We normally taste Ch. Berliquet at Canon during en primeur, and with a tightly packed schedule there’s never enough time to visit both properties. This year, however, an extended trip allowed us to visit once most of the trade had left the region. On the sunny Monday after the week of en primeur, we arrived at Canon as normal – but, instead of disappearing into a tasting room, hopped onto some of the property’s iconic bikes (which are genuinely used by staff to travel between the two estates), and pedalled across the vineyards to Berliquet – a property that the Chanel team has quietly been transforming.  Ch. Berliquet is one of the oldest estates in Saint-Emilion, with roots dating back to the 1760s. The first known owner was Jean de Sèze, a contemporary of Jacques Kanon (the founder of Ch. Canon). This single plot of vines on the slopes of Saint-Emilion’s limestone plateau has remained unchanged for over 150 years. Southwest of the town, nestled between Ch. Bélair-Monange and Ch. Angélus, it offers much more than meets the eye. The wines were vinified by a local co-operative as recently as the late 1970s and the property only achieved Grand Cru Classé status in 1986. When Chanel acquired the property in July 2017, you would be forgiven for thinking that fruit from Berliquet would go into its more illustrious neighbour, Ch. Canon (which Chanel has owned since 1996); but that wasn’t what they had in mind.   “At the beginning, we took our time with Berliquet. To start with, we had to focus on ourselves,” Axelle Araud, the estate’s Wine Development Director, told me at a recent vertical tasting. The team credits the estate’s progression in part to a better understanding of their surroundings. Not long after their acquisition, the team carried out an extensive soil study which revealed that the estate’s slopes are home to all three of Saint-Emilion’s hallmark soils in equal measure: the vineyard’s plateau is made of limestone, the hillside a mix of limestone and deep clays, while the banks of the Dordogne river are predominantly sand and clay. The unique diversity of the soil helped to underline the estate’s identity.  “Ch. Berliquet is the expression of a specific landscape,” Araud says. One key element of this landscape is a Mediterranean belt that runs across the property (found at Bélair-Monange too), with Mediterranean species of plants naturally growing here – with cypress, fig, pine trees, lavender and laurel all at home. The team has looked to nurture this natural biodiversity, planting over 1,000 hedges, shrubs and trees since 2017, as well as installing nesting boxes for birds (to help as natural pest control). The property is certified organic as of the 2024 vintage.  Alongside this, Nicolas Audebert has embarked upon significant restructuring of the vineyards. At the beginning of Chanel’s tenure, the vineyard was planted with as much as 80% Merlot; but, in early 2018, following their soil analysis, the technical team realised the significant role that Cabernet Franc could play on the property’s clay-rich soils, on the slopes below the limestone plateau. Since then, the vineyard has gradually been restructured, with plots of Merlot replaced with Cabernet Franc. Today, 2.5 hectares of the vineyard have been replanted, taking the proportion of Cabernet Franc up to 40%. The goal in the long term is to bring the blend up to 50% Cabernet Franc.  In 2021, they also decided to plant some Malbec – 0.34-hectare plot of this grape that was – prior to phylloxera – widely planted in the region. Nicolas Audebert and his team believe that addition of malbec will add to the diversity of the fruit, the results of this change will be evident from the 2024 vintage, with its first inclusion in the blend.  While much of the work has been in the vineyard, part of Berliquet’s recent progress can be linked to the winery. Although Berliquet benefits from having the same technical team as that of Canon and Croix Canon, one of the thinks that marks Berliquet out from its stablemates is their use of amphorae. The estate started with just two amphorae in 2019, and today have 12 – deemed a key part of the wine’s character, with 10% of the blend matured in these clay vessels instead of oak. Araud pointed out that the amphora have helped to preserve the brightness of the fruit – carrying through their work in the vineyard to the final wine.  The 2023 vintage also saw the inauguration of what Araud calls “the playground” – their new vat room, complete with 22 stainless steel tanks. “Now that we have all the building blocks in place in the vineyard, we can pay more attention to each and every plot, resulting in greater precision and refinement in the final blend,” she explains.  The 2024 vintage is the eighth under team Chanel and, over that time, the team has continuously questioned their practices, making small adjustments in the vineyard and winery – making gradual but constant progression. And that progression is evident in the wine today, which has shaken off any rusticity it might once have displayed. As Jean-Basile Roland, Commercial Director for Chanel’s three estates, described to us back in April, they’ve been sharpening the wine’s silhouette – a wine that he describes as “telluric” versus Canon’s “ethereal” style. However you describe it, the wine is clearly better than ever before and well worth watching, with more improvements undoubtedly in the pipeline. Browse all current Berliquet listings or read more Editorial

