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

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

The new Burgundians – Jasper Morris MW 

The new Burgundians

Some wine regions dance to the beat of their own drum. From the sweeter reds of Ethiopia’s Rift Valley to the soft-styled fizz of Altos de Pinto Bandeira, Arnica Rowan explores far-flung regions with distinctive approaches to growing vines and making wine – almost exclusively for their own people

Arnica Rowan explores wines that don’t make it to the international market – with distinctive styles from Ethiopia, Brazil, Thailand and beyond

Discover the wines of Ethiopia, Brazil and beyond

Not for export

As we commented in our 2022 report, vintages in Napa are, it seems increasingly defined by extreme conditions. The 2023 harvest, however, was – as Neil Bernardi MW, COO at Colgin described it – “remarkably unremarkable”.  “It was a calm and collected vintage,” said winemaker Cathy Corison, who has been making wine under her eponymous label since 1987. “There was nothing that forced your hand. It wasn’t too cold, it wasn’t too hot, it wasn’t rainy. We had the luxury of time.” For Corison, it was an exemplary vintage, easily one of her favourites – although she’s not quite ready to declare it the best vintage of her career (yet, at least). Corison is not alone in such praise: throughout the valley, whispers about 2023 have been growing louder, with the vintage felt by many to be one of the best in recent history.   Weather during the year was unusually cool at times, but largely uneventful. Looking back to the months before the growing season kicked off, however, Northern California received historic levels of rainfall. With a classic Mediterranean climate, the winegrowing regions of California experience warm, dry summers, with most rain falling between October and April.  In the drought years of 2020 and 2021, Napa received a scant eight and 10 inches of rain respectively. The 2022 vintage brought welcome relief, with 26 inches of rain measured in Oakville – just about average as measured against the past 10 years. Records were smashed in 2023, however, with an astounding 58 inches of rain measured between the close of the 2022 and start of the 2023 harvest. Local reservoirs were filled to the point of overflowing, and many vineyards in lower-lying areas were under water at points during the winter.   The rain stretched into May, punctuated by heavy fog and, with soaked soils and overcast skies, budburst was delayed by about two weeks. Although most winemakers on the valley floor reported excellent fruit set, resulting in higher-than-average crop loads, this was not the case everywhere. Up on Spring Mountain at Philip Togni Vineyard, winemaker Lisa Togni explained that incoming rainstorms reach this part of Napa first, and heavy cloud cover often lingers at peak level. Humidity and wind can hinder pollination, lowering the number of berries on each cluster. Yields at Togni, while not historically low, were much lighter than average in 2023. In stark comparison, Sam Kaplan, winemaker for Arkenstone and Memento Mori, reported having to thin “aggressively” during the growing season, with higher-than-normal potential yields thanks to large, perfectly formed clusters.   Springtime temperatures were cooler than average, a trend which would continue through the summer. In June and July, temperatures never exceeded 90°F (32°C) – highly unusual compared to every vintage in the past decade, and, while August warmed up slightly, there were zero major heat events. “Bad things can happen in the first week of September,” noted winemaker and viticulturalist Steve Matthiasson. Most Napa winemakers collectively hold their breath around Labour Day weekend, now notorious for heatwaves and wildfires. In 2023, however, extreme weather never materialised. Moderate, slightly lower-than-average temperatures persisted throughout September, and as the weeks ticked by, the fruit remained on the vine, slowly and steadily accumulating sugar and flavours.   For many producers, the biggest challenge of 2023 was being patient. Given the heat spikes in recent years, Togni said she was fully prepared for harvest by 15th August. Twice she scheduled pick dates only to call them off at the last moment when additional sampling showed that the ripeness was still not at the desired level. Finally, harvest began at Togni on 2nd October – a huge difference from 2022, when harvest started on 23rd August.   As the harvest season stretched on and temperatures remained steady, the potential for rain became worrisome. With fruit projected to be hanging in mid-October and even later depending on site, the chance of rainfall increased. This also did not happen. “Everything was just perfect,” said Myriad winemaker Mike Smith, noting that while the vintage conditions were certainly unusual for recent history, in many ways, they were a return to an earlier version of normal. “No one under 40 has probably ever seen a vintage like this. They’re more used to heat and drought,” he explains.  