Drink my Champagne, said the Hologram

Champagne brands really understand that the difference between one wine and another isn't so much about what is in the bottle or glass, as it is about the story that we build around that experience.

 Seeing James Bond drinking Dom Perignon* doesn't mean the wine will taste better, but it does mean that we get a vague sense of doing something daring and decadent when we see the familiar shield-shaped label emerging from the ice bucket.

Dom Perignon Vintage 2003

There was much more than a touch of James Bond about the simultaneous release of Dom Perignon's latest vintage declaration in London, Hong Kong, Tokyo, New York and Paris (though I suspect James would be disappointed Moscow was not on the list). 

The winery organised identikit launches in galleries in each city, carefully staging each with the same wooden table, large screen, twitter-stream, vast black & white photos of the vineyards, dozens of monitors showing carefully crafted photos and videos of the Abbaye d'Hautvillers, and in one corner a glass pyramid with revolving holographic logos.

Impressive.

But what were we here to experience?

Questions ... and Answers

A small cast of carefully chosen "friends", mostly wine journalists and influencers, were assembled in each city to taste the latest vintage to be released, the 2003.

Oh yes, my dear reader (and, obviously, consumer of Dom Perignon). I said 2003! What a surprise, heh? I bet you knew about the April frosts and thought "they'd never have enough grapes left to declare a vintage in that year", but we were all surprised. Oh yes! Then you might have thought back to the summer heat and thought, "but the over-ripeness, how could they .... ?" but again, with careful picking and crafting in the winery they have been able to make a wine that Richard Geoffroy, Chef de Cave describes thus:

“Intensity is the signature and memory of the 2003 Vintage. The intensity is unique and paradoxical, hovering between austerity and generosity.”

Unlike most of the assembled friends, I did not know anything of the above, did not have a preconceived idea of a "typical Dom Perignon", and will readily admit that this is probably the first time I have ever drunk more than a sip of Dom Perignon of ANY vintage. I know nothing about the vintages, and struggled even to make sense of the tasting notes being presented for this wine.

I wasn't here to learn about vintage differences between Dom Perignon or to compare 2003 with 1976. I was here to be impressed by the brand story. The ancient lineage of the name, traced back to one of the key personalities that "created" Champagne. To witness what a winery can do when it controls fiercely how it communicates its own message.

The most impressive part was the sudden appearance IN the glass pyramid of Richard Geoffroy himself, in holographic form, to tell us his message about the 2003 vintage. I must admit I was almost too entranced by the technology to hear the details of the winemaking, but the effect was mesmerising.

I come to you from a galaxy far, far away

James Bond would probably have managed a clever quip at this stage, I managed to dredge up half a quote from Star Wars instead - "Help me Obe Wan Kenobe, you're my only hope". It would have to do. 

Certainly, the idea that "we are a global brand, we can reach you wherever you may be, we have the technology, the money, the influence, the organisation and the commitment to make it happen" came across loud and clear. Many of Mr Bond's well funded adversaries would have been hard pressed to be more imposing.

Yet, you can't knock them for taking the reigns and making sure that they were telling their own story. Yes, the assembled "friends" are even now typing furiously to spread the news (is it news?) of the release to drinkers around the world, but this is a story carefully crafted before release, like the wine. If more wineries took control of their message, and knew what made them unique, then points and price-points wouldn't be the main drivers for consumers.

Of course, I do not expect a thousand wineries to rush out and buy a holographic projector, but if they could even decide what they would say if they were to project themselves into it, that would be a start.

Thank you to Dom Perignon and everyone who works for them for putting on the event and for inviting me. I look forward to seeing what further innovations you come up with to tell your story. I particularly await the full-size holographic presentation by Dom Pierre Perignon himself at the next event.

* yes, I remember the old days** before he switched to Bollinger
** yes, I'm geeky enough to know these sort of details about James Bond

It is not Natural to argue over Authentic Wine

Last week I was lucky to be invited to an "authentic" wine event to celebrate the launch of 'Authentic Wine: toward natural and sustainable winemaking' by Dr. Jamie Goode and Sam Harrop MW at the always interesting Artisan & Vine on St. John's Hill..

Anne Krebiehl, in her post about the event on Harpers, neatly summed up Jamie Goode's introduction about the book:

As people started sniffing and swirling, Goode was the first to speak: “Natural wine polarises people,” he explained, “so we came up with a concept of authentic wine.”  For the authors, so Goode, authenticity in wine meant five things:  adding as little as possible, having a sense of place, being fault free, being harvested at the right time (i.e. avoiding overripeness), and most importantly of all, being sustainable.  Admitting that they had “opened a can of worms” they thought that this definition was more inclusive than the term “natural wine,” which Goode said “has been one of the most exciting movements.”  He exclaimed that their book was really “a terroir manifesto.”
 

 

IMG_2179

This was a top-end wine trade event, with a clutch of Masters of Wine, national wine journalists, major retailers, trade press and to the organisers' credit, some bloggers and interested wine consumers too.