In 2017, Chanel added Ch. Berliquet to their suite of prestigious Bordeaux properties, joining nearby Ch. Canon and Margaux’s Ch. Rauzan-Ségla. Our Bordeaux Buyer Hector Howes reports on the evolution of the estate under its new expert owners – and why it’s one to watch

How the Chanel team is transforming Saint-Emilion estate Berliquet – acquired by the owners of Canon and Rauzan-Segla in 2017 – and why it’s one to watch

Harnessing Ch. Berliquet’s potential

Berliquet: harnessing the property’s potential

I’ve written this having just finished my second en primeur report for Decanter magazine. Four weeks of intensive tasting, two weeks of intensive writing – Primeurs is both the best and hardest period of the year, exhausting and rewarding. But, where one tasting finishes another one arises: tomorrow, I fly to Canada for a tasting of Bordeaux 1982 wines – with the legendary vintage showcased in 40 top bottles at a charity dinner in Vancouver. Sometimes my life feels like a dream.   Despite not having a background in wine before joining Decanter in 2011, and certainly no family cellar filled with dusty treasures, I became enthralled the moment I was handed my first glass of fine wine – at my desk, no less. “How is this a job?” I thought to myself. Many years of tastings and trips passed, meeting the world’s foremost winemakers and writing about wine in various ways, however the “critic” role (more of an American designation than British, I think) was never one I coveted – and certainly not one I expected to ever have.    The barrier to entry seemed so high, even though I was already working at Decanter, which understandably tended to only use “regional experts” and Masters of Wine, many with decades of experience and often living in their chosen region – something I now fully understand and would encourage any budding wine writer to do.   Skip forward a decade or so and I’m now responsible for Decanter Premium, overseeing the digital strategy for subscriptions and content behind the paywall on decanter.com – and now Bordeaux correspondent too, having taken over from long-time Decanter contributor Jane Anson in July 2021.   When Jane moved on, the question was who would fill the position. A combination of desire on my part and the lure of a challenge (who wouldn’t want this job?), happenstance (in that I had not long moved to live in Bordeaux city, placing me in the perfect location to take up the role), and a shortage of qualified candidates in the region, all seemed to work in my favour.  While Decanter authoritatively covers wines from all around the world (one of its biggest selling points for me), Bordeaux is what we call “heartland content” – and the stats don’t lie. It’s consistently the most-read and paid-for content we produce, by far. From Primeurs to livrable “in-bottle” tastings to estate verticals and incredibly old horizontals, there’s always something to taste, at every price point, in every conceivable style. And with around 7,000 estates, there’s no end of new cellars to see, new vineyards to walk into and new winemakers at the helm.   So there’s pressure, especially writing for the magazine with its expectation of quality and deep understanding. But, there’s also non-stop dynamism, and living here brings the action so much closer, something I never truly understood before. An hour each way from my home, I can be in Saint-Emilion, Sauternes or Saint-Julien.   The Decanter name is hugely respected in Bordeaux and I’m extremely fortunate to have been welcomed so generously and thoroughly. The last 22 months have been spent tasting and visiting estates as much as I can. I’ve done dozens of verticals that have yet to be published, spent weeks with winemakers in vineyards and cellars, talked to consultants about changing styles and négociants about market trends. I took part in my first harvest last year (thank you Cheval Blanc) and my first blending session this year (thank you Nicolas Glumineau, General Manager at Pichon Comtesse).   I've also been inducted into the Commanderie du Bontemps of the Médoc, Graves, Sauternes and Barsac, as well as the Hospitaliers de Pomerol (two historic brotherhoods, now modern-day societies that encourage, support and help promote the wines and winemakers of their respective regions). These are all enriching experiences that are the building blocks of my Bordeaux knowledge.  Somehow I thought having done the 2021 en primeur tastings and report last year (as well as two in-bottle reports since I started – all with around 900 wines sampled each time) the 2022 report would be easier – it wasn’t. Tasting is actually really tough – not only physically demanding and tiring, but mentally exhausting. It goes without saying that experience is helpful, comprehension and context are key for notes and scores, but passion is also a must. I’m building the first two, the latter I still have in abundance.   Despite sometimes pinching myself, looking back there’s a strange sense of destiny attached to my current role. My first ever work trip was to Bordeaux (and I ended up buying an apartment almost round the corner from the hotel I first stayed at). My first fine wine vertical was – amazingly –  of First Growth Ch. Mouton Rothschild with the then brilliant winemaker Philippe Dhalluin at Café Lavinal in Pauillac. My first article was about a Bordeaux panel tasting and I even had maps of Bordeaux vineyards on my bedroom wall in London, something I had forgotten until I came across some old photos recently.   An added bonus, my father only drinks Bordeaux wines so this job definitely earns me favourite child status.  As much as it’s serious and hard work, it’s also huge fun, interesting, glamorous and ever-changing. I think humility and gratitude are important, as well as a genuine enthusiasm to tell the stories of these wonderful wines and the people who make them.  Is the role of “critic” my true calling – above publishing, improvement strategies and brand building? I don’t know. What I do know; I love writing. I love Cabernet (Sauvignon and Franc)! I love mature Bordeaux (and am currently seeking out as much 2001 as possible). I love blind tasting the region’s wines to try and place them in their appellations (despite myriad differences in viticulture and vinification this is somehow still possible – the power of Pauillac, the prettiness of Margaux, the minerality of Saint-Estephe). I love the light in Saint-Emilion at dusk during the summer – is there a more romantic wine region?    But most of all, I love the joy and passion surrounding winemaking – not limited to Bordeaux, but the family histories, long-standing traditions, connection to gastronomy, focus on innovation and investment – they all give the region an extra glint in my eye.   What I don’t love, however, is my dentist telling me off and trying to find a place to store all my bottles... but there are worse problems, admittedly. (Speaking of which, if anyone wants to drive me round the region for next year’s Primeurs, applications open soon!)  For now, I'm excited to see how this year's Primeurs campaign goes. There's no doubt that many producers have created exceptional wines worth buying, but whether the market is sufficiently dynamised by the prices is another question. I'm eagerly awaiting a copy of this year's Bordeaux guide (on sale with the June issue of Decanter) filled with all the wonderful happenings in Bordeaux right now, as well as looking forward to discovering some of the hidden non-classified gems of Margaux. The sun looks set to appear for the first proper time this week, sending temperatures up and kickstarting the 2023 growing season – and, as with any vintage, there’s already so much to look forward to.  Read more about Bordeaux or browse all Bordeaux listings  Photography: Luke Carver