Smith started harvesting for Myriad on 5th October, which is about three weeks later than recent vintages. He wonders, though, if perhaps other winemakers kicked off harvest too early, which is something Kaplan pondered as well, citing a lack of mid-palate density in some of the wines he’s tasted – perhaps a result of looking at the calendar too intently, especially given recent harvest trends in Napa. Picking was still underway in early November at some addresses. At Colgin, Bernardi says that their patience paid off. “When we harvested, we felt like each vine was at the absolute apex of what it could give,” he said. “The alignment of sugars and phenolics was phenomenal.” He added that, at Colgin, the vine leaves started yellowing almost immediately after harvest, confirming their hunch that the fruit was fully developed and the vines ready to go dormant.   There were no concerns over yield – the plentiful water and cooler growing season not reducing crop size, and most brought in an above-average yield, especially on the valley floor. The quality of the fruit once harvested was uniformly reported as healthy, with multiple winemakers citing fresh, natural acidity levels and ample tannins. Smith loves the colour and density of 2023, noting that extraction was quick and easy, and the fermentation smooth. For Kaplan, a challenge was maintaining the body of the wine – handling the ferments in the winery to extract enough fruit to match the structure of the wine.   Many winemakers also praised the aromatics of 2023. In a hotter vintage like 2022, many of the delicate notes can be “baked out” of the wines, explained winemaker Tony Biagi of Patria and Hourglass. In 2023, Biagi said, the combination of red and black fruit, along with floral notes, has created highly perfumed wines. In his view, the 2023s offer “spectacular power and finesse”, with all “the stuffing” to be “a superlative vintage” – producing wines that will age for at least 30 years.  What may set the 2023 wines apart is the high level of “finesse and elegance,” as described by Andy Erickson of Favia. While he believes that 2023 may not be the most Californian vintage — at least by modern standards – the wines have a lithesome quality on the palate, balancing power and grace. This was a sentiment echoed by Bernardi, who praised the “sense of weightlessness” of the wines produced at Colgin, something he says only the greatest vintages can achieve.  Comparing the vintage to any other proves challenging. More than a few, including Matthiasson, said the weather during the growing season was reminiscent of 2011 – that is, without the October rains that ultimately caused a difficult harvest that year. Lisa Togni feels 2023 is more of a classic Napa vintage with moderate conditions, seemingly cool perhaps only because of the severity of the heat in recent years. Kaplan believes that the purity of fruit in 2023 is comparable to 2018, but even more pronounced. “The wines just jump out of the glass,” he said, “They’re so perfumed and aromatic.” For Corison, the very high level of quality of 2023 is reminiscent of 2001, which she said was similarly elegant and continues to evolve gracefully.  But is 2023 the vintage of the century, as the rumours might have it? Overall, the quality in 2023 is very high. After tasting through dozens of barrel samples, it’s clear that 2023 is a vintage where it was likely more challenging to make bad wine than good wine.  While we’re already looking ahead to 2023, more than a few winemakers lamented the quick dismissal of other vintages – perhaps overlooked in a rush of quick generalisations and soundbites. Quintessa’s Wineburg believes 2023 is undeniably a great vintage, however 2022 was also great – each year has its own personality that will appeal to different palates. For Erickson, the nascent 2024 wines (a vintage he’s particularly excited about) are more typically Californian in style with density and power, while 2023 will be defined by its finesse and restraint.  The 2023 vintage is outstanding – and the wines will appeal particularly to those with a classic palate. Given the late and long, cool growing season, many – if not most – of the wines have a distinct Bordelais quality, balancing pure Californian fruit with fresh acidity and elegant, nimble body – with “a sense of weightlessness” as Bernardi put it. The tannins seem poised to integrate well into the finished wines, and there’s a sense of restraint to many of the wines that is reminiscent of older Napa. The quality in 2023 is far more homogenous – in a positive way – than in recent challenging vintages, where site specificity and the ability to make quick decisions widened the field between those that faltered and those that excelled. “We’ve seen so much awfulness,” said Togni, referencing the challenges of 2020 and 2022, “but this was a nice reminder that not every year will be difficult: 2023 was a classic, great vintage – a storybook vintage.”   Napa 2023: the vintage in brief   Heavy rain over winter and through to spring replenished water reserves, with a long, cool growing season and late harvest  Yields were generally higher than average, especially on the valley floor  Quality largely consistent across the region  Cooler season with extended hangtime produced wines of elegance and finesse  Wines combine perfumed aromatics, fresh acidity and fine tannins, with a classic style reminiscent of the Napa of yesteryear  A top vintage – one of, if not the best in recent history  Keep your eye out for the first releases of Napa’s 2023 vintage. In the meantime, read more about California or browse all current Napa listings 

