Walking into the cooperage at Ch. Smith Haut Lafitte is like stepping back in time, filled with the smell of seasoned wood, an open fire and the same tools that barrel-makers have used for centuries. Few estates have the luxury of an in-house cooper. While producers inevitably work closely with the tonnelleries (barrel-making firms, such as François Frères, Stockinger and more), having an artisan on-site, working alongside the winemaking team to craft casks exclusively for your specific terroir is different. “It’s very important for the precision of the wine,” explains Cellar Master Yann Laudeho.  Florence and Daniel Cathiard, owners of the Pessac-Léognan estate, built a cooperage on-site almost 30 years ago, in 1995, and their current cooper, Yann Dez, has been working here since 2021. The Bordeaux native’s father was a metal worker, and Dez fell into the world of barrel-making entirely by accident – having a friend who was a tonnelier, and a job opening at an opportune moment. Before he knew it, Dez had learnt the trade from some of the best coopers in the country (including one who now makes the barrels at Ch. Margaux), and spending 15 years working under Didier Fesil. Fesil was the Cathiard family’s first cooper back in 1995, who went on to create his own small tonnellerie (Tonnellerie Bordelaise), and has been named the nation’s best “Master Cooper” – twice. Indeed, Fesil is still very involved with the estate, helping choose the wood for barrels and advising on all things oak; and it was Fesil who put Dez forward for the role at Smith Haut Lafitte.  “There are no books,” Dez says, when I ask about the art of barrel-making. “It’s passed on from tonnelier to tonnelier." The first evidence of coopering as a trade dates back to 900BC – with the craft passed down the generations ever since. “I continue the tradition,” Dez says, clearly with a sense of pride in this ancient, artisanal skill. But with the dust, noise and physical labour involved, tonnellerie schools, Dez tells me, are struggling to recruit young people. It’s common for coopers to have issues with their shoulders and ears (from the non-stop hammering) – and Dez himself has broken an elbow.  In theory, the process can be mechanised – but Dez is clear on how important it is to work by hand, and not just to preserve this ancient art. “I hear the nose, I feel the resistance,” he says. Each barrel, he explains, is different – with a slightly different number of staves and slightly different shape, all adapted according to the wood he’s working with. Selecting the right wood is key – “reading” it, he explains, looking at the grain to see where potential weaknesses are, understanding where will take the most pressure and placing each stave accordingly, ensuring not a drop can seep from the finished barrel. “It’s a job that is both physical, and at the same time requires thinking,” says Dez – and this combination is much of its allure for him.  Hearing the way Dez talks about barrels is fascinating; for him, they each have a unique personality. When I ask Dez how he knows he’s made a really good barrel, he shrugs: “On le sent.” (“You feel it.”) As you toast a barrel, he tells me, the scent of the smoke changes, releasing different aromas – something I smell as he works in front of me. Knowing when it’s spent the perfect amount of time over the fire is the secret – and it’s about more than just the smell, it’s a gut instinct that he can’t quite explain.  Smith Haut Lafitte sources oak from a range of forests, and are always trialling wood from different forests, toasts and doing blind tastings, although – after over 25 years – they know what works for their wine, and terroir. Cellar Master Laudeho explains that, for him, Tronçais and Jupilles are the best – “diamonds” that flawlessly complement their site. And that balance is key; the wood works for the wine, not the other way around.  It seems like a lonely job, I comment, hammering away in his tower – but it’s not something that bothers him. “I’m a bit of a perfectionist,” he tells me. Having only himself to depend on, and knowing that he can ensure each barrel meets his exacting standards, suits him. Indeed, he doesn’t even settle for standard tools – making most himself, custom-designed to suit the way he works. He talks me through a specific hammer that he made, and how it allows him to work better and more precisely, the wooden handle almost silken from the hours of use, shaped to his hand.   The lone electronic technology to have earned a place here are noise-cancelling headphones and a Marshall speaker. He’s a musician in his spare time, and an additional perk of working alone is that he gets to spend all day listening to music. “All the barrels I’ve made,” he says, “are made with music.” He avoids anything too modern or electronic, favouring old jazz, with some reggae, ska jazz and funk in the mix, depending on the day. While he doesn’t feel the music he listens to influences his coopering, he suspects his mood does – and music is a big part of that.  Woodwork is much more than a job for Dez. I spy a beautiful chest alongside his speaker, and it’s one that he made. He has a workshop at home too, spending his free time making everything from guitar stands and toys to chandeliers – anything, he says, that isn’t straight, and therefore can’t really be done by a machine.  It’s amazing watching him work – in the same way as coopers have for centuries – with a natural intuition, ease and precision. There’s definitely something musical to it, a craft that has its own rhythm. He makes around 300 barrels a year, and they may not be soloists – but each one contributes their own note to that year’s symphony.  Explore all current listings of Ch. Smith Haut Lafitte or read more about Bordeaux 

Wooden barrels line most of the finest wine cellars around the world – and many are made by hand. Continuing our series taking you behind the scenes in Bordeaux, we ducked into the cooperage at Smith Haut Lafitte to find out more about this special craft

We visited Pessac-Leognan’s Smith Haut Lafitte to talk to the wine estate’s master cooper, Yann Dez – and find out all about the art of barrel-making

Meeting Smith Haut Lafitte’s Master Cooper

Working to the beat: Smith Haut Lafitte’s Master Cooper

In recent years, Chablis has faced hot, dry summers that have challenged the classic, cool, steely, linear-styled Chardonnay for which it’s renowned. But 2021 bucked the trend, with moderate temperatures and plenty of wet weather. The crop was small, but the best wines have laser-like acidity, refreshing mineral salinity and delicate floral tones.  Following an extremely warm start to the growing season (with almost summer-like 25˚C temperatures in March), budburst was two weeks earlier than normal. A warm early spring, as is more and more commonplace in Chablis’s warming climate, put viticulturalists on high alert. With early budding shoots, frost was a major concern, and it wasn’t long before their worst fears were realised.  For 10 days straight in early April, temperatures at night dropped well below freezing. Thanks to a mass of cold air coming down from Northern Europe, temperatures were consistently dropping as low as -8˚C. The real devastation happened on the nights of 6th and 7th April – where rainfall just prior to dusk increased humidity levels, allowing moisture to get inside the buds. The water droplets froze, expanding and effectively exploding the buds, totally destroying them. At such low temperatures, smudge pots and wind turbines can do little to protect the vines. Between 80 and 90% of Chablis’s first buds were destroyed. Vignerons therefore had to rely on secondary and tertiary buds if they were to produce any wine this year. But producers already knew production would be decimated, since these secondary shoots produce far fewer bunches – typically just a bunch per vine. Barely had the season started and the vignerons were looking at losses of up to 80%. While the rest of April and May were a quiet time in the vineyards, it was the calm before the storm. Lots of rain and a significant increase in temperature in June saw the canopy expand rapidly. These storms meant vignerons had to be quick to fight the onset of mildew – not so easily managed with so much rain, particularly for organic growers who have to spray the vines after every episode if they were to sufficiently protect them. The stormy wet weather continued into July and it was viticulturally challenging to keep the vines in a good state. With the wet weather, it was difficult to get tractors into the vineyards to spray; organic producers were further limited by restrictions on copper applications. August was drier, but – like June and July – remained cold and the grapes only started to go through véraison (changing colour, representing the shift of the vine’s energy to ripening fruit rather than growing leaves and shoots) at the beginning of September. Even then, the ripening of the grapes was very heterogeneous and under-ripeness was starting to be a concern. As a potential harvest date grew near, another storm arrived, with substantial rainfall on the 17th, 18th and 19th September. Vignerons were forced to gamble, holding off picking until after the storm, despite the substantial threat of botrytis; or to pick before and risk under-ripeness. Most opted for the former, having to wait a few days for the dilution of the grapes that followed the rainstorms to pass before harvesting. It was then a race to get the grapes in before the onset of botrytis. Most started to pick from 20th September onwards. Vignerons had to identify which vineyards were most at risk and quickly get that fruit in before tackling other sites. Typically, the Grands Crus and Premiers Crus – with their elevation and aeration – were less affected, but no site was without risk. With such heterogeneous ripening, and the risk of both botrytis and under-ripeness, sorting was essential to produce quality wine in 2021. Any botrytis would make the must prone to oxidation and darken the colour, but most notably diminish the purity and minerality that defines Chablis. Hand-picking, protecting the fruit in small baskets and whole-bunch pressing the grapes were all key to preserving quality. The style of the vintage is defined by its relative coolness. The wines are taut, with powerful, energising acidity, putting the wines alongside 2011, 2012 and 2014. They aren’t as full as those of 2014 and 2012, yet have similarly vibrant acidity levels. Unlike the recent warm vintages of 2018, 2019 and 2020; 2021 is not a fruit-driven vintage, but more floral (white flower), herbal (a charming herbaceousness) matched by powerful energy from the acidity. With the cool conditions, warmer Premier and Grand Cru vineyards tended to fare better, with producers suggesting that Les Clos performed particularly well. The sunny site has naturally lower acidity, a rounder texture and huge natural density, playing to the leaner, acid-driven style of the vintage. Vignerons’ work in the cellar will also play more of a role in the finished wines. Domaine Long-Depaquit, for example, extended the lees contact and carried out more bâtonnage to create more body in the wine, helping better integrate the high acidities. With yields decimated by as much as 80%, only tiny volumes will be available, and the wines will prove particularly difficult to find after their initial release. Although the vintage was by no means easy, the best wines are classically styled with a backbone of vibrant acidity – offering a distinct change to the solar 2018s, 2019s and 2020s. Huge thanks as ever to Matthieu Mangenot of Domain Long-Depaquit for his detailed insight on the vintage. Discover all current Chablis listings or read more Editorial 