Georgie Hindle had big shoes to fill when she took over from Jane Anson as Decanter’s Bordeaux correspondent in 2021. Here she talks about how she fell for the region and what it’s really like working as a wine critic

Decanter’s Bordeaux correspondent Georgie Hindle takes us behind the scenes in Bordeaux, talking about life as a wine critic

Behind the scenes with Decanter’s Georgie Hindle

It’s never easy to pick a favourite vintage for drinking now. But producers’ eyes light up when asked, as they think back to the best bottles – and moments. Of course, it’s all a matter of taste. There are collectors who love very mature wines, while others are much more taken by younger vintages, still with a bit of primary fruit. Winemaking has also changed and – while most top Bordeaux is made for the long run – more modern vintages, with more precise viticulture and vinification, are much more approachable in their youth. 
The youngest vintages to enjoy now: 2017, 2013, 2009 + 2003 
Like many Pomerols, with their opulent fruit profile and rounded tannins, Ch. Lafleur can be enjoyed young, admits Lafleur’s cellarmaster Omri Ram. “But it’s like going to a Pink Floyd concert and leaving after the first 10 minutes. It is brilliant – but you miss so much,” he explains. Lafleur’s other Pomerol wine, Les Pensées, comes from clay soils and it is this that makes the wine that much more accessible at a younger age compared to Lafleur, from gravel soils. Ram believes, however, that the 2013 Lafleur is drinking beautifully now, despite its youth. 
Similarly, on the Left Bank, Léoville Barton’s Damien Sartorius believes that while some vintages are better with 30 years of age (2010 or 2016, say), most, especially the in-between, “off” years are best enjoyed younger – and can offer great value. “I’m very happy drinking a Lynch Bages or Poyferré from 2013 today – they’re lovely wines and it’s a lot cheaper,” he says. 
For Ducru-Beaucaillou’s Bruno Borie, choosing what vintage to drink depends on many factors: “When it’s sunny, I like to drink younger vintages. When it is cold and wintry, I prefer mature vintages, but temperature, air pressure, food, and company all plays a part in identifying what vintage to drink.” He believes even a Ducru as young as 2017 is beautiful to drink now. While he thinks the vintage was written off by the press, it is an elegant vintage and already offers great pleasure with food. Bigger vintages, such as 2010, on the other hand, still require ageing. 
Ch. Margaux, while distinctly elegant, has always been a wine built to last and winemaker Philippe Bascaules wouldn’t touch anything younger than 2009 – even the lighter 2011, ’12 and ’13 vintages, he believes, are too young. But 2009 bucks the trend in terms of its approachability: for Bascaules, it has always been enjoyable. It’s “a great wine with exceptional, very creamy texture, opulence, so powerful but not at all aggressive”, he explains. Ch. Rauzan-Ségla’s Nicolas Audebert’s pick of the younger vintages is 2003. “If 2003s are well done – as in not too much – it is extremely nice to drink. Good terroir combined with slow evolution means after 15 years in bottle it is now showing beautifully. Taste it blind and you wouldn’t think it was a such a warm year,” he suggests.
 