Since the fruit came into the winery, Napa’s winemakers have been quietly confident about the 2023 vintage – with murmurs of greatness. Now, as the first wines from the year are released, we find out whether the vintage is as good as the rumours suggest 

Is 2023 the vintage of the century in Napa? We talk to Corison, Colgin, Arkenstone, Tony Biagi, Steve Matthiasson and more about the year and its wines 

Discover the wines of the 2023 vintage in Napa, California 

Napa 2023: vintage report   

The 2023 vintage in the Rhône was – like elsewhere in France – hot and dry, but not as hot as 2022. The preceding autumn was wet, but from January through to March 2023 there was practically no rain (indeed, not a drop fell between 21st January and 21st February).  Rain arrived in mid-May and there were frequent, small showers until the end of June, providing just enough water to avoid major water stress. Flowering and fruit-set took place without any issues, but as the rain showers continued, the threat of downy mildew and black rot arrived – and needed managing to avoid damage to the crop.  Late August brought a new challenge, with a heatwave that saw temperatures hit 40-42°C, lasting two weeks. There were reports of blocked ripening and young vines dying, but fortunately the weather cooled off and September offered a substantial diurnal swing in temperatures, helping retain aromatics and acidity in the run-up to harvest. The whites were largely brought in in August, before the heatwave had finished, while the red harvest took place over an Indian summer, with the last fruit in around mid-October.  The Northern Rhône faced additional challenges, with hail in Cornas, Crozes-Hermitage and Saint-Joseph, then on 18th September torrential rain – with over 100mm falling in one night. The northern part of the appellation avoided this deluge, with just 20mm.  Here’s what the critics are saying about the wines.  Jeb Dunnuck  Jeb Dunnuck is gradually releasing his reports on Rhône 2023, starting with Châteauneuf-du-Pape and Gigondas.  In Châteauneuf-du-Pape, 2023 is “another solid vintage”, he writes, offering “a bevy of ripe yet not excessive, pure, charming wines with loads to love”. He finds them darker-fruited and cooler than “the sunny, exuberant 2022s”, with a “soft, plump elegant style, and beautiful overall balance”. They are not intensely concentrated, he says, but “shine for their balanced, layered, seductive style”. They combine freshness and depth, and are “on a par, if not slightly superior to, the 2022s”, says Dunnuck, feeling they’ll also be longer-lived than the 2022s – comparing them stylistically to the wines from 2020, 2018 or 2012. While it may not be “truly great”, drinkers will find “a wealth of beautiful wines”.  As for Gigondas, he finds the wines “pure, elegant, beautifully balanced” – reminiscent of 2020 or 2012, “fresher and more elegant than the 2022s”. The vintage was the first in which whites were permitted in the appellation, and these come highly recommended – “beautifully fresh, focused, yet concentrated whites that show the limestone, mineral-like character of the appellation”.  Explore Jeb Dunnuck’s reports, notes and scores on his site (subscribers only)  Drink Rhône – John Livingstone-Learmonth  So far, John Livingstone-Learmonth has only published thoughts on the Northern Rhône in 2023, where he feels it is “good” if not “spectacular”. The reds have “reasonable levels of tannin”, while the whites are, he writes, “a definite buy”. In Cornas, he writes, the wines have an approachability, but don’t have “great stuffing or structure to match the really long keeping vintages such as 2015 or 2019”. He feels the wines will appeal to a modern audience, balanced with refined tannins and the best set to drink over 20-plus years, although selective buying is advised. In Crozes-Hermitage, this is particularly true, Livingstone-Learmonth advises, highlighting both mildew and hail, even if the best are impressive – with “snug tannins” and “stylish content”, and potential five-star ratings. The 2023s of Côte-Rôtie seem to stand out in the line-up, aromatic with moderate alcohols, even if not overtly structured. The results are, in Livingstone-Learmonth’s mind, “very satisfying”, with “appealing exuberance and plentiful fruit” – wines he expects to drink for a good 25 years or so. Explore John Livingstone-Learmonth’s full report, notes and scores on his site (subscribers only)  Decanter – Matt Walls  Both in the north and south of the region, the vintage earns a modest 3.5 out of 5 rating from Decanter’s Matt Walls. He emphasises how the rain showers that arrived in May and June were “crucial” in the otherwise hot, dry year, even if they also brought disease pressure.   Unlike other recent vintages, Walls highlights how approachable the 2023s are – perfect for drinking while waiting for other vintages (including the 2022s) to come round. He says the wines are perhaps comparable in quality to the 2022s, although are much more open. Both in the Northern and Southern Rhône, he finds the whites more consistent than the reds – offering “intensity, freshness and energy”.  The reds are more mixed in quality. In the south, you’ll find “a clutch of juicy, approachable and early-drinking wines”,  he says, “ripe with soft tannins and gentle acidity”, but “nonetheless displaying detailed terroir expression”. He found that, while Châteauneuf-du-Pape was heterogenous (with some wines lacking in acidity and marked by alcohol), Vinsobres, Lirac, Beaumes de Venise and Rasteau all excelled this year. He advises looking out for wines with Mourvèdre in the blend, bringing “welcome sinew”.  