The 2021 vintage was difficult everywhere in France, with viticulturalists facing challenging weather throughout the season – but perhaps nowhere was hit quite as hard as Chablis. But the region’s winemakers are no stranger to adversity. Gavin Smith digs into the vintage

Find out everything you need to know about Chablis 2021 – a challenging vintage that produced a small crop of steely and classic Chardonnay

Chablis 2021 vintage report

Chablis 2021: a steely year for the region

The sheer number of distinctive styles of wine that emanate from France never fails to amaze. From the full-bodied, sumptuous Cabernets and Merlots of Bordeaux to the ethereal Pinot Noirs of Burgundy; from the mineral whites of the Loire to the aromatic spectrum of Alsace – everywhere you look there is variety. The Jura, situated in the remote central-eastern frontiers of France (bordering Switzerland) is another completely unique and distinctive French winemaking region – one which, perhaps because of its limited size and isolation, is not quite so universally known. But in recent years the region has grown in prominence and is now a real point of interest for collectors today – most notably for the quality of its white wines. Chardonnay and the native late-ripening white grape Savagnin produce wines that rival top Burgundy and, in many cases, offer better value. But it hasn’t been an easy road to recognition for the region. Following the phylloxera outbreak in the late 19th century, the Jura was on the brink of being wiped out altogether. Historically, it was a significant wine-producing region – 10 times bigger than it is today. But, in terms of size, it never recovered. Many of the vineyards were grubbed up, becoming farmland pastures; what remained amounts to just 2,000 hectares (a mere 10% of its original size). The leftfield oxidative style of the region’s wines also meant that as France’s wine exports grew, the Jura remained largely unnoticed. Traditionally, the region’s uniqueness came from the oxidative style of its white wines – the most famous, distinct and extreme of which is vin jaune. This white wine is made from Savagnin that is aged in barrels for over six years. During this time, the wine evaporates, allowing for oxygen ingress and a yeast film to form on top of the wine – protecting it from oxidation and at the same time strongly influencing the flavour. The process and effect is not dissimilar to Fino or Manzanilla Sherry, but the ageing is typically longer and the wine is neither fortified or blended – remaining single vintage. This style is distinct and, at its best, produces wines of outstanding complexity and fantastic ageing potential, but its intense flavours were never going to create mass appeal. Over the last 25 years or so, the younger generation of winemakers in the Jura have started to move away from only producing this oxidative style, influenced by their neighbours in Burgundy – whose vineyards are not dissimilar. The Jura – just 100km directly east of the Côte d’Or – shares similar soils of clay and Jurassic limestone and has the same continental climate, as well as growing both Chardonnay and Pinot Noir. In fact, many of the Jura’s younger vignerons cut their teeth making wine in Burgundy. Returning to their family domaines, they were more interested in producing wines styled on those of the Côte d’Or, focused on expressing site, rather than the region’s traditional style, dominated by oxidative characters and the influence of yeast. Young producers such as Jean-François Ganevat and Stéphane Tissot started to top their barrels, producing less oxidative, “ouillé” cuvées. This switch in style is arguably the most important recent development in the Jura. As these modern styles grew in popularity, the region started to attract a wider audience of fine wine drinkers.  Despite the similarities to Burgundy, the Chardonnay (sometimes blended with Savagnin) produced in the Jura brings its own elevated tautness and mouth-watering salinity and has acid-loving Chardonnay fans drooling. Burgundy producers themselves have even started to buy up land in the Jura; most famously Domaine Marquis d’Angerville set up Domaine du Pélican in 2012. Supposedly Guillaume d’Angerville was served a Chardonnay blind at Paris’s Taillevent restaurant and was convinced it was a top bottling of Burgundy. When he discovered it was from the Jura, he soon started exploring the region and before long had bought vineyards there. Fatter and richer in texture than Chablis, but more laser-like than the Côte d’Or – Jura whites have found a niche. What’s more, the vignerons’ knowledge of producing oxidative wines has given them the freedom to experiment with both reductive and oxidative characters (without going to the extremes of vin jaune), producing truly original wines. It is another distinct trait of the region that brings a lot of freedom to the winemaking and a lot of variety – even from just one producer. The Jura’s rise to prominence is also due to its association with low-intervention or natural wine – most notably the influence of Domaine Pierre Overnoy, based in the Jura hamlet of Pupillin. Overnoy is seen by many as the godfather of the natural wine movement – and his wines are today some of the most fiercely collected. The fanfare around this remarkable producer has been hugely influential on other producers in the region, at the same time raising the reputation of the region to an ever-widening audience. Other in-demand stars of Jura, who to one degree or another are classed as low-intervention producers and who make ouillé wines (though not exclusively) include Jean-François Ganevat and Stéphane Tissot. The difficulty today, at a time when Jura wines have never been more popular, is volume. Of all the regions in Europe, few have been hit as hard by spring frosts than the Jura. Successive vintages back to 2015 have seen production slashed. With rising demand, perhaps it’s time for the Jura appellation to expand once again and seek out sites that are less susceptible to frost. Domaine Pierre Overnoy aside, the top wines of Jura, for now, remain brilliant value – another reason fans of Burgundy are looking further afield. The white wine styles of the Jura Ouillé: Also described as modern or floral. In any other region, this is typically the “normal” style of any dry wine – in that the wine has no overt oxidative character. While traditionally barrels in the Jura might not have been topped up, allowing oxygen to influence the wine, for ouillé wines they are topped up to protect them from this. Sous voile: Also described as traditional or oxidative, these are the more traditional style of white wines from the region. Literally meaning “under the veil”, the wines are biologically aged with a film of yeast – like Manzanilla or Fino Sherry. Following fermentation, the wines are extensively aged in oak barrels that are not fully topped up. This encourages a film of yeast to form on the top of the wines, protecting them from oxidation and introducing yeast-influenced flavours. Depending on the winemaker, wines can be aged for one to 10 or more years using this method. The longer the wines are aged in barrel, the more oxidative flavours dominate the wine. Vin jaune is the most famous wine made in this style (see below). Vin jaune: A specific style of sous voile, with an official classification and made only with Savagnin. The wines have to spend over six years under flor before being bottled. Rich and complex, the most famous vin jaune is Château-Chalon. Vin jaune is also always bottled in a distinctive, squat 62cl clavelin bottle.

