in the Scotch whisky world since the early 2000s. For two decades and counting, the Alsace-native has published his tasting notes and scores to an astoundingly large and loyal audience with his characteristically good humour and impartiality in what can be a deafening echo chamber.   Despite being one of the most well-respected authorities in the industry, Valentin has always written about whisky in his spare time, very much considering it a pastime that he dabbles in for fun. This is somewhat of a surprise, given the many people who part with thousands of pounds based on his views alone.  “Contrary to what many believe, I’ve never been a pro and have never actually worked in whisky,” the jaunty Valentin is quick to tell me. “It is all a kind of super-hobby to me and if you ever see me doing gigs, for example at whisky festivals, it is always for free, for fun and for friends.”   Valentin’s “proper work”, as he calls it, is in advertising and marketing, where he owns two agencies which employ around 2,000 people. These agencies, he says glibly, are “supposed to pay for my whiskies…luckily, they do”. It was a very different landscape when Valentin started writing about Scotch in 2002. Single malts had been marketed for 30-plus years but there wasn’t the seemingly insatiable demand and record-breaking prices that are commonplace today. It all began when Valentin, armed with bottles of his favourite Old Clynelish and Brora, sat down and shared his musings on his aptly named website WhiskyFun. This wasn’t a vanity project or a vehicle for freebies, this was a man writing about the whiskies he loved, just because he wanted to. From humble beginnings, WhiskyFun has become one of the most well-respected hubs for commentary on Scotch. Valentin follows a 100-point scoring system, like some of the great critics in the world of wine. For Valentin, however, 80/100 is a good score. His methodology is largely unchanged. He will spend an average of 30 minutes tasting a whisky (he does, on occasion, score rums and other spirits) – this can increase up to an hour if it’s a “good one” and take nearer 10 minutes if it is a “bad one”. He always compares several similar spirits, almost always from the same distillery, and never scores “out of the blue”. He tastes “alone, using the same parameters” (place, time of day, glassware, water etc.) and always writes as he tries, and then publishes once a day.  His write-ups are always short, honest, and unmistakably him. After all these years, it’s dumbfounding that he has the time or inclination to produce the near-constant stream of reviews that appear on his website.    It’s fascinating to see which liquids he scores – and, sometimes more intriguingly, the ones he doesn’t. “The choices rather depend on what I get and what I source, but my sample library is much larger than my tasting capacity,” he explains.   This all started as a passion project for Valentin and it’s abundantly clear that that fire burns just as bright today. He never takes himself too seriously and is evidently ill at ease with any comparison between himself and the greatly respected critics in the world of wine.    This is, in part, because the role of a critic in spirits is nowhere near as established as it is in wine. There are leading voices in the Scotch whisky world who undoubtedly carry considerable clout, but they aren’t critics in the traditional sense. While they might be prolific in their output and have seemingly healthy book retainers, they rarely score spirits and if they do, their tasting notes will be almost entirely positive (often because they are in a producer’s employ). The closest the spirits world has to a Robert Parker or Jancis Robinson MW is probably Valentin – although, he wouldn’t agree.   “I would say the roles are more and more the same in wine and spirits,” Valentin says, “even if there are fewer actual ‘critics’ in spirits. But it is coming in whisky.”  Valentin does feel there is a need for scores in collectable spirits, as – like wine – there isn’t always the opportunity for people to try before they buy. But the issue is not black and white, as is true of many things Valentin and I discuss.   “I see that scores [in whisky] become more like stock market recommendations these days,” he says.“I’m not too happy about that but that wouldn’t be the case if spirits, especially whisky, had remained a reasonably priced commodity,” he says, before adding: “But the cardinal sins are what they are.” It’s clear whisky drinkers respect Valentin’s voice, as they flock to his site in droves. What’s less clear, however – as an outsider looking in – is how producers feel about Valentin’s refusal to kowtow and sugar-coat his reviews.  “Producers have never quite known how to deal with independent voices,” he explains. “In general, they prefer influencers that they can pay and control, even if their audiences are smaller and less ‘on target’,” he adds, “for which I can’t blame them. Fortunately,” he continues, “not all distillers are the same. Some corporations are smarter than others and that often depends on the people within.”   When asked why he thinks people return to his site, which doesn’t have any of the bells and whistles you might expect from an ad man and is as no-frills today as it was two decades ago, Valentin says, as self-deprecatingly as ever: “I’m not really aware of everything that’s happening in the reviewing landscape, I have to say. If indeed people keep coming back to my assessment, that’s partly, I believe, because I started early and simply because they trust me. Trust is number one.”   In many ways, Valentin’s website is a collection. It’s a receptacle for his innermost thoughts and feelings about the things that matter most to him. Valentin has always been collector at heart. With an interest in stamps from childhood, he then graduated onto watches, wine and then whisky. The father of three has a broad and eclectic range of interests, including music (“all kinds”), advertising, motorcycling, wine, watches, food and travel which he has nurtured and indulged. Throughout the years, Valentin has had a front-row seat to the evolutions within these industries and the so-called art of collecting.   “Old-school collectors used to buy what they liked, never what was meant to see its value rise,” he says. “In the old days, you had to travel, to make phone calls, to go to festivals etc. Today,” he says somewhat ruefully, “you can buy anything, as long as you’ve got the money.” Valentin was ahead of the curve when he made the choice many years ago to buy as many different Old Clynelish and Brora single malts as he could, simply because they were his favourites. At the time, and up until 2005 to 2010, all whiskies – even the rarest – remained relatively cheap. After 2010, it was silly season and whiskies you could previously source were nigh on impossible to find or prohibitively expensive for some.  Valentin’s favourite whiskies have become some of the most desirable on the secondary market. Old Clynelish, produced before the distillery was rechristened Brora, have gained a huge following globally as people were charmed by the story and the characterful liquid the two distilleries produced. Now Brora is set to be re-opened, these single malts will only become more valuable. While his collection is no-doubt impressive – exact bottlings are not disclosed – there are some unicorns which still elude Valentin.   “Rather bizarrely and inexplicably, I prefer fatter spirits and fresher wines,” Valentin says, “in both cases with as little straight oak influence as possible. So, fat distillates, such as some coastal malts, some Jamaican rums etc. In wine, that would be the bright whites, Jura, Savoie, Rueda, Pacherenc, Irouleguy, Alsace, Wachau and Andalusia.”    “I know oak is crucial,” he adds, “you just shouldn’t feel it as such, according to my personal taste. But I insist, that’s personal.” Oak is a topic Valentin returns to several times. He feels it is the low-hanging fruit when it comes to innovation in the Scotch whisky industry.   “Sure, there are a few innovations around the casks,” he says, “but all makers use more or less the same.” The woods used are usually more active, which allows producers to sell much younger whisky for a good price while widening the ranges at the same time, he says.   “I’m not saying that’s bad,” he quickly adds, “but not many people are talking about the distilling regimes, the stills and so on, which was the number one topic 20 years ago.” He continues: “It is now all about wood. But, when we talk about wood that includes their flavouring with other spirits, wines, or even whiskies from other distilleries such as some peated ones, which is the latest trend, to peat single malts by doing some in-cask blending rather than bother with brewing and distilling some peated malt. “So, cutting corners for sure but on the other hand, I believe the average quality has risen pretty sharply. So, all remains good and well…”  This seems to be Valentin’s baseline. The whisky world might have changed but he believes it is the same at its core. There is an increase in branding and marketing (which is likely a source of joy and consternation for an ad man), there are more malts, and for the past five or six years, more distilleries from almost all countries.   “I’m not bored yet,” he says in his frank way, “and in general, whisky has got better on average, even if there are fewer utter glories and fewer total duds.”  If a man with Valentin’s reputation of no-holds-barred honesty is broadly happy, then we probably all should be too.   Browse all Scotch whisky  or  read more Editorial 