In the Northern Rhône, things were trickier. Hail struck Saint-Joseph, Cornas and Crozes-Hermitage, and there was a huge rainstorm on 18th September – so heavy that it damaged vines and resulted in some dilution. Côte-Rôtie, Condrieu and northern Saint-Joseph dodged the storm (receiving 20 versus 100mm elsewhere) and made some “excellent” wines, according to Walls. While much of the Northern Rhône produced fresh, supple reds, there is some “very fine Côte-Rôtie” and Cornas offers “strict, mineral and refreshing” wines that are “distinctly herbal”. Walls notes that there are many vibrant, fresh whites, particularly in Hermitage – where the whites are set to outlive the reds.  Explore Matt Walls’ full report, notes and scores on the Decanter site (subscribers only)  Wine Advocate – Yohan Castaing  Yohan Castaing hasn’t yet released his full coverage of the 2023 vintage in the Rhône, but has offered two reports on the whites of Châteauneuf-du-Pape and Gigondas, where it is the first vintage for white wines within the appellation rules. Generally, he finds the Southern Rhône whites in 2023 “aromatic and elegant, with bright acidities, a well-defined core and good aging potential”. In Châteauneuf, the aromatic profiles are, for him, reminiscent of 2022 and he considers the wines very good to excellent, with acidity that “balances the natural power and typically high pH levels of Southern Rhône grape varieties”. He attributes this in part to greater precision in the vineyard and winery, although some wines, he writes, still lack “dymanism and tension”.  The first whites to bear the Gigondas appellation name (coming from around 12 hectares of white vineyards) offer “a promising glimpse” of what lies ahead. He favours the pure Clairette expressions of Gigondas’s complex soils, even if the grape still represents a minimum 70% of the blends. Nevertheless, the 2023s, in Castaing’s words, have “remarkable freshness, tension and complexity”, exemplifying “the elegance and purity that Gigondas Blanc strives for, balancing structure with vibrancy”.   Explore Yohan Castaing’s full report notes and scores on Châteauneuf-du-Pape whites and Gigondas whites on the Wine Advocate (subscribers only)  Vinous – Nicolas Greinacher  In Châteauneuf-du-Pape, Vinous’s Nicolas Greinacher finds that 2023 “promises to be a delightful year for both reds and whites”. In his coverage of the growing season, he notes that sites with more clay fared better than sandier soils, able to retain key moisture during the year’s warm weather. He feels the reds in this leading appellation are good to very good, more approachable than the 2022s, and “although generally not set to be as long-lived as the 2022s, the finest 2023s are built to last”. He finds many of them “alluring”, “perfumed” and “juicy”. As for the whites, he finds them generous in style – matching the reds for quality, and offering brighter acidity versus the 2022s.  In the Northern Rhône, the reds are – he writes – “surprisingly fresh, calm and balanced”, with ripe fruit and “gentle tannins”. They aren’t as structured and long-lived as the 2022s, much more open and accessible in youth, but there are “standout wines in every appellation that are sure to endure”. He finds that Côte-Rôtie stands out this year for its “hauntingly elegant” wines, while Cornas offers wines of “granite-based austerity, fleshiness, boldness and elevated flavor concentration” (even if they’re “not blockbusters”). Saint-Joseph is more mixed, while the whites of Condrieu are mostly “lively, fresh and expressive, albeit not as precise and elegant as in 2021”.  Explore Nicolas Greinacher’s full reports, notes and scores on Châteauneuf-du-Pape and the Northern Rhône on Vinous (subscribers only)  jancisrobinson.com – Alistair Cooper MW and James Lawther MW James Lawther MW has covered the Northern Rhône and Alistair Cooper MW the Southern Rhône for jancisrobinson.com. In the north, Lawther finds 2023 “more elegant and approachable” versus the power and concentration of vintages like 2018, 2019, 2020 and 2022. The reds are generally low in alcohol, with a maximum 13%, he says, and relatively high pHs, yet they feel very fresh, with supple tannins and “juicy, gourmand” fruit – offering a much more “classic” profile, he finds. Côte-Rôtie has produced some of the vintage’s best wines, and is more consistent than those of Cornas, Crozes-Hermitage (with hail in both) or Saint-Joseph, full of “balance and charm even if they are not destined for excessively long ageing”. In the south, the story is rather different, as Cooper reports – the year defined by its warm and dry conditions. Although Châteauneuf-du-Pape produced some “extremely high-quality red wines”, selection is key, with some wines jammy and high in alcohol, although the best are excellent, offering power and concentration. The appellation’s best whites offer freshness and minerality, although some drift into flabbiness, with picking dates key. Cooper found quality in Vacqueyras and Gigondas more variable – for the latter, he attributes this in part to its sandier soils (less able to retain water in the dry year). Generally, however, he found the southern crus “largely turned out good-quality wines” – with Cairanne, Lirac and Rasteau in particular home to “balanced and attractive wines aplenty”. Explore the full reports, notes and scores on jancisrobinson.com (subscribers only) We’ll be adding to this feature as other reports are released.    