Macvin: This fortified Vin Doux Naturel is produced only in the Jura. It is made from the must of Savagnin which is then boiled – concentrating the must. It is then fortified with brandy to around 16% alcohol. Strictly this is not a wine since there is no fermentation process. Once fortified it is then aged for six years in oak. Vin de Paille: While not a style unique to Jura, it remains an important style of the region and with quite distinct rules under the appellation. Grapes (usually Chardonnay and Savagnin, and sometimes the red grape Poulsard and Trousseau) are typically picked early to retain acidity and then dried, concentrating the sugars. The wine is then fermented and must reach 14% alcohol. Depending on the grapes’ concentration, the residual sugar of the wine can vary from 60-130g/litre. The wine must be aged for a minimum three years (which includes 18 months in oak). The wines can be made in a fresh or oxidative style depending on the producer’s preference. The wines are always sold in half-bottles. Recommended wine producers in the Jura Domaine Pierre Overnoy: Since he was a boy, Pierre Overnoy was taught how to make wine by his father using traditional methods and without sulphur dioxide. Despite studying modern winemaking in Burgundy during the mid-1970s, he was disappointed by the results. Returning back to the Jura, he adapted his father’s traditional approach to produce wines to his liking – as well as making wines in a fresher non-oxidative style. In 1984, Overnoy stopped using sulphur during fermentation but continued to use a little at bottling. By 1986, he had stopped using SO2 at all. He has been hugely influential in the natural wine movement. In 2001, Pierre Overnoy retired at the age of 63, handing it over to his protégé Emmanuel Houillon, who worked alongside Overnoy from the age of 14. Overnoy’s almost evangelical following, along with miniscule levels of production, have made the wines highly sought-after. The release dates of the wines are not set, only released when Houillon deems them ready to drink, making it sometimes challenging for collectors. Houillon even bottles the same vintage of a wine at different dates – and only began to note bottling dates on the wine labels from 2018. Domaine Jean-François Ganevat: Ganevat is the 14th generation of his family to make wine in the Jura, with the family estate founded in 1650. Before joining the family estate in 1998, he worked with Jean-Marc Morey in Chassagne-Montrachet. Although the estate has just 8.5 hectares under vine, the domaine grows 45 different varieties – many of which are ancient, native varieties to the Jura, including two distinct red varieties Poulsard and Trousseau which are the most planted in the region along with Pinot Noir. His best wines however are his ouillé Savagnin and Chardonnay that can be outstanding. Benedicte & Stéphane Tissot: This is one of the largest and most important estates in the Jura today. Although the domaine name is officially still Domaine André & Mireille Tissot (named after Stéphane’s parents) the bottlings are labelled Benedicte & Stéphane Tissot. The domaine has 50 hectares under vine in both the Arbois appellation (where the winery is based) as well as the Côtes du Jura and Château-Chalon appellations. There is plenty of experimentation going on with the estate producing a wide array of cuvées from the traditional flor-aged Savagnin bottlings of place-designated vin jaunes of Château Chalon, La Vasée and Bruyères to their more modern ouillé single-vineyard Chardonnays. Tissot also produces a rosé made from a rare Chardonnay clone that has a natural pink tinge. Of the top cuvées, their single-vineyard Chardonnays from the Clos de la Tour de Curon, La Mailloche, Les Graviers and Les Bruyères vineyards are the most sought out. 
 Other top Jura producers to look out for: Domaine Rijckaert, Domaine Dugois, Domaine Pignier, Domaine Montbourgeau, Domaine de la Tournelle, Domaine Labet, Domaine des Miroirs, Domaine du Pélican, Domaine de la Touraize Browse all Jura listings or read more Editorial

With names like Overnoy, Ganevat and Tissot making it a must for collectors, the Jura's cool slopes are producing Chardonnay and Savagnin to rival Burgundy. Here’s everything you need to know about the region's whites – from the styles made to the producers to watch out for

Everything you need to know about the Jura wine region, its signature grapes Savagnin, Chardonnay and their styles Vin de Paille, Vin Jaune and Ouillé