Serge Valentin is one of the most well-respected people in the fine spirits world. For decades, whisky enthusiasts have parted with thousands of pounds based on his reviews alone. Holly Motion asks him how it all began – and how the industry has evolved since he started writing about whisky for fun

Serge Valentin on the art of collecting, the role of the critic, and the changes he’s witnessed in the Scotch whisky industry over the past 20 years

Serge Valentin – the Joker in the pack

Serge Valentin: the Joker in the pack

“It’s difficult when you don’t have vines, a winery, any equipment or money,” Stéphane Dief – co-owner and winemaker at Clos Manou – tells me. “You say you want to be a winemaker, but it is complicated. Our advantage, however, was being able to do exactly what we wanted.” Over the last 25 years, he and his wife Françoise have slowly grown their tiny estate in the northern reaches of the Médoc, beyond Saint-Estèphe, where they make wine that offers some of the best value in the region.  Saint-Christoly-Médoc – the miniscule village that is home to their domaine – is where Stéphane grew up, while Françoise is from less than 15km away. Although Françoise’s family had vines, neither she nor Stéphane were working in the production side of the business, but they fell in love with wine. Via his brothers-in-law – who worked at Ch. Mouton Rothschild and Ch. Rauzan-Sègla – Stéphane started tasting some special wines, buying older vintages at auction – and was soon determined to give it a go himself.  Together, the couple bought a mere 12 ares and produced their first vintage in 1998, 600 bottles that they labelled as Clos Manou – “Clos” because they felt it wasn’t grand enough to use “Château”, and “Manou”, Stéphane’s nickname. It was such a success that their hobby rapidly became a full-time gig and the duo left their day jobs in 2000.  In some ways it doesn’t sound like they were doing anything remarkable. They wanted to make attractive wines that reflected their site, and to do so with precision and care. Their ambitions were modest. And yet, for Bordeaux, their small-scale, hand-crafted approach was – and is – atypical.  They sought out specific parcels of old vines, those planted before clonal material became commonplace, favouring the natural complexity of massal selection. They chose to work only with high-density vineyards – around 10,000 vines per hectare, a point at which Stéphane feels the vines self-regulate, meaning there’s no need to green harvest and often less de-leafing required.  In principle, they are close to organic – however, in a bid to avoid dependency on copper, they use bio-controls that aren’t permitted under organics, specifically phosphonic acid. They don’t use any herbicides, insecticides or chemicals – but believe that copper, as a heavy metal that kills soil’s microbiome, is best used minimally, and they prefer to use something that doesn’t leave trace levels in the final wine.   Almost everything is done by hand, with 12 full-time employees working on the estate. There are no protocols or routines. “We do things by watching, observing our vines and drawing conclusions and echoing those conclusions the following year,” Stéphane says.  The 2003 vintage was a turning point. Robert Parker gave the wine 93 points – an incredible score for such a modest Médoc, writing that it was “better than many of the vintage’s ‘big’ names”, “drop-dead-gorgeous” and a “prodigious effort”. Given the critic was at his peak, his influence was significant – and suddenly Clos Manou was in enormous demand.  “C’est notre métier, mais notre passion aussi," Stéphane says – “It’s our profession, but it’s our passion too." That explains perhaps why, for 11 years, he didn’t take a day off. “My wife wasn’t very happy with me,” Stéphane tells me, laughing cheekily.   Today they have 18.5 hectares of vines, scattered between Saint-Christoly-Médoc and Couquèques, all within a three-kilometre radius. They sit across three different soil types – gravel over clay, limestone-clay and sand, with some sitting very close to the estuary itself. Stéphane thinks of them as three children – one of which, the gravel over clay, is naturally gifted. But just because the other two need a bit more work, doesn’t mean they are any lesser. There is, he says, no such thing as “un petit terroir”. One special parcel dates back to 1850. Planted before phylloxera swept through the region, it’s managed to survive thanks to its sandy soils. In certain vintages they make a special “Cuvée 1850” from the block.  Despite the vines averaging 45 years in age, the yields are generally good – sitting at around 50hl/ha. Stéphane emphasises that low yields don’t equate to better quality, necessarily – the balance of your vines is what matters most.  It’s undeniable that climate change has been a benefit here, beyond Saint-Estèphe, where once it was a struggle to ripen fruit. In 2018, Clos Manou had 15% alcohol – but, thanks to their clay soils, the pH was a vibrant 3.52, bringing great freshness to balance the wine. He’s still thinking about the long-term impact of the rising mercury, however, and experimenting with small portions of whole-bunch, inspired by the likes of Guillaume Pouthier at Les Carmes Haut-Brion. Stéphane feels that it can add tension and make the wines feel more dynamic, even on just 5% of the blend. “On est des vrais vignerons – comme il y a en Bourgogne," Stéphane tells me ("We are true vignerons – as there are in Burgundy"). Unlike larger properties where there are various directors who influence decisions – it’s just them deciding what to do. Despite looking further afield for their inspiration, he and Françoise don’t want to go against the grain of the region. “We want to be a bit unorthodox, but we are nevertheless Bordelais,” he says.  Clos Manou is, in essence, a family business. There’s nothing remarkable about their modest ways, but their freedom to start with a blank page has allowed them to create something that is no longer the norm. Inspired by the Bordeaux of yesteryear, everything is low-tech yet done with great precision. The wines are fresh and pure, yet distinctly savoury and earthy – with a natural intensity that points to their old vines. You can see the addition of larger oak and amphorae in more recent vintages, bringing more vibrancy. They are somehow rustic yet fine. Little has changed here since 1998; let’s hope that that remains the case, and the Dief family continue to craft humble expressions of Bordeaux that are very much extraordinary.  Browse all listings of Clos Manou or read more about Bordeaux 