The 2023 vintage was far from easy in the Rhône Valley – but has clearly produced some charming wines. As the critics publish their reports on the year, we round up what they’re saying about the vintage and its wines, from Châteauneuf-du-Pape to Côte-Rôtie  

As the Rhone starts to release its 2023s, here’s what the world’s leading critics–Jeb Dunnuck, Decanter, Vinous, the Wine Advocate–are saying about the wines 

Rhone 2023 – what the critics are saying 

Rhône 2023: the critics’ verdict 

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

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


FONDATA: A Descendant of the Sword

A Descendant of the Sword 

While critics are mostly yet to publish their reports on Napa’s 2018, the early reviews are outstanding. Alder Yarrow describes it as “a complete knockout, with phenomenal potential” and “some of the best wines that Napa has seen in almost a decade”. Antonio Galloni has suggested the vintage offers “gorgeous, super-refined Napa Valley Cabernets that are quite a bit more understated than what we have seen in recent years”. Lisa Perrotti-Brown MW has just released her glowing report for the Wine Advocate – the top line that the wines are “packed with purity, vibrancy and energy”. The year was cooler than normal for the region, allowing the grapes to ripen long into the harvest; it was essentially an easy year for the growers that caused little stress. “We usually find the uneventful vintages to be the best years,” says Thomas Rivers Brown – the superstar winemaker behind dozens of California’s top wines, including those of Schrader Cellars. “After a particularly wild ride in 2017, it was nice to have a relatively calm, cool growing season with an abundant crop.” Will Harlan feels it’s a particularly important vintage for Promontory – and one that he’s excited to introduce to the world, although we won’t get to see the wines for a couple of years yet. Talking to him and Cory Empting, the Director of Winegrowing, they explained how it felt like everything had come together – a decade’s worth of work in the vineyard coming to fruition in the wines. Empting noted that it was a relatively dry year (with rainfall down around 30% on average), but the rain that they did get fell in late April and early May – just after budbreak and as the vines were gearing up towards flowering. This enabled them to dry-farm a larger percentage of the vineyards. Temperatures were steady, with the mercury not rising above 100˚F (38˚C) and only rarely above 90˚F (32˚C). The region’s trademark fog, one of the keys to the quality produced, was also a little bit different in 2018 – not burning off until midday, keeping temperatures lower than normal. The season ended with an Indian summer with no threat of rain; meaning a wide picking window for producers to work with. At Promontory, Empting felt there was a real energy in the fruit – he followed his gut, taking a gamble and they finished picking two weeks earlier than normal, long before many of their neighbours. Everyone I spoke to reiterated the joy of having a bit of volume to work with in 2018 (up around 20-30% according to Napa Valley Vintners) – and while the larger berries harvested could have created dilute wines, lower in tannin and colour, that was far from the case. As Brown explained, “Colour and concentration came quickly – mostly due to true ripeness, so it wasn’t necessary to really hammer on the ferments to get them where you wanted. If you did, you probably produced wines that were over-extracted, and focused on structure over flavour.” Mike Smith of Myriad Cellars described it as a “textbook” year – with everything falling into place. There were no heat spikes and the ample crop enabled him to drop fruit without worrying about his yields. The challenge for him with such generous volumes, however, was tank space – especially as he works out of a custom crush, where tanks need to be turned around for someone else to use. Nevertheless, he managed, taking advantage of some extra tanks of his own and the resulting wines have an amazing freshness and purity, yet also dark colour and textural richness.  Empting is similarly happy with the results – wines that he feels really demonstrate the character of the Promontory property. For him, they’re lithe – not having the baby fat you’d normally see, with tension, length and great acidity. “You’ve taken all the weight out of it,” he explains. “It has density – but the perfect amount that isn’t distracting you from the detail.” He’s one of several to highlight the suppleness of the tannins, making it an extremely transparent, crystalline vintage that will drink from the get-go, but has no doubt about the ageing potential given the balance in evidence. So how does it compare to recent vintages? Brown felt many would be tempted to compare the vintage to 2012 – having similar crop and berry sizes, but that the wines of 2018 are “far superior” that 2012's earlier-drinking style. “Though the wines are very charming right now and very drinkable, there is quite a bit of tannin lurking beneath the surface. I assume these wines will be very open for a year or so and then go dormant for a while. They should easily age two to three decades,” he explained. For Smith, they sit somewhere between 2013 and 2016 – the tannins of the former, but the polish of the latter.  No doubt we'll hear more in the coming months, but it's looking like an exciting vintage – one that offers an old-school style of Napa with elegance, balance and great cellaring potential. Browse Napa or read more about California

As Napa’s top names start to release their 2018s – with more to follow over the next couple of years, we talk to some of the valley’s top names to find out more about the vintage, a year that shows great promise

We talk to top Napa Valley wine estates Schrader Cellars and Promontory to find out more about the 2018 vintage that is tipped for greatness