A guide to the white wines of Jura

Your guide to the white wines of the Jura

THE LEFT BANK Overall looking at the regional numbers, yields were less impacted on the Left Bank – with Margaux, Saint-Julien and Pauillac producing fractionally more than in 2020, although significantly less wine (-38%) was made in Pessac-Léognan. When you dive into individual estates, the numbers are much more varied – with many down by as much as 50% in each commune. In the Médoc in 2021, Cabernet Sauvignon reigned supreme – with Merlot suffering from coulure (poor fruit-set) and being more susceptible to mildew. As a result, some of the blends are atypically Cabernet-dominant. From our tastings, quality seemed more varied on the Left Bank, especially when it came to second wines – however there are still some exceptional wines. Saint-Estèphe This northern commune escaped the impact of April’s frosts, as it always does – so mildew was the main threat to yields. In general, however, producers fared well, often producing a little more than in 2020. Properties with gravel over clay subsoils – such as Tronquoy-Lalande – thrived, as the free-draining soils that were problematic in 2020’s dry conditions helped provide water stress in 2021, something that aided ripening. At Calon-Ségur, they removed leaves from the vines on both sides, opening up the canopy in the spring to expose the fruit to what little sun there was – something that helped significantly. The key here, as throughout Bordeaux, was to be in the vineyards battling the mildew. At Tronquoy-Lalande, they found that everything ripened at once and they had all their fruit in by 6th October. Cos d’Estournel was just a day behind, and the wine is a modest 12% alcohol, interestingly with lower acidity than the 2020. They employed lower fermentation temperatures to preserve the wine’s aromatics. At Calon-Ségur it was the latest harvest since 2012, starting on 28th September with the Merlot and finishing on 13th October – their decision to wait until after the forecast rain for their Cabernet paying off. The wines here don’t show the austerity sometimes found in Saint-Estèphe, offering pretty and charming expressions of the appellation, but more tannic grip than elsewhere in 2021. Highlights: Calon-Ségur, Cos d’Estournel, Montrose, Marquis de Calon, Phélan-Ségur Pauillac Gravel and Cabernet Sauvignon: the two reasons that Pauillac seems to be more consistent than some other appellations in 2021. The free-draining soils meant vines here saw a little more water stress in the little of the season that was dry, and a natural predominance of Cabernet Sauvignon was helpful – provided you could ripen it. Blends contain high (and sometimes record-making) percentages of Cabernet Sauvignon – 98% at Pichon Comtesse, 96% at Lafite-Rothschild, 88% at Pichon Baron and so on. Yields varied significantly here, with a full crop at Batailley (which produced one of their best vintages), but at Pichon Baron yields were a lowly 22hl/ha – over a third down on the already small 2020 – and 23hl/ha at Ch. Latour (similar to 2018). The battle against mildew was tougher for estates working organically (like Lafite) or biodynamically. At Ch. Pontet-Canet, Justine Tesseron explained how this was the year they could put into action everything they’d learnt in 2018, when they lost two thirds of their crop to mildew, partly because they farm biodynamically. The 2021 vintage was the first with their own “tisanerie” – to produce their own biodynamic treatments on site – allowing them to reduce the time it took to spray the entire vineyard from 16 hours to 11, and allowing them to be much more reactive, meaning losses were just 15%. Frosts were a threat (indeed, it was the first year Pichon-Baron had ever used candles to protect their vines), but the best sites closer to the river generally escaped serious damage. Harvest dates ran from 22nd September through to the third week of October, with the Batailley one of the last teams out on 15th October. The best wines show an old school elegance and pinpoint precision that we expect of Pauillac, the quality of the Cabernet Sauvignon shining through. Even wines like Ch. Latour are surprisingly approachable now, with the tannins firm but not monolithic. Highlights: Lafite-Rothschild, Mouton Rothschild, Pichon Comtesse, Lynch Bages, Batailley, Pontet Canet Saint-Julien There are some lovely wines in Saint-Julien this year. The commune’s proximity to the river meant there was little frost damage, but mildew was a problem for some estates – at Léoville-Poyferré the yields were the lowest since 1991 at 24hl/ha, although Beychevelle had a full 50hl/ha. At Ducru-Beaucaillou – where the wine has an astounding 98% Cabernet Sauvignon – yields were only 20hl/ha, with a significant portion declassified to ensure quality met their standards. At Léoville Las Cases, the acidity was a little lower than normal and they’ve reduced the level of new oak and toasting to balance the naturally less concentrated style of wine. For the Bartons, it was their first vintage with a new vat cellar – meaning they could vinify in smaller parcels, a great advantage in a year where selection was everything. The best wines are supple with a depth of richness – perhaps thanks to the Gironde’s proximity – as well as freshness and a bite of crunchy fruit. Highlights: Ducru-Beaucaillou, Léoville Las Cases, Léoville Barton, Langoa Barton, Gruaud Larose Margaux In the Médoc, Margaux seemed the most varied. Frost was a particular threat here, making for sleepless nights in April as four bouts hit the vineyards, and sites further inland saw the most damage. It was, however, the sunny weather from mid-August that turned things round. At Palmer yields are down by around 30%, but at Brane-Cantenac yields were a generous 41hl/ha; Henri Lurton emphasised that he feels it’s a vintage where the best terroirs showed their colours. He was surprised by the sheer number of tannins, which were on a par with warmer years, despite the cooler conditions. At Marquis d’Alesme, Delphine Kolasa noted how happy she was the wines weren’t being sent around the world as samples (a necessity of the global pandemic for 2019 and 2020) – feeling the more delicate style is more fragile, and even more nascent than usual given the late harvest. She thinks of it as a fresh and fruity year dominated by violet aromatics – with careful extraction essential to make sure the wine’s delicacy wasn’t over-ridden. Ch. Rauzan-Ségla produced a stunning wine – putting in the necessary work to do so, with a team of 150 to harvest and sort the fruit, which came in at just 11-12% potential alcohol. Aurélien Valence at Ch. Margaux explained it was the worst mildew pressure the team had ever seen and working organically meant they were often in the vineyard at weekends to spray, but they have made the smallest ever volume of Margaux du Ch. Margaux (the third wine) as a result. The best wines offer dainty floral charm, vibrant red fruit, chalky tannins and well-judged oak. Highlights: Margaux, Palmer, Rauzan-Ségla, Brane-Cantenac, Cantenac-Brown Graves + Pessac-Léognan Frosts threatened Graves and parts of Pessac-Léognan, although vineyards in the suburban sprawl escaped damage. Haut-Bailly brought in just 19hl/ha due to frost, and yields for Smith Haut-Lafitte were only 20hl/ha; although at Carmes Haut-Brion yields were totally normal, and Haut-Brion saw a healthy 48hl/ha. Despite the more generous yields, the Clarence Dillon team emphasised that selection was key to success; although they reported no issues with coulure in the Merlot, there’s 20% less of the Ch. Haut-Brion Grand Vin than normal as a result. At Haut-Bailly, there will be 60% less of the Grand Vin to go around. While volumes varied, quality here was impressive – the wines tending to show more richness and riper tannins than their northern neighbours, with a plush yet refined, elegant profile. Guillaume Pouthier at Carmes Haut-Brion emphasised that clay and limestone were advantageous, leading to water stress that was essential for quality – indeed he achieved 13.5% natural alcohol in the Grand Vin (a standout of the year) so had no need to chaptalise, and wasn’t alone in that regard. As elsewhere, Cabernet represents higher portions of the blend in some instances – with a record 80% at Domaine de Chevalier. (See below for discussion of the whites.) Highlights: Haut-Brion, Les Carmes Haut-Brion, Haut-Bailly, Domaine de Chevalier, Smith Haut-Lafitte THE RIGHT BANK On the Left Bank Merlot suffered from coulure, but that seemed to be less of an issue on the Right – so Merlot-driven wines shouldn’t be dismissed. We found Pomerol to be impressively consistent, while Saint-Emilion – unsurprisingly given its size – was more varied. In general, the wines of the Right Bank feel almost a little more Left in style – less exotic and polished than in blockbuster vintages, with a charm, elegance and freshness that is invigorating. Yields were down almost a third across both appellations, but again it varied from estate to estate. Pomerol There was no frost in Pomerol, so it was just the mildew that posed a threat to yields. At Ch. Belle-Brise, yields were reduced by 25% – taking them down to a mere 600 cases at this tiny estate. Jacques Thienpont at Le Pin fared particularly well, the warmth of their south-facing gravel slope a boon in the vintage. They picked over a particularly long period – from 25th September to 4th October to bring in each parcel of their two hectares at the perfect moment. At La Conseillante, Dr Bertrand Nicolas emphasised how selection was key – and waiting sufficiently long to pick the Cabernet Franc. For Noëmie and Constance Durantou Reilhac of Ch. l’Eglise-Clinet, it was a particularly swift harvest – lasting just three days, and healthy yields of between 45 and 57hl/ha. The Cabernet Franc in particular was “mesmerising”, in Noëmie’s words. At several estates, the harvest was among the latest this century. Omri Ram at Ch. Lafleur noted how the tannin and sugar ripeness arrived at the same time – thanks to the water stress of August which was key for phenolics. Similarly, Guillaume Thienpont at Vieux Château Certan said it was an easy year to decide when to pick – as sugar, phenolic and flavour ripeness all came at once. At Ch. l’Evangile, it was a baptism of fire for Juliette Couderc as her first full vintage at the estate, and its first certified organic. The warmth of the appellation meant little issue with achieving ripeness, but sandier soils struggled. She noted that younger vines did surprisingly well, suffering from more hydric stress with short root systems and therefore producing more concentrated fruit. The 2021s in Pomerol aren’t powerful, plush wines with 14.5% alcohol; instead they have an alluring transparency, with floral charm and elegance (often at 13-13.5% alcohol), and higher than normal doses of Cabernet in some instances adding a flourish to the wines. Highlights: Lafleur, La Conseillante, Vieux Château Certan, L’Evangile, L’Eglise-Clinet, Clinet, L’Enclos Tourmaline, Belle-Brise, Certan de May, Feytit-Clinet Saint-Emilion Quality in Saint-Emilion varied this year – but it also produced some of the finest wines of the vintage. There’s a herbaceous freshness that isn’t green, crunchy fruit and an appealing presence to the tannic structure that isn’t obstructive – they are moderate, and all the more approachable for it. Despite the drama of the appellation around its classification system, the top wines – classified or not – are impressive. Ch. Laroque shone – continuing its ascendancy, while Clos de Sarpe achieved an impressive 14% natural alcohol in the vintage, holding out until 7th October to start picking. At Tertre Roteboeuf, François Mitjavile declared it a year that was “difficult to define”, but for him the wines show a subtlety, with the structure “tenderised” by the year’s rainy conditions. The Cheval Blanc team excelled – choosing to pick over a particularly long window, from 24th September to 14th October, while at Ausone – another success story this year – the Merlot came in on 30th September, and the Cabernet Franc between 4th and 6th October. Le Dôme felt it was key to wait out the phenolics, picking from 6th October (two weeks later than some of their neighbours) to achieve supple tannins. Frost didn’t have a significant impact here, but mildew did, especially on the crop of Merlot – at Angélus, for example, they lost 40%. Figeac reported a 10% loss, but due to a green harvest. For Joséphine Duffau-Lagarrosse – her first vintage at the helm of her family estate, Beauséjour Duffau-Lagarrosse – the vintage was a question of extraction to manage the balance of the wines. As Mäylis Mercenat at Clos de Sarpe highlighted, the challenge was to extract weight not tannin – something she did with a combination of infusion and vinification intégrale. Highlights: Ausone, Cheval Blanc, Angélus, Figeac, Canon, Bélair-Monange, Beauséjour Duffau-Lagarrosse, Laroque, Clos de Sarpe, Tour Saint-Christophe THE WHITES The dry whites are outstanding in 2021. Many estates reported it’s the best vintage they’ve ever made – and the wines taste like it. The cool conditions allowed the Sauvignon Blanc and Semillon to develop aromatic complexity slowly, while preserving the acidity; as a result they offer incredible richness of flavour, vibrancy and no sign of greenness. Unfortunately yields were a challenge in some places, with frost taking out certain plots (such as Ch. Margaux – although fortunately not a plot that normally goes into Pavillon Blanc). At Cos d’Estournel – where the whites are thrilling – they noted they had the luxury to pick over an unusually long window, with multiple passes. The same was true at Domaine de Chevalier – with exceptional results. At Lafleur, Omri Ram highlighted that the wines were taking longer to come together than normal, but that the lack of water stress was key to their success – wines that he thinks will be the best white duo the property has ever produced. It was fascinating to see exactly the same blend across all three of the Clarence Dillon stable of whites – La Clarté de Haut-Brion, La Mission Haut-Brion Blanc and Haut-Brion proper – all 55% Semillon, 45% Sauvignon Blanc, and speaking of their site. They were hit significantly by frost – with 20% less Haut-Brion Blanc and 35% less Clarté. For the team here, the combination of acidity and ripeness is what sets the wines apart, even better than either 2014 or 2017. Botrytised sweet wines were made in tiny volumes, hit significantly by frost. The tiny volumes of fruit that survived benefitted from the long, cool growing season, however, and from the late development of botrytis in October. The tiny amount we tasted was exceptional, however very little will make it to market – with yields as low as 1 or 2hl/ha reported by some estates. At Ch. Suduiraut, for example, they made just 500 cases in total. Highlights: Haut-Brion Blanc, Pavillon Blanc du Ch. Margaux, Domaine de Chevalier Blanc, La Mission Haut Brion Blanc, Smith Haut-Lafitte Blanc, Cos d'Estournel Blanc, La Clarté de Haut-Brion, Aile d’Argent, Les Champs Libres, Le Petit Smith Haut-Lafitte Blanc Browse all available releases, or read more about Bordeaux 2021, including our reports on the growing season and our vintage overview