The idea was to use the opportunity to bring the book's theme of 'authentic' wine to life by organising a head-to-head blind tasting of wines from two sides of the debate (with some lovely food provided by Kathryn O'Mara of Artisan & Vine, of course). The wines were put forward by David Gleave MW of Liberty Wines and Doug Wregg of Les Caves de Pyrène and then discussed by those present (wines listed at the end).

I have to admit that I have not yet finished reading the book (sent to me as a journalist's preview copy - thanks guys!), so I will leave the full review for another post, but I have to say that although I enjoyed the tasting, the event, the food and the company, I am not sure the format achieved the goal set.

Firstly, I believe that a blind tasting for "the trade" is the wrong way to present 'natural' wines to those not already convinced by the idea. The concept of blind tasting is to analyse & interpret wines based on your existing wine knowledge and experience (but not preconceptions). If the wines have been made in a way that challenges that knowledge and experience, then they will appear wrong, odd and at the very least unrecognisable. It is like presenting a musical piece by Schoenberg to someone brought up on "classical music" - no matter the internal logic of the modern piece, it just doesn't "fit" for most people.

If you are also comparing them alongside more traditional wines, these are almost certain to be preferred (at least by those not already converted).

Is this not an own goal?

Secondly, as I understand it, the book is not supposed to be about challenge between the 'natural' producers and the best of the traditional winemakers. Quite the contrary. We should have been contrasting the average winemaker with some more authentic producers to show that, with a greater understanding of the winemaking processes, and little difference in terms of cost, effort or risk, they could produce better, more unique and more rewarding wines.

I see the value in this book not in offering science as an alternative to the more fundamentalist, philosophical approach of the natural wine, or low intervention, movements. I believe that the greatest benefit is that it can be a self-help handbook for wineries, and more importantly regions, who need a guide for establishing a commercially viable, unique and sustainable personality.

Authenticity is not something simply lacking in individual wines, but in the industry as a whole - marketing, communications, appellation systems and retail.

What is a "Natural Wine" is currently a hot topic, so it is understandable that this element of the discussion becomes the focus, however making it the subject of the challenge does the book a bit of a disservice.

If nothing else, this evening helped to put this in sharper focus for me, and I shall complete my reading of the book with this in mind.

Wines on the night (adapted from Jamie Goode's list)

Whites

Les Vignes Herbel La Pointe Vignes Vieilles de 1920 Chenin Blanc 2008 VDT (Anjou, Loire) - Favourite White

Pieropan Soave Classico ‘Calvarino’ 2009 Italy

Cullen Mangan Vineyard Sauvignon Blanc/Semillon 2010 Margaret River, Australia

Jean-François Ganevat Chardonnay ‘Grusse en Billat’ 2008 Jura, France

Reds

 

Julien Guillot Manganite Macon Cruzille Clos des Vignes de Maynes 2009 Burgundy

Greenstone Vineyard Heathcote Shiraz  2009 Victoria, Australia

Dard et Ribo St Joseph ‘Pitrou’ 2009 Northern Rhone

Fontodi Flaccianello 2007 Tuscany - Favourite Red

The unique wine culture of Georgia

You'd think that as a "knife in the sock" kind of person myself, I'd be less surprised by the dagger-wielding characters I came across last night, but I can't say it was any easier.

Happily for me, no daggers were drawn, and apparently the dozen or so men dressed in impressive grey jackets, with what appeared to be a cross between shotgun ammo belts and cigar holders sewn on, and long daggers in their belts, were actually there to sing not as bodyguards for the Georgian Ambassador.

(Photo by Levan Kipiani)

The event, which took place in Little Georgia, a restaurant dedicated to the food, wine and culture of the Republic of Georgia, was to promote a tourism project. Fortunately for me, it included a tasting of seven Georgian wines selected by Georgia's number 1 wine cheerleader, Isabelle Legeron MW.

Isabelle is the self-styled "kvevri girl", ... one of the many reasons she is known as "That Crazy French Woman."

Kvevri, otherwise referred to as Amphorae, are clay pots that usually only turn up in museums of ancient mediterranean trade. In Georgia, however, (and a very few other places) they are still in use as unusual and idiosyncratic vessels for fermenting and ageing wine.

http://www.lifebeyondtourism.org/photoblog/2009/12/our-bloggers/country/georg...

Now, this is important because the unique wines on show would probably be referred to as "Natural Wines" and be associated with a very recent, modern movement. That would be wrong, because in fact they represent hundreds of years of traditional winemaking in one of the very oldest winemaking areas of the world. Georgia.

Other writers more knowledgable about the country than me can better describe the reasons for this but here are my notes and my thoughts that hopefully will encourage you to click on some of the linke at the bottom of this post.

Sometimes you just want Disney, but other times you NEED Salvador Dali.

So, why bother with 'kvevri', Georgia and all these unpronounceable grapes anyway?