At first glance, Clos Manou might seem run-of-the-mill. But this small estate in the Médoc is far from it. We sat down with Stéphane Dief to talk about how a hobby became his life, the freedom of a fresh start, and why his family’s wines are worth seeking out

We talk to Stephane Dief about his family estate in the Medoc, Clos Manou – one of Bordeaux’s best-value wines and best-kept secrets

Why Clos Manou is anything but ordinary

Anything but ordinary: Clos Manou

BURGUNDY 2021: THE GROWING SEASON After three warm years, 2021 marked a return to the sort of weather traditionally associated with Burgundy – and all its challenges.  The winter was warm and wet – “too warm”, Frédéric Weber at Bouchard told us. He remembers finishing pruning in just a t-shirt in March. The vines started growing enthusiastically, with early budbreak, only to be struck by a cold spell at the beginning of April – as frost struck the whole of France. The nights of 6th, 7th and 8th April were devastating, especially 7th. Temperatures dropped to -8˚C in places – temperatures at which candles, helicopters and wine machines could offer little help.  
Images of the Côte de Beaune littered with a milky way of candles filled social media, and vignerons could do little but pray. For the early-budding Chardonnay, 80% losses were normal, with some producers in Chablis losing everything. The humid conditions, with snow falling, made matters worse – unusually this combination means that lower-lying village sites were less impacted than the Grands Crus (higher up-slope, where more snow fell). Indeed, if producers had lit candles (or “bougies”), the warmth melted the snow, which then froze and the buds were burnt by the morning sun – cruel retribution for trying to protect their livelihood. This severe, black frost (“le gel advectif”, as Florence Heresztyn explained) was savage – caused by a mass of cold air from Siberia. Chardonnay (and therefore especially the Côte de Beaune) was impacted more, as were any earlier-ripening Pinot Noir sites, such as Cazetiers or Combe au Moine. Candles can normally only increase the temperature by 2˚C, however some producers noted how a collective effort could make a difference – with a high-density of candles concentrated on an area. Erwan Faiveley had installed electric wires in their Bâtard-Montrachet and Bienvenue-Bâtard-Montrachet, as used previously in Chablis, which saved their crop in these plots, but other parcels were devastated. As Thibault Gagey of Louis Jadot noted, late pruning could help; one of their long-term growers in Bâtard-Montrachet pruned late and got a better crop, but the damage was still significant. David Duband reported how he also had issues in April with caterpillars which munched on the nascent buds. He had to hire five additional workers for a week to battle their hungry attack. The cold weather continued, with May cold and cloudy. Flowering at Bouchard began on 16th June, in wet and mild conditions that were perfect for oidium (powdery mildew) and downy mildew. Because the weather was so wet, mud prevented tractor access and at Bouchard they hired more people to spray by hand – a luxury not everyone could afford. Producers across the region spent their weekends during the summer spraying their vines when they could, with the disease pressure a particular challenge to anyone working organically or biodynamically. Edouard Confuron estimated he had sprayed four or five times more than in a normal year. There was some localised hail, with a storm in June causing damage in the north of Gevrey-Chambertin, especially in Les Champeaux, said Pierre Duroché and Olivier Bernstein.  