In 2021, it is incredibly hard to make any generalisations – this really is a vintage to be assessed by individual estate. Below we do our best to break down the year by commune; read all our coverage of the year – including our run-down of the growing conditions and vintage overview 

Your guide to Bordeaux 2021 en primeur broken down by region: Saint-Estephe, Pauillac, Saint-Julien, Margaux, Pessac-Leognan, Pomerol + Saint Emilion

Bordeaux 2021 en primeur guide by region

Bordeaux 2021: a commune-by-commune guide

Ch. Haut-Brion is one of the oldest and best-known names in fine wine. The Bordeaux First Growth estate was created by Jean de Pontac, back in 1533, and its wines were among the first to be exported. Records detail 169 bottles of the wine (then as “Hobriono”) served to guests in 1660 by King Charles II. Just a few years later, on 10th April 1663, Samuel Pepys wrote in his diary that he had drunk “a sort of French wine called Ho-Bryan [sic] that hath a good and most particular taste I never met with”.   
While Ch. Haut-Brion is the oldest known estate in Bordeaux to bottle and label its wine as a Grand Cru, bearing both name and terroir – the name “Haut-Brion” has an historic attachment to a fair few other winemaking estates in the Graves region. The name Haut-Brion roughly translates as hillock and refers to the raised gravel hills found in the surrounding vineyards. It is these distinct raised, Günzian gravel soils that have provided such ideal conditions for grape growing over the last 500 years or so – providing the vines with much-needed drainage in Bordeaux’s marshy flatlands. Below the deep gravel lies a bedrock of clay which locks in the moisture, releasing it only when required in the drier summer months. This terroir is the secret behind the vineyards’ historic levels of consistency. 
Other famous châteaux that share the Haut-Brion name are all situated in the Graves region, just south of Bordeaux’s city centre. Ch. la Mission Haut-Brion, situated immediately across the road from Ch. Haut-Brion, with neighbouring vineyards, is the most famous, while Ch. les Carmes Haut-Brion is situated just to its north and Ch. la Tour Haut-Brion to its south.
Controversially Ch. Larrivet Haut-Brion is not close to the other properties, but further south, near Ch. Smith Haut Lafitte. The property changed its name from La Rivette to Ch. Haut-Brion Larrivet in 1874, and it was only following a lawsuit, filed by Ch. Haut-Brion in 1949, that the château was forced to change its name to Larrivet Haut-Brion. (Neither Les Carmes de Haut-Brion or Larrivet Haut-Brion have a connection to Ch. Haut-Brion and the wider Clarence Dillon portfolio.) 
Today, Ch. Haut-Brion and neighbouring Ch. la Mission Haut-Brion are the two flagship estates of Domaine Clarence Dillon. Clarence Dillon was an American immigrant, who made his fortune as a financial broker on Wall Street in the 1920s. With French ancestors and a passion for French gastronomy (which included him taking an introductory course at the famous Paris cooking school, Le Cordon Bleu), he spent much of his spare time in France. In 1935, he eventually persuaded the current owner, André Gilbert, to sell him Ch. Haut-Brion, his favourite wine estate, and the property has remained in Dillon the family ever since. 
Clarence Dillon’s granddaughter, Joan Dillon, and her second husband Philippe de Noailles, Duke of Mouchy, expanded their holdings in the region, when they purchased Ch. la Mission Haut-Brion and Ch. la Tour Haut-Brion in 1983. It was following this acquisition that some famous neighbouring châteaux were absorbed into the portfolio and some wines discontinued, with the fruit instead used for Haut-Brion or La Mission Haut-Brion. 
The range as it stood in 1983 included the Grand Vins Haut-Brion and Haut-Brion Blanc, La Mission Haut-Brion and their famous white wine, Laville Haut-Brion. In addition to this, Ch. Haut-Brion produced a second red wine called Bahans Haut-Brion and a second white wine called Les Plantiers Haut-Brion. At Ch. La Mission Haut-Brion they produced a second red wine called La Chapelle de la Mission Haut-Brion and also the red wine of Ch. la Tour Haut-Brion. 
In 2008 the fourth generation of the Clarence Dillon family, Prince Robert de Luxembourg took control of the estate, and a flurry of name changes took place, however the fruit sources have remained stable. From the 2008 vintage, Les Plantiers Haut-Brion was renamed La Clarté de Haut-Brion, while Bahans Haut-Brion became Le Clarence de Haut-Brion from the 2007 vintage. Laville Haut-Brion, La Mission’s famed white wine, was returned back to La Mission Haut-Brion Blanc from the 2009 vintage. 
For the Prince, the name changes were mainly a way to simplify the range for collectors. In fact, La Mission’s top white had originally been called La Mission Haut-Brion Blanc when first produced in 1923, however the winery didn’t feel the quality was on a par with the red and so changed the name to Laville Haut-Brion (after the lieu-dit where the white grapes were grown) in the 1930s. Bahans Haut-Brion had also taken its name from its lieu-dit; the name change reflected that it had become a second wine, not a cuvée from a separate vineyard (and paid tribute to Prince Robert’s gread-grandfather). 
Perhaps the biggest casualty in the development of the Haut-Brion properties was the discontinuation of Ch. la Tour Haut-Brion – with the last vintage 2005. Before Clarence Dillon bought the property in 1983, a portion of the grapes of the four-hectare estate went into the Grand Vin of La Mission Haut-Brion, while the rest was bottled as La Tour Haut-Brion.  Clarence Dillon bottled fruit from all four hectares of the property separately for a time, and it gained its own strong following – known for consistently producing memorable, age-worthy wines that defied its relatively low price point. But, in 2005, Domaine Clarence Dillon decided to put all the fruit into the second wine of La Mission Haut-Brion – La Chapelle de la Mission Haut-Brion – and Ch. La Tour Haut-Brion was no more. 
Between the 1950s and 2012, an additional wine – Domaine de la Passion Haut-Brion or Domaine Allary Haut-Brion – was made. The wine has an interesting story, relating to a parcel of vines in the heart of the Haut-Brion vineyard, but owned by the Allary family. The Allary family didn’t make wine, but rented the vines to Haut-Brion, who paid them back by bottling some wine – which otherwise would have been Haut-Brion’s Grand Vin or second wine – under a special label, Domaine de la Passion Haut-Brion.  This was produced from 1954 to 1978. In 1979, EU law forbid the same wine to be bottled under a different label, so between 1979 and 2007, the fruit from these vines went into the second wine of Haut-Brion (then known as Bahans Haut-Brion). From 2008, the Allary family took back control of the vines and produced their own wine. Made by a different winemaking team managed by Stéphane Derenoncourt, the wine was bottled under a new label, Domaine Allary Haut-Brion. This lasted just five vintages until 2012, when Clarence Dillon finally bought the land from the family and the wine was discontinued. 
In 2011, the fourth generation of the Dillon family, Prince Robert de Luxemburg, branched out beyond the Graves region to buy Ch. Tertre Daugay in Saint-Emilion along with the vineyards of neighbouring Ch. l’Arrosée. From the two estates, he created Quintus. Ideally situated next to Ch. Bélair-Monange and Ch. Angélus, the vineyards are situated on a limestone hillock in the south-western end of the Saint-Emilion plateau.  In 2021, Domaine Clarence Dillon bought Ch. Grand Pontet, another 14 hectares of top Saint-Emilion terroir to further expand the Quintus estate. With the viticulture and winemaking at Quintus all under the control of the talented Haut-Brion team, it’s not surprising that Quintus has quickly gained its own following of collectors. Alongside the Grand Vin, a second wine Le Dragon de Quintus (first produced in 2011) and a third wine Saint-Emilion de Quintus (first produced in 2014) are made.