2018 Napa vintage report

Napa 2018: a promising vintage

Reports coming in last summer of the long drought that hit Burgundy had many writing off the vintage before it had even been picked. What then turned out to be the earliest harvest on record did nothing to calm those concerns. Many of the vignerons themselves were concerned about how the wines from this unique growing season would turn out. Preceding one of the most challenging seasons in the region’s history (2021 being beset with frost, rain, disease… you name it, it happened), everyone is looking back at 2020 and wondering what they were worried about. It is abundantly clear that 2020 produced some magnificent wines, with exceptional balance, freshness and full fruit maturity, yet that also remain very Burgundian in style. There is very little not to like. How it happened is a lot less clear, but we heard plenty of theories, that – while not completely consistent – go at least some way to explaining the vintage. While the vignerons don’t know for sure why the wines turned out the way they did, how they got there is by the by: these are extraordinary wines. Tasting the vintage While we tasted as many wines as we could up and down the Côte d’Or and beyond, due to the complications of the late 2021 vintage, some vignerons were still busy finishing off the harvest when we visited. The late harvest has also impacted the timing of winery work, delaying the racking process, meaning some of the wines weren’t able to be tasted or were in a slightly awkward place. While the breadth of tastings was therefore a little more limited than usual (with more analysis to follow), we still came away with a good hold on the vintage. On the whole, the wines we did taste were brilliant both in white and red, with a little more consistency among the whites. Pinot Noir struggled more with the drought, while the Chardonnay seemed almost unaffected. Despite the early harvest and slightly contracted growing season, both the whites and reds we tasted were fully phenolically mature. Even though the vines shut down due to the heat, there was no evidence of greenness at all. Some vignerons kept to the traditional 100 days between flowering and harvest – others were down to as little as 90-95 days, with some believing this to be the “new normal”. Benoît Stehly, winemaker at Domaine Georges Lignier believes that 2020’s drought had the same effect on the grapes you get when fruit is dried. “A dried apricot is both sugary and rich in acidity,” he says. “The dehydration of the berries concentrated the sugar,  flavour,  fruit and the acidity. It is the reason why the freshness of the 2020s is so good.” He contrasts it with 2018, another “hot vintage” but with more summer rain. “The alcohols were high and the acidity low in 2018 because the vines never shut down.” Bouchard’s Frédéric Weber echoed this. “The grapes’ maturity was stopped by the drought,  but this was positive, as there is greater natural acidity and natural freshness to the wines.” The expanded range at Alvina Pernot in 2020, a range of taut and mineral Chardonnays The whites The white wines we tasted were exceptional – with fantastic balance, great acidity and wonderful concentration, but moderate alcohol levels, when compared to the more exuberant 2019 and 2018 whites. So many vignerons were keen to point out the low pH levels and very high concentration of tartaric acid – reminiscent of the 2014s, but these wines have so much more flesh too, making them easy to enjoy already. They are less skinny and austere than the 2014s, yet have the energy and equilibrium to age beautifully. What is not to like? Guillaume Boillot at Henri Boillot highlighted the salinity and dry extract in the whites, making them “hyper dynamic and balanced”. He noted that the acidity is thanks to the vines shutting down – something which only happened to the Chardonnay. Frédéric Weber explained that the Chardonnay resisted the heat better, having very high tartaric levels and a pH that is the lowest since 2014 (at 