Because the world does NOT need another producer of Pinot Grigio, Sauvignon Blanc, Shiraz and Cabernet Sauvignon. There are already SEAS of this stuff that recognised countries and producers struggle to sell, why add to it?

Georgia seems to be offering something unique. It may not be to everyone's taste, but that's great. It has its own voice and says something different about the person drinking it.

Sometimes you just want Disney, but other times you NEED Salvador Dali.

The unique methods and characters of these wines says something about Georgia and nowhere else. The grape varieties emerged here pretty much before anywhere else, and certainly before the did in "classic" regions in France and Italy, etc.

The production is about historic traditions, Georgian cultural beliefs including nature and religion, and very contemporary interests in sustainability and respect for nature. At the same time, these are young wineries not used to the concept of creating products to export around the world, so they are treading new ground as brave adventurers in need of support and patience because we have no idea what new wonders they may discover on their way.

So here are my notes; follow the links for the background information where it is available. As a brief overview, it is fair to say that the whites were a lot more impressive than the reds:

1. Chardakhi 2009
produced by Iago in Kartli,
Note: Honeyed notes on nose with wild flower. Reminds me of a good Chenin. More honey complexity in the mouth with green tea. Lots of great acidity, but surprising tannin also - an unusual combo, but fitting for the tea. Clean finish .. with tannin.
(Tasted on November 8, 2011)

2. Antadze Winery Mtsvane 2009
produced by Nika Antadze in Kakheti,
Note: Golden, amber colour, definitely oxidative. Orange peel on the nose, slightly nutty but not spirity. Mouth is drying from obvious tannins, with a not unpleasant woody, funky orange and hazlenut character. A complex wine, but pleasant as well as unusual
(Tasted on November 8, 2011)

3. Aleksi Tsikhelashvili Rkatsiteli 2010
produced by Aleksi Tsikhelashvili in Kakheti,
Note: Literally brown, oxidised in colour. The nose is like sniffing the contents of a Christmas mince pie - sweet, rich, raisiny, spicy, spirity and inviting. The taste is surprisingly crunchy. Amazing tannin levels, but in the context not so odd. A very unusual wine, but inviting and rewarding.
(Tasted on November 8, 2011)

4. Our Wine, Rkatsiteli 2006
produced by Our Wine in Kakheti,
Note: Golden brown colour, oxidative. Wet clay on the nose, along with saw dust, and something almost rubbery. If I have not put you off, READ ON! Quite bright acidity, a decent amount of alcohol which rounds out the taste which is warm, rich, nutty, with dusty tannins but yet still fresh and bright on the finish (but with a shovelful of tannins). TRY THIS!
(Tasted on November 8, 2011)

5. Pheasant's Tears, Shavkapito 2010
produced by Pheasant'sTears in Kartli,
Note: Bright garnet colour. Nose is slightly green with some stalky, inky notes. Reminds me of Cot. Light fruit palate, chalky tannins, but an unbalance. There's a hole in the palate where the fruit should be, and tannins and acidity rather overwhelm this wine. Not convinced
(Tasted on November 8, 2011)

6. Nika Bakhia, Saperavi 2009
produced by Nika Bakhia in Kakheti,
Note: Dark, intense purple colour. Funky nose. Is it red meat? Something smoky! Also slightly reductive. Reminds me of Rondo (#nothelpful) as a cool climate red that goes for colour over fruit. The delicate purple fruit is accompanied by some inky, young and tannic characters of an under-ripe grape. The tannins leave a sort of lime-mix coating in the mouth. Need more ripeness I think.
(Tasted on November 8, 2011)

7. Lagvinari, Saperavi 2009
produced by Lagvinari in Kakheti,
Note: Massively over-ripe fruit on the nose. Porty notes without the spirit; oxidised marachino cherry. Warning. Totally OTT in the mouth from alcohol and acidity. This is like a very weird Ruby Port, with unbalanced tannins and lack of spirit freshness. Overripe fruit ruined this. Not pleasant.
(Tasted on November 8, 2011)

 

For more information:

A great post from Alice Feiring

A recent trip by Dianne Letulle and Luiz Alberto

Some older notes from Jamie Goode

A (not very recent) visit by Tom Cannavan

(need to get more up to date information, obviously)

Thinking of Franciacorta

In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, ... - Antoine de Saint Exupéry

I have been impressed by the sparkling wines of Franciacorta in Italy. SO many of the wines I have tried have been interesting to drink - quite a feat for any wine region.

If there is a flaw in the current nature of Franciacorta, I would argue that it is "over-designed" and producers pay a little too much attention to measuring themselves against others' yardsticks and not clearly on creating a unique wine that will reach wine lovers all over the world.

Franciacorta is a very small region, and it produces barely enough to satisfy the local (northern) Italian thirst for its wines. No wonder the rest of us have not heard about it, or can't get hold of any. However, as their guests at the recent EWBC it made me look carefully at their wines, and what you (the wine-loving readers) might want to know about them.

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