These various lost properties and wines are becoming harder to find, but offer a fascinating way to explore the full DNA of the modern-day Haut-Brion, La Mission Haut-Brion and Quintus. 
Your quick guide to the Haut-Brion wines
 Allary Haut-Brion (Domaine): made between 2008 and 2012 by a separate winemaking team from a parcel of vines in the heart of the Haut-Brion site (which is now owned by Haut-Brion) Bahans Haut-Brion: the second wine of Ch. Haut-Brion, first made in 1976 and renamed Le Clarence de Haut-Brion from the 2007 vintage Haut-Brion: the Grand Vin (red) of Ch. Haut-Brion, which dates back to the 16th century Haut-Brion Blanc: the Grand Vin (white) of Ch. Haut-Brion, first made in 1916  La Chapelle de la Mission Haut-Brion: La Mission Haut-Brion’s second wine, introduced in 1991 La Clarté de Haut-Brion: the name for the second white wine of Ch. Haut-Brion from the 2008 vintage (previously Les Plantiers Haut-Brion Blanc) La Mission Haut-Brion: the Grand Vin (red) of Ch. la Mission Haut-Brion which has been made since the 16th century La Mission Haut-Brion Blanc: the Grand Vin (white) of Ch. la Mission Haut-Brion, first made in 1923 under this name, before being renamed Laville Haut-Brion in the 1930s, and reclaiming its name once more from 2009  La Passion Haut-Brion (Domaine de): a bottling of Haut-Brion or Bahans Haut-Brion under a different label (from 1955 to its last vintage in 1978) La Tour Haut-Brion: a separate property owned by Clarence Dillon since 1983 (last vintage 2005); the fruit is now used for La Mission Haut-Brion’s second wine, La Chapelle de la Mission Haut-Brion Laville Haut-Brion: the Grand Vin (white) of Ch. la Mission Haut-Brion, renamed la Mission Haut-Brion Blanc in 2009 (as it was originally known when first made, prior to the 1930s) Le Clarence de Haut-Brion: the name for Ch. Haut-Brion’s second (red) wine since the 2007 vintage (previously known as Bahans Haut-Brion) Les Plantiers Haut-Brion Blanc: the second white wine of Ch. Haut-Brion, renamed La Clarté de Haut-Brion from the 2008 vintage Explore all current listings of Ch. Haut-Brion, Ch. La Mission Haut-Brion, Quintus, La Passion Haut-Brion and La Tour Haut-Brion or read more Editorial 

Since the Clarence Dillon family bought Ch. Haut-Brion in 1935 and neighbouring Ch. la Mission Haut-Brion and La Tour Haut-Brion 48 years later, the properties have become some of Bordeaux’s most collectable. We explore the genealogy of these illustrious estates – and their lost wines 

Exploring the genealogy of the Bordeaux First Growth Ch. la Mission Haut-Brion and its siblings La Tour Haut-Brion

The lost wines of Haut-Brion

William Lowe has achieved a great many things in his life. At the time of writing, he’s the only Master Distiller to also hold a Master of Wine title. At the age of 41, he already has countless letters after his name from various academic qualifications in psychology and philosophy, and is months away from embarking on a PhD in Chemical Engineering and Biotechnology. “I’m a serial studier,” he says with a boyish smirk and an infectious giggle. “I can’t help it. I think I’ve had 17 consecutive years of exams in one shape or another.” Somewhat surprisingly, given the laboratory behind him as we speak and the very scientific qualifications he has to his name, Lowe doesn’t come from a science background. He joined the wine and spirits world one day after he turned 18, working as a bartender. He says his “very academic” family thought his choice to bartend was a phase. But, at 18, Lowe took his grandfather’s words “if a job’s worth doing, it’s worth doing well” to heart – something he still believes to this day. “I took that not just to mean if you’re going to do something, do it as best you can. But genuinely it’s a question of self value. Why waste your time doing something to a mediocre standard? There’s just no point. We’ve got a limited time on this planet, haven’t we? So I thought, if I’m going to be a bartender, I want to be really good at it.” After bartending internationally and mixing drinks for the Queen and celebrities, Lowe ran bars and restaurants for a time, before he went into distribution and then education, training more than 10,000 people worldwide. From here, the man with the voracious appetite for learning moved into production. In 2012, he set up Cambridge Distillery – which started life in his front room. Rather than use a traditional copper pot still, Lowe fashioned a vacuum still with rudimentary apparatus to distil his fresh, seasonal botanicals according to their individual needs. “The methods that we use here were literally laughed at a decade ago,” he explains. “And then they were thought a curiosity seven or eight years ago. And then a bit weird but quite interesting five years ago. To the point now where what we do here has resulted in gold medals for quality for literally every product that we have ever commercially released, and that gets some attention.” Over the past 10 years, Lowe has produced a series of world firsts. “There was no such thing as gin in Japan before I did that,” he says with pride. In order to explain to the world why it was a Japanese gin, Lowe told everybody what it was made from and now there are lots of Japanese gins. “Every single one of them is based on a recipe I created here in Cambridge,” he bristles. Lowe says a lesser man would find that very frustrating but cites a “wonderful quote that most people only know the first half of”. “You know they say imitation is the most sincerest form of flattery?” He continues, “… that mediocrity can pay to greatness”. “It’s damning with faint praise,” he adds. “We see a lot of these products come along. I made the world’s first gin out of insects. A lot of other people have tried that too. I made the world’s first gin out of truffles. A lot of other people have tried that too. But I don’t begrudge people following because that’s great – it means we’re doing things right and that is excellent. “And actually, if the whole world takes this approach of going quality-first and really aiming to make the best gin they can make, rather than the cheapest gin they can make with the best profit margins, well then we are in a good place. But, there are things I have worked really, really quite hard on in here that are outside of a patentable space, so we’ve got some very well-guarded secrets. “For example, our Truffle Gin is not just juniper and truffle. But there is only one other person in the world, other than me, who knows the full recipe for that and he’s my Head of Production.” Lowe then adds quite seriously: “and we never travel in the same car.” During our hour-long video call, Lowe sits in front of his laboratory-cum-distillery and periodically pulls props from beneath the bench upon which he sits. He jumps up to show me the oar from the Oxford/Cambridge Boat Race – coincidentally, the day Cambridge Gin officially launched in 2012, Oxford infamously broke an oar – and he repeatedly holds up A1 photographs of the distillery in its various stages of development, and his favourite prop: a miniature copper pot still. He also, much to my delight, takes me into the laboratory – with index finger to lips like a child sneaking into a room he’s not allowed to enter. The laboratory surface is lined with five small stills that look nothing like the copper pot still miniature he regularly and animatedly holds aloft. “Instead of having one big one, I’ve got lots of little ones,” he says with that smile. “One of the first things that people laughed at when we were talking about this [distillery], is they said well that’s great but you can’t scale it so it’s pointless. My point was fundamentally that actually, I wasn’t trying to prove you could scale it. I was trying to prove I could make a better gin. Well, I’ve done that. Next problem is scaling it. And, if you can't make a bigger one, just get LOADS – it’s fine,” he grins. Lowe can have five different botanicals running five different regimes at five different temperatures and five different pressures all at the same time. The resulting liquid isn’t gin, he tells me, but “lots of little threads that I have to weave together into the tapestry that becomes gin”. His, now trademarked, nine-step approach is called a novo-dimensional distillation matrix. Lowe will talk about pressure and temperature but he, for aforementioned reasons, will not discuss the other seven. He says his commercial and production team, on occasion, accuse him of having NPD Tourette’s – NPD being New Product Development. “Because I do go quickly,” he blurts out. “By the time you’ve seen a new release from us, I’m normally three or four projects further down the line.” He says they had to strike a deal because his flights of fancy are “so brilliantly fun” and he finds them “very, very engaging” – but there are commercial realities that underpin his work. For this reason, Lowe has created a triage system for new product ideas. As a general rule, if it already exists then he’s not interested – unless he thinks the product that’s out there isn’t good enough and he can improve it, in which case he’ll “just make it better and explain how it’s better and then people get to taste it for themselves”. If it’s a truly new idea, then he will ensure the new product has a purpose and reason to be. His Truffle Gin, for example, was born out of a desire to create a digestif gin – because a waiter at a Michelin-starred restaurant once remarked that there wasn’t a gin “good enough” for the digestif trolley. After months and months of reverse engineering the taste profile for a “good enough” digestif – think chocolate, tobacco, leather, tar, smoke and forest floor – Lowe released a gin that has since gone on to win countless awards. He didn’t say, but I’d hazard it also now graces that digestif trolley. Lowe is ambitious – doggedly so. He says Cambridge Distillery set out with a singular objective to be the world’s leading luxury gin producer and that his goal has always been to be the best. He’s the world’s first gin tailor, who sits with private clients for an afternoon and creates a gin based on their specification. And every product he releases wins at least a gold medal in tasting competitions. When asked how this is possible, he responds: “I taste for a living. It’s my job. I’m the best part of a quarter of a century doing this now. And, within that quarter of a century, I have been judging both wines and spirits internationally for over a decade, I’ve been teaching the Diploma at the WSET, which is the highest qualification offered by the world’s biggest wine and spirits school. I’ve also been called out by people like the IWSC and the WSET who named me one of their future 50. British Airways named me as one of their 100 modern Britons for my services to the food and drink industry. And, last year, I became the world’s first Master Distiller to also become a Master of Wine. “And I’m not just telling you this to seek the approval that I’m yet to receive from my father – the point here is that I’ve got a good palate. I’ve been working on it for a long time. And the system I use makes that palate more accurate by a factor of 10 to the power of four. And that’s why, when I release a gin, I know it will get a gold medal. Because if it isn’t a gold medal standard then I just don’t release it.” Lowe’s next qualification is a PhD in Chemical Engineering and Biotechnology on the intrinsic liquid properties of quality in wine and spirits and how they map to the extrinsic perception of quality in a range of novice, amateur and expert tasters. This, he says, could have sat in psychology, philosophy or chemistry. He chose the latter as a “challenge” because he’s “pretty strong” on the first two. “What I’m trying to do at the moment is focus my efforts,” he says. “And focus them on the things that I think are smart goals which are objectively measurable and achievable. And stretching and challenging – because I’m not interested if it’s not a challenge. “For example, let’s face it, the work that is part of that PhD is what I would be doing anyway. The PhD gives me the structure and it imposes a timeline and it brings me that focus. So it is absolutely part of my ecosystem and it works because it works. “There were times when I was trying to balance my WSET Diploma with a part-time Masters in Forensic Psychology – that was a lot harder. Very, very different subjects and I found the switch between them very stimulating. But this is absolutely all guns trained on the same target.” Lowe says he became a distiller to solve problems others hadn’t. While he is seemingly laser-focused on gin, one can’t help but feel there are problems in other spirits categories that a man of his tireless energy is just itching to solve. When the question is put to him, he says simply: “Never say never.” Thankfully, as is often the case with the Master Distiller, he elaborates: “My wife is the voice of wisdom and reason within the business. I remember once being sat at our dining room table and I had two application forms in front of me: one was for the Master of Wine and one was for the Iron Man that I was intending to do later that year. “I was looking at these two things and thinking this is going to be tough and my wife looked at me and said: ‘Will, there’s no shame in it. You can’t be elite at everything…’ and I was just about to say ‘I bet I can…’ and she finished her sentence with the words ‘at the same time’. And that was it.” When asked how he finds the time, and quite frankly, the energy, for the many things he is currently focusing on, he says: “Time isn’t something you find. It’s something that you utilise. We’ve all got 168 hours in the week and it requires discipline and prioritisation. That’s how you make your time.” And really, really good gin. Learn more about Cambridge Distillery or read more Editorial 