3.1-3.2), creating classic wines. “The balance is perfect,” he said. As Olivier Lamy (Domaine Hubert Lamy) and Francine Picard (Au Pied du Mont Chauve) pointed out, the picking date was key for the whites, as the grapes were ripening very quickly – gaining around 1% potential alcohol in just two days. From our tastings, however, everyone seemed to get this right. Producers were particularly happy to have full cellars when it came to whites – with many coming close to the legal maximum in terms of production. Michel Pernot (Domaine Paul Pernot) feels that the generous yield was key to the fruit not being over-ripe, adding that in 2003 the yield was half of that in 2020 – and therefore overly concentrated and cooked. For Michel's daughter Alvina Pernot, it’s the best vintage she and her husband Philippe Abadie have made to date. Michel echoes the sentiment, saying it was simply “magnifique”. From what we’ve tasted, they’re excellent: vibrant wines that are a little more generous than 2014, but with brilliant precision and ageing potential. Amongst the vines in Chambertin Clos de Bèze The reds The variation in picking times for Pinot Noir emphasised how different parcels matured differently – whether due to microclimate, location, rootstock or access to water. It accentuated just how varied Burgundy’s landscape is, as well as vignerons’ own tastes. Charles van Canneyt (Domaine Hudelot-Noëllat) remarked that people were picking Pinot in the same vineyard up to a month apart. With moderate alcohol levels from all but a few producers, it certainly wasn’t racing sugar levels that forced an early harvest, but that the season started early and stayed so right through to harvest. It was down to the vignerons to dictate the style of their wines. In the Côte de Nuits, there were local rain showers in early August which Erwan Faiveley believes favoured the Pinot Noir particularly in Nuits-Saint-Georges, Chambolle-Musigny and Vosne-Romanée. This rain in early August, he believes, not only refreshed the vines but stopped the vines shutting down – helping with the phenolic development of the grapes and increasing the sugar levels, which resulted in higher alcohols, concentration and added freshness. Others around Vosne and Chambolle were grateful for a later rain shower on 28th August, which Lamarche, Hudelot-Noëllat, Gros Frère & Soeur and Georges Noëllat all believed was essential in pushing the grapes through to full phenolic maturity and providing the wines with added finesse. Again, the proof was in the pudding and the wines from Georges Noëllat, Hudelot-Noëllat and Lamarche were easily some of the finest we tasted. Up in Gevrey-Chambertin and Morey-Saint-Denis, the likes of Duroché, Tortochot, Georges Lignier and Domaine des Lambrays all chose to pick before the rain. Again, there was no concern here regarding greenness, with exceptional fruit concentration and clarity. Pierre Duroché believes his 2020s to be the densest wines he has ever made, but balanced with amazing acidity. It is certainly an exciting line-up. All in all, there’s more of a range in styles among the reds. In general, the fruit sits more in the red than black spectrum, bright and crunchy, with vibrant acidity and alcohol levels that tend to be closer to 13-13.5% (around 1% less than 2019 in many places). As Charles van Canneyt noted, it’s more classic than 2018 or ’19, while Nicole Lamarche praised the finesse and elegance of the year – something that certainly comes through in her wines. Producers are divided as to whether they prefer 2020 or 2019, although the majority consider 2020 the greater year. David Duband describes it as “fresher, straighter, more serious” than 2019, while Nicolas Potel (Domaine de Bellene) thinks it’s easily in the top five vintages he’s ever made, and will prove more homogenous than its predecessor. Cyril Audoin in Marsannay and Nicolas Potel both highlighted that it was a vintage that will always be open. While undoubtedly the wines have everything needed for cellar ageing – beautiful balance, silky tannins, vibrant acidity and the necessary concentration – they are already very appealing, and seem unlikely to shut down in bottle. Calm in the light-filled winery at Faiveley In the winery 