With the wet and cooler conditions, deleafing was important to open up the canopy, reducing disease pressure and exposing the fruit to much-needed sunshine. At Olivier Bernstein, Richard Séguin explained how they deleafed the fruiting zone and kept just one or two bunches per vine, removing any green bunches that remained at mid-véraison.  September saved the vintage, with warm, sunny and mostly dry conditions. With the tiny volumes, this was enough to ripen the fruit – Jacques Devauges at Domaine des Lambrays described it as Mother Nature evening the score, making up for what she’d taken in April.  Harvest dates varied quite significantly – starting from 10th September through to early October. Rain fell on 19th and 20th September, and producers were often divided between picking before and after this date. Generally producers started with Pinot Noir, then moved onto the Chardonnay, and dates were around a month later than in 2020. Jean-Marie Fourrier felt it was important to wait for phenolic maturity – which only arrived after the rain, and Erwan Faiveley argued that it was essential to wait for the dilution from the rain to pass before picking. Given the low yields, the harvest was often shorter – simply because there wasn’t much fruit.  Selection was essential – making a small crop even smaller – but there was some beautiful fruit of both colours. Yields varied, with losses between 50 and 80% – and some parcels (especially of Chardonnay) were blended together due to the tiny volumes at play. BURGUNDY 2021: THE WHITE WINES 
There’s no doubt amongst producers – or tasters – that this is an excellent vintage for Chardonnay. Production levels are laughable – with often the lowest yields they’ve ever seen, at a mere 20% of their normal crop – but the quality goes some small way to making up for the loss. The small crop (reduced by the harsh April frost) had a long season to slowly ripen, developing intense levels of concentration, yet – with cooler conditions than 2018, 2019 or 2020 – retaining amazing freshness and acidity. With the wet summer, disease was an issue: Erwan Faiveley described oidium as “exploding” on the Chardonnay (with levels not seen since 2004). Extensive sorting was essential. He also felt it was necessary to fine with bentonite after pressing to ensure the must was clean; similarly at Bouchard, Frédéric Weber didn’t use the very first free-run and inoculated fermentations this year to ensure they ran smoothly. Others, such as Philippe Abadie at Alvina Pernot and Paul Pernot, emphasised how important it was not to over-press. Most wines were chaptalised this year, often just to bring up 0.5%, with the final alcohol levels sitting between 12.5 and 13.5%.  Guillaume Boillot at Henri Boillot – who has produced a stunning range of wines – describes the whites as “salin”, having “belle matière”. Vibrant and pure, these are tightly wound with cool, white-fleshed fruit character, sometimes with tropical richness, often a mineral, saline thread and piercing acidity.  Due to the tiny volumes produced, oak usage varies this year. Boillot used none, but others have slightly more in the blend – feeling it didn’t need the freshness added by components aged in stainless steel. For Jadot, it was the first year that they used exclusively foudres, the larger barrels reducing the flavour impact of oak on the wine. Erwan Faiveley believes that tasting the whites, you can feel “the struggle in them”, that the vines suffered. Tasting through the exceptional Grands Crus he’s produced, however, it’s hard to see this – and perhaps he’s biased by the challenges of working the vines and crafting the wines in 2021. Comparisons are hard for such a unique year, but 2014 and 2017 were common themes, largely due to the high acidity, quality and ageing potential. Philippe Abadie and Alvina Pernot described it as “classic bourguignon”, while Thibault Gagey at Louis Jadot compared the year to 2011 or 2013, although feels the wines are better than those of the latter vintage. Faiveley points to 2007 – a vintage that has never shut down or, for him, disappointed; for Boillot they’re closest to 2016, but more precise. At Bouchard, Weber is so excited by their potential that he plans to keep them in barrel longer – possibly bottling in July 2023. These are really exciting wines – with a vibrancy and energy that is compelling. The cool and mineral classicism here, with great fruit concentration and balance, should age beautifully. 
Read our full report on Chablis 2021