There are a lot of impressive people in the drinks industry, but you’d be hard pushed to find somebody quite as accomplished and personable as Master Distiller William Lowe MW. Holly Motion asks the man with the golden touch about his incredible career to date

William Lowe MW, the world’s first gin tailor, on turning the smallest distillery in the UK (Cambridge Distillery) into the golden goose.

William Lowe MW on his gold-medal Cambridge gins

William Lowe MW: the man with the Midas touch

The world’s fine wine regions famously exist where the climate is just warm enough for grapes to reach ripeness. The ever-warming climate, however, has greatly increased this likelihood, with good-to-great vintages now convincingly outweighing the poorer ones.  Despite this, vintage variation remains an important factor in fine wine and when contrasting 2016, 2017 and 2018 in Piedmont, you see there are still strong variations in climate. The pitfalls of a vintage could arguably be even greater, in that these regions are no longer only concerned by wet, cooler conditions but also by the perils of excessive heat and drought. While hotter conditions can drastically affect yield and quality, the 2017 vintage in Piedmont seems to show that – despite these risks – vines are better at handling the heat. 
Following on from an almost perfect 2016 growing season in Piedmont, 2017 was always going to play second fiddle. The 2017 and 2018 vintages were certainly not as straightforward and – in fact – the two together offer completely contrasting growing seasons which produced totally different results, with 2017 hot and dry, 2018 cool and wet. Despite initial concerns regarding the heat in 2017, the wines – now in bottle – are surprisingly fresh, yet with richly concentrated fruit. Giuseppe Vaira sums it up best: “2017 is a vintage that defies logic.  It was the driest vintage on record and the earliest picking dates of the last five years. Yet, the wines are surprisingly vivid, fresh and still introverted: the opposite of what you would expect from a warm year.” For Giovanni Angeli at Massolino, the 2017s are similar to the 2015s, but with more “energy and freshness”, a pleasant surprise considering the year’s hot, dry conditions. Visiting Piedmont in early 2018, I remember how concerned winemakers were about the past summer. They were shocked by the extreme conditions, registering as the hottest and driest summer since 2003; yet, as Ferruccio Grimaldi and Giovanni Angeli noted, alcohol levels remained normal – particularly for the Nebbiolo.  Grimaldi believes this is because the vines shut down during the hottest period and stopped producing sugar. More surprising was that acidity remained high, something Grimaldi attributes to low levels of malic acid in the grapes. This might sound counter-intuitive, but it is the tartaric acid in grapes that provides freshness, while malic acidity in fact lessens the sense of freshness. For Grimaldi, low malic acidity signifies two things: the grapes reached an excellent degree of ripening, while also retaining healthy levels of tartaric acidity. Grimaldi also noted that, despite the heat in the day, the nights were cooler than other hot vintages – potentially another factor that helped preserve the acidity and freshness in the wines.  Emanuele Baldi from Prunotto pointed out that another possible saviour of the vintage – albeit to the detriment of the year’s yield – was frost. A mild winter prompted early budbreak, meaning vines were significantly advanced when the region was hit by frost. This led to huge losses particularly for the white varieties Moscato and Arneis, but also for lower-lying plots of Nebbiolo, where frost pockets formed.  The fruit that escaped was all from the higher vineyards, sites which naturally preserved more acidity thanks to their altitude. For Vajra, there were three key factors to 2017’s success: the diurnal temperature swing, the lack of rain (which caused a limited intake of potassium and thus better retention of acidity), and a gentle, fresh September which set the stage for Nebbiolo’s tannins to fully ripen. The biggest threat for the season was the lack of water, the risk being that without adequate water the grapes would become shrivelled and overripe. Massolino tried to counter the drought by not trimming the canopy (providing shade) and breaking off superficial roots, forcing the remaining roots to go deeper in search of water.  “We learned a big lesson from this vintage,” says Angeli. “The vines are much more flexible than we imagined.” Moreover, the season highlighted the region’s marl soils important role as a water regulator. “They are like a big sponge that’s able to catch the water during winter and spring, and release it slowly during the rest of the season avoiding stress to the vines,” explains Angeli. The region was blessed again with welcome rain in late August and September, allowing the vines to find equilibrium, completing the full cycle of vegetative growth while also the fruit to ripen fully (both in terms of sugar and phenolic ripeness). While Nebbiolo production was down by around 15 to 25% for some producers (due to the spring frosts and drought), the grapes that survived were beautifully ripe. The 2017 vintage will be remembered for its early harvest, but the results are excellent. “The 2017 Barolo are rich, fresh and fruity wines,” says Grimaldi, “and more ready to drink now compared to 2016 vintage.” Massolino’s Angeli agrees: “The wines already have soft, smooth tannins with a complex and sweet mid-palate.” For Baldi, the wines have fantastic concentration and, more importantly, they are not flabby.  They may not have the structural prowess of the 2016 and will not age as well, but Baldi believes they will drink beautifully over the next 10 to 15 years. Vaira notes the warmth of the year gave the wines “an extra layer of density and mid-palate richness… but what I love about these wines,” he says, “is the quality of the texture and almost a sappy freshness that keeps everything in balance.” Particularly from Vajra’s cooler sites, Giuseppe believes the top 2017s will have sensational ageing potential, especially in comparison to other similarly warm vintages. The 2017 vintage might have been challenging in terms of heat and drought, but such conditions are likely to be more prevalent in the years to come. The good news is that the vines seem to be adapting to these warmer vintages and vignerons are learning how to cope with them – producing some excellent wines that defy logic, remaining remarkably fresh and age-worthy. 
The vintage in brief: Hot and dry conditions – yet the wines have surprising freshness Yields reduced by frost and drought particularly in lower-lying sites Supple tannins that make the wines approachable already Ripe yet fresh wines that offer good medium-term drinking Browse all Barolo or read more Editorial 