Under-rated and excellent now: 2014, 2012, 2011, 2004, 2001 + 1999 
Most agree that the 2001 vintage was underrated on release, drowned out by the fanfare surrounding both 2000 and 2003. “The 2001 is a very nice vintage to rediscover,” explains Audebert. “It disappeared after the hype of 2000, but it certainly has stood up well to the more celebrated vintages.” Similarly, he believes the 2011 shared a similar fate. “After the release of 2010, 2011 suffered, but it is a very nice, interesting vintage. Not showing off, but is very elegant, a very smart vintage and developing slowly.” 
Like many of the top wines of Bordeaux, you have to be patient with Ch. Lafite-Rothschild. “We make wine for the long run,” says the property’s International Director Jean-Sébastien Philippe. For him, a good vintage is a wine that seems to appear younger, the older it gets. Despite the long-term ageing potential of Lafite, the 2004 is a moderately young wine that he believes is great to enjoy now.  “It has always been very classic, but very closed and therefore underrated. With maturity, it has become an amazing wine to rediscover now,” he says. Bascaules also believes 2004 to be one of the more underrated vintages at Ch. Margaux, again because its sits between the two revered years, 2005 and 2003.  “But it’s much better than people think,” he says. “The tannins are now starting to be soft. It is very concentrated, the nose is very open. It’s very complex.” For Bascaules, the 1999 is another wine that has flown under the radar but is at its best now. “It was a very hot vintage, but not very concentrated. Therefore, the tannins are very ripe and soft, the texture is very resolved, yet the nose is still young,” he explains. 
Ram echoes Bascaules in singing 1999’s praises, with the Grand Vin at Lafleur at its peak. “It is drinking beautifully now, if you can find it, and you will get more pleasure drinking ’99 than the 2000 today. It shows beautiful balance, power versus elegance. Density versus lift. All these contradictions of fine wine show really well in the 1999. The 2000 still behaves like a juvenile in comparison.” 
He also loves 2014: “It’s an underappreciated vintage, but it is the last classical vintage in Bordeaux – charming, elegant, sophisticated.” The 2014 Ch. Canon is a perfect example, drinking beautifully now. He also highlights how successful Saint-Estèphe was that year, with lots of great wines to choose from and well-priced for the quality. For Sartorius, there is a lot of value to be found in 2012: “Léoville Las Cases, Ducru-Beaucaillou, at a very good price – they’re so good and deliver so much,” he says. 

At their peak: 2000, 1996, 1995, 1989, 1986, 1985 + 1983 
For Bascaules, Margaux at 20-30 years old is perfect. “1989 is probably drinking at its optimum today,” he says, “as is 1990. The 1985’s nose is tertiary but there is still fruit too. I like a bit of fruit still in the wine. The 1983 is a great wine and great to drink today.”
The 1983 was a classic vintage throughout the Margaux appellation, and much better than the more revered 1982, believes Audebert: “The 1983 in Margaux is much more interesting, whereas the 1982 is in danger of being over ripe.”  He explains that a ripe vintage and high volumes – at that time – was uncommon, and therefore often not something the era’s winemakers were equipped to handle. He argues that this has resulted in some 1982s from Margaux being a bit tired, producing “tapenade, metallic flavours”, and lacking vibrancy. 
Ram’s favourite vintage ever of Les Pensées has to be the 2000 – he explains it was “the first real blueprint” for the modern Les Pensées, when it switched from being a second wine to being an expression of the clay soils at Lafleur. Combine this with the fact that 2000 was a great vintage and you have a superb wine that is symbolic too. 
The 1986 is Lafite’s pick for drinking now. For Philippe, it shows what the estate is capable of: “It is the vintage that can help you really understand Lafite – the emotion and the precision,” he says. 
Wines for the ages: 1955 + 1964 Ch. Canon, 1916 Ch. Ducru-Beaucaillou 
While many Clarets will reach their 50th birthday, some vintages can last even longer. Nicolas Audebert recently tasted Ch. Canon from 1955 and ’64, two fantastic vintages for the château, which were both still drinking beautifully. Bruno Borie more recently enjoyed a 1916 Ducru-Beaucaillou that was still in form. It is a particularly interesting vintage since it was a wine made only by women, as the men were at war.  A lovely note from the cellar master of the time suggests that “the wine might be too powerful, rich and strong for the trade”. “I’m not sure if the trade would feel the same way these days,” laughs Borie. “At 104 years old, it proves it is important to make wines with sufficient structure to pass 100 years. Even today, the wine still has plenty of character.”


We spoke to some of the region’s leading names – from the likes of Chx Canon , Ducru-Beaucaillou , Lafite-Rothschild , Lafleur and Margaux – to find out which vintages they think are at their best right now.

Chx Canon, Ducru-Beaucaillou, Lafite-Rothschild, Lafleur and Margaux on which Bordeaux vintages are entering their drinking window

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