 BURGUNDY 2021: THE RED WINES 
While there is a clear consensus on the 2021 whites, the reds are more varied in the vintage – but much better than we initially thought. The wines have clearly benefited from additional time in barrel, and most addresses have crafted a flight of elegant, pale-coloured and light-bodied Pinot Noirs. Although there are a few, rare examples of dilute or overly lean wines, this is in the main a return to “old school” Burgundy, with wines of perfume rather than power. The volumes are more generous than for the Chardonnay, but still measly, mostly sitting between 30 and 50% of a normal year’s yield. 
Frédéric Weber at Bouchard felt there were two styles of Pinot Noir in 2021: those from plots not damaged by frost, with normal yields but grapes with thin, fragile skins, prone to grey rot. The fruit from frost-hit sites, meanwhile, came with lower yields, thicker skins and less disease – for the latter he preferred to harvest later, with their higher tannin levels.  
Jean-Marie Fourrier noted that the picking date for Pinot Noir was key, worrying that anyone harvesting before the rain on 19th/20th was playing a risky game when it came to phenolic maturity and might have unripe tannins and vegetal notes.  
In general, Florence Heresztyn of Heresztyn-Mazzini felt it was a vintage, like 2012 or 2013, where producers needed to be attentive and precise at every stage – from the vineyard to winery. Sorting was essential and almost every producer chaptalised – largely used to prolong the alcohol fermentation rather than with the sole purpose of increasing the alcohol level. 

 Beyond this, tactics in the winery were varied – with vignerons often taking opposite approaches. Some producers, such as Bouchard, opted for more whole-bunch fermentation. Winemaker Frédéric Weber explained that the stems were so beautiful that he was happy to include 30-50% on average; the potassium also helped reduce the acidity of the wines, giving – he felt – a better expression of the year. 
The opposite was true of many, including Benoît Stehly at Georges Lignier and Hugues Pavelot. At Olivier Bernstein, the team used 30-40%, much less than in a warmer vintage, as they didn’t feel additional freshness was required, nor were the stems sufficiently lignified; similarly Heresztyn-Mazzini used 30-60% rather than 50-100% to avoid any greenness. While Jean-Marie Fourrier de-stems everything, in 2019 and 2020 he added the stems back into ferments for freshness, but didn’t feel it was necessary in 2021. 
When it came to extraction, the approach was similarly broad. Some felt it was a year to be more delicate, others thought it was a year that required more work to extract the colour and tannin that was in the grapes.  
Maxime Cheurlin at Domaine Georges Noëllat used a warmer – and therefore shorter – fermentation (sustaining 33-34˚C, versus 31˚C normally) to build the mid-palate of the wines. Charles van Canneyt had to buy smaller tanks for the miniscule yields, but the tiny tanks therefore fermented more quickly and he was careful to keep maceration short to avoid risking over-extraction. Similarly, Olivier Bernstein was keen to keep the fermentation short, with a five-day cold soak to extract colour and aromatics, then just 13 additional days on skins before the must was pressed – the fermentation finishing off the skins. 
By contrast, Fourrier opted for more extraction to get everything possible from the fruit. Guillaume Boillot echoed this view, with an additional week of skin contact. He used just pumping over rather than punching down to focus on fruit and aromatics rather than tannin; but at Faiveley, Erwan used more punching down than pumping over. 
Some producers highlighted that the grapes had high levels of malic acid (which has been notably low in recent, solar vintages), meaning that malolactic fermentation had a significant impact on the wines. Both Benoît Stehly and Charles van Canneyt noted how they were verging on severe at first, but after malolactic were open and fruity – totally changing in style. On paper, the pH is quite high for some wines (up to 3.7) – yet there is plenty of freshness, the lighter body and lower alcohol (mostly 13-13.5%) perhaps balancing it out.  
For élevage, some winemakers feel the wines need longer or shorter élevage, or different types of oak, with more or less new or different toasting. Nicolas Potel at Domaine and Maison Roche de Bellene feels that the crunchy character of the Pinot Noir will only be enhanced by a longer maturation in barrel (planning for 24 months versus the normal 12). Boillot opted for no new oak (as for his whites), feeling it would mark the fruit too much; while Maxime Cheurlin used less new oak but higher toast levels to add further complexity – and plans to bottle the wines earlier.  For Domaine Joblot, they felt that more new oak helped round out the lighter wines, using 50% new. At Domaine des Lambrays, Jacques Devauges favoured a slow, gentle toast – a "chauffe blonde" that gives the scent of freshly baked bread. Indeed, Devauges feels the wines have been improving significantly in barrel, offering more concentration and aromatics with each month that passes – something that reminds him of the 2010 vintage. 