With the release of the 2017 Barolos fast approaching, Gavin Smith spoke to some of the region’s leading producers – Giovanni Angeli from Massolino, Giuseppe Vaira from Vajra, Emanuele Baldi from Prunotto and Ferruccio Grimaldi – about the vintage, its extreme conditions and the surprising results

The Barolo 2017 vintage is beyond all expectations. We explore the year that defies logic and the wines are surprisingly vivid, fresh and introverted

Barolo 2017 vintage report 

Barolo 2017: vintage report

Of course, the reputation and quality of the wines from this estate long predate the modern-day critics. Prior to the 1855 classification, Chateau La Mission Haut-Brion was one of the most expensive wines in Bordeaux, second only to its historic neighbour Chateau Haut-Brion. The two properties are both owned by the Dillon family (Domaine Clarence Dillon) who bought Chateau Haut-Brion in 1935 and purchased Chateau La Mission Haut-Brion 48 years later, in 1983. We caught up with Deputy Managing Director Jean-Philippe Delmas and Sales Director Guillaume-Alexandre Marx to find out what makes this Chateau so special. 
In the vineyard Since taking over the property in 1983 the Dillon family undertook a major effort to upgrade the estate. They initially focused on the vineyards. Substantial investments were made to replant vines on some of the finest gravel soil in Bordeaux. 
Over the years, each and every plot of La Mission Haut-Brion has been replanted with the grape varietal best suited to it. These vines are now an average of 30 years old. The high vine density (10,000 vines per hectare) is conducive to intense wines whose hallmark is their unique charm. Starting with the 1991 vintage, a second red wine was created at La Mission: La Chapelle de La Mission Haut-Brion.  The vines that originally produced the second wine starting in 1991 have since aged, and now
produce a wine of exceptional quality. However, another factor is also of great importance. In 2006, the vineyard of Château La Tour Haut-Brion, another estate belonging to Domaine Clarence Dillon, was integrated into that of La Mission Haut-Brion. Starting with this same vintage, all the grapes from La Tour Haut-Brion’s vineyard, a Classified Growth of Graves in
1953, went into La Chapelle de La Mission Haut-Brion, making the second wine of La Mission a truly fine wine. The Pessac-Leognan terroir
 Wines from the Pessac Leognan have a unique, distinct fired earth, tobacco, spice note that are not found elsewhere on the Left Bank giving the wines an added aromatic complexity. Haut-Brion stands for hillock and the vineyards of both Haut-Brion and Mission Haut-Brion are planted on these raised hillocks with distinct gunzian gravel soils giving the wines good drainage and exposition, as well as retaining the typicity of the aromatic complexity consistent with the Pessac-Leognan region.  The other important elements of Chateau La Mission Haut-Brion is that they are the first winery to harvest in Bordeaux, picking their Merlot before anyone else in Bordeaux due to the specific climate and exposition at the property.  They typically start to pick the Merlot at the end of August / early September, benefiting from the warmer summer months enabling veraison earlier and avoiding the risk of wetter weather in the latter part of September. Despite the vineyards neighbouring Chateau Haut-Brion there are distinct differences between the styles of Haut-Brion and La Mission Haut-Brion. First the vine density and the positioning of the vines in La Mission Haut-Brion are very different with the vines planted at a density of 10,000 vines per hectare compared to Haut-Brion at 8,000.  The vines at La Mission Haut-Brion are positioned from North to South and therefore the sun exposure is felt much more, heightening the sun’s effect on the wine. La Mission Haut-Brion is therefore more concentrated, has more intensity of flavour and typically riper fruit character compared with Haut-Brion. Haut-Brion is more gentler, more refined style providing potentially greater elegance, and potentially more earthy, savoury terroir
character rather than fruit intensity. Tasting the two together they are so different
and are wonderful contrasts in style despite them being neighbouring vineyards
made by the same team.  La Mission Haut-Brion is also half the size of Haut-Brion in terms of vineyards and production levels. Haut-Brion has 50 hectares under vine and typically produces 100,000 bottles each year. La Mission Haut-Brion has just 25 hectares under vine and produces 50,000 bottles each year. The production on both is a lot smaller compared to the other First Growths of Chateau Margaux, Lafite, Latour and Mouton Rothschild. In the winery 
A new, ultra-modern vat house was installed, opened to mark the 1987 vintage, followed
by significant renovations to the château, chapel and cellars. In 1996, a new bottling chain was introduced and a new tasting room was built, christened the Chapter Room, in honour of the Lazarists.  In 2007, new cellars were built, plus a tasting room sculpted by the best Italian woodworkers, which now features original engravings by Albrecht Dürer, plus a bottling centre and an improved storage area. However, the jewel in the crown of this major renovation project is a vibrant new tribute to
the Lazarist brothers. Returning to the Frontenac quarries – which in the 18th century supplied the stone for the most beautiful monuments in Bordeaux – the estate chose this material to build the Grand Chai, described as a “modern cathedral to wine".  
The consistency at La Mission Haut-Brion Arguably there is more consistency in quality throughout the vintages in wines from Pessac Leognan, since Merlot, Cabernet Sauvignon and Cabernet Franc play distinctive rolls in the region allowing for the assemblage to vary depending on which of the varieties have performed the best in each vintage. In Pauillac for example they are much more reliant on the performance of their Cabernet Sauvignon which makes up typically over 80% of the blend.  The winemaking team is exactly the same at both Haut-Brion and La Mission Haut Brion. The winemaking team at Haut-Brion has in fact been within the same family for three generations of the Delmas family going back to1923. Since 1988 the same team of three– Jean-Philippe Delmas, Jean-Philippe Masclef (Technical Director) and Pascal Baratié (Vineyard Manager) have been making the wines at both properties providing a very consistent style across both
Haut-Brion and La Mission Haut-Brion.  Bordeaux today With the global warming effect in the last twenty years tannins are riper and the quantity is
higher. This means the team have to pay more attention on the extraction process than before. They have tried to  maintain the balance and the freshness. The tendency being to shorten the length of maceration. Thanks to the level of ripeness the wines according to Jean-Philippe can drink sooner than before without altering the ageing potential. In fact, the window of accessibility is wider than ever before. The second wine made at Chateau La Mission Haut-Brion is the highly regarded La Chapelle la Mission Haut-Brion. The grapes are treated exactly the same whether they go into the first or second wine. Each year, the 27 individual parcels at Mission Haut-Brion are vinified separately. The wines are then tasted blind by the team and it is at this point the wines are separated into the Grand Vin and the second wine. All the wines are then typically aged
for 15 to 18 months in barrels with a lower proportion of new oak used in the second wines. The greatest vintages of La Mission Haut-Brion are the ’75 ’98, ’90 and 2000. Guillaume states “They are some of the finest wines I have ever tasted and show the quality of the property at
its best. For me they are the epitome of the La Mission Haut-Brion style. The 1998 La Mission Haut-Brion is drinking beautifully right now.” 
 The 2019 vintage Asked about the upcoming 2019 release, Guillaume is very excited about the vintage. It is the first vintage since 1998 where the three varieties of Merlot, Cabernet Sauvignon and Cabernet Franc are all at the same high quality with not one varietal performing better than the other. Early tastings around the region shows there is some variation in quality from appellation to appellation but he is super happy with the quality in 2019, even more so than the excellent 2018. It is similar to ’18 but the Spring weather in 2018 was very difficult in the vineyards and the vintage was saved by a fantastic summer. In 2019 the weather was much more consistent right up until harvest.  Explore all current Chateau La Mission Haut-Brion listings or browse more Editorial 

Ch. La Mission Haut Brion is one of the greatest wine estates in all of Bordeaux and is arguably the King of the Left Bank. Robert Parker has awarded it more 100-point scores than any other wine in the Medoc, equaling Petrus in achieving 11 perfect scores. 

Ch. La Mission Haut Brion is one of the greatest Bordeaux wine estates. We explore the wine that has received the most Robert Parker 100-point scores 

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