Frédéric Weber at Bouchard describes 2021 as “charming”, comparing the wines to those of 2017, with good terroir definition and balance at 13-13.5% – more in line with what used to be “normal” for the region.  Thibault Gagey at Jadot pointed to 2004, 2013 or 2017 as possible similar vintages, but finds it hard to compare – it’s old school but approachable. Marion Raphet added 2014 into the mix, and although the wines are incredibly open now, wonders if they might shut down in bottle. For her, however, it is a year where, “On retrouve la typicité” (they rediscovered Burgundy’s typicity). The team at Tortochot pointed to 2011 or 2001, while Erwan Faiveley looked to 2007 and Florence Heresztyn noted the growing season was reminiscent of 2016.  
Maxime Chuerlin looks further back, feeling it has a similar equilibrium, colour and density to the outstanding 1991 vintage – in no doubt that the balance of the wines will allow them to age. While it’s easy to assume that these paler Burgundies might not be the longest-lived, almost every producer anticipates that 2021 will surprise everyone with its ageability – especially for the top wines. 
Almost every single grower we spoke to used a different approach for the 2021 vintage – but almost all have succeeded, producing vibrant, open and pretty Pinot Noir. It is a year in which careful vignerons could craft exceptional wines that were both light-bodied, yet persistent – with a purity and intensity that is surprising, along with captivating aromatics. As Nicole Lamarche said, “You can have both lightness and concentration.” It is, overall, a year that has surpassed expectations – one that was transformed by producers’ dedication, work in the vineyard, and modern technology and know-how in the winery.
 BURGUNDY 2021 IN BRIEF An extremely challenging growing season, with April frost and high disease pressure over the summer Yields were drastically reduced by between 50 and 80%  The whites are superb – concentrated, high-acid with minerality and cooler fruit tones The reds are a little more varied, but the best are elegant, charming, pale and light-bodied – yet with impressive intensity and freshness A handful of wines are a little dilute or lean, but all the best vignerons crafted superb wines Alcohol levels are more traditional for the region, mostly between 12 and 13%, with little above 13.5% The best wines of both colours will age well, but the reds in particular will be approachable in their youth Producers used different approaches to handle the year’s challenges The most common vintage comparisons are to 2014 and 2017, but include a wide range of other years 

Over two separate trips, our team delved into the 2021 vintage – visiting, tasting with and talking to a wide range of producers up and down the Côte d’Or. The vintage was complicated – but Burgundy’s vignerons have crafted some exceptional wines. We dig into everything you need to know

Everything you need to know about Burgundy 2021: our report on the growing season, how the region’s best winemakers handled it and what the wines are like

Burgundy 2021 full vintage report

Burgundy 2021: a wine-grower’s vintage

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