So, how did producers adapt to the year in the winery? Guillaume Boillot said it was “easy” – and he wasn’t alone, especially in the wake of 2021. Due to the year’s dry conditions, the fruit was so healthy that vignerons didn’t even need to use a sorting table. Because the fruit was harvested in such hot temperatures though, many highlighted the need to pick only in the mornings and in some instances to chill the fruit overnight (as is commonplace in the New World, and becoming more so in Burgundy). Whether or not to use whole-bunch fermentation divided Pinot Noir producers (again). For some producers – such as Duband, Domaine de la Romanée-Conti and Dujac – whole-bunch is part of their style, and will use a high proportion every year. For others, there is debate. Cyril Audoin de-stemmed everything, feeling that the ripening season was too short in 2020 to allow for full lignification (ripening of the stems). Erwan Faiveley agreed, noting that the way maturity was blocked in the height of summer prevented the stems lignifying. On the other side of the argument, vignerons such as Benoît Stehly at Georges Lignier saw lignification in the stems as early as July and had no concern using them in the blend to add complexity. Even domaines known for not using stems – such as Fourrier – used up to 20% in their blends in 2020. For Fourrier, the aim was to absorb colour and tannin, and add a sense of freshness. The lower alcohol levels made the vinifications generally easy to manage, however the high level of tannin in the Pinot Noir required special care – with many, as for 2019, looking to extract more gently. Frédéric Weber at Bouchard reduced the maceration time to compensate, while Charles van Canneyt opted for more pump-overs than punch-downs. The natural concentration in the berries saw Domaine Georges Noëllat’s Maxime Cheurlin do everything he could to “make the wines thinner”. This meant a 10-12 day cold soak, less extraction and cooler fermentation temperatures (with a maximum 29˚C) – fortunately it worked and the wines remain remarkably ethereal. Vintage comparisons Many vignerons struggled to find a direct comparison for 2020. While the growing season is closest in character to 2003, there is almost universal agreement that the wines (both Chardonnay and Pinot Noir) taste nothing like the ’03s. The whites’ tartaric acid and pH levels make a nice comparison with 2014 but they have so much more richness too, which brings added impact. Frédéric Weber notes how despite the warmness of the year, there is tremendous terroir transparency from one vineyard to the next – a real signal for him of a great vintage. In this respect it resembles 2016, but with added concentration. “The Pinots from 2017 and 2019 are soft, aromatic, round and warm in the mouth,” he says, “but the 2020s and 2016s have tension, brightness and are full of energy.” Several noted the similarity in fruit clarity to 2015, but with added freshness. While some compare it to 1947, Nicolas Potel – a man with an encyclopedic knowledge of Burgundy vintages – finds it closer to 1966, with a little 2019. “Big, but with great balance,” he explains. While there’s no obvious precedent, producers agree that the wines have great ageing potential thanks to the rich tannins and high acidity levels. Yields and pricing While Chardonnay didn’t fare too badly in 2020 (making white winemakers in the Côte de Beaune particularly happy), Pinot Noir did suffer in the drought. Yields are therefore reduced by up to 40%, depending on the domaine. Of course, this seems like nothing to producers after the just-picked 2021 – where producers have been able to salvage as little as 20% of a normal crop. This does mean that most wines will be increasing in price this year, with around 10-30% estimated. With so little wine made in 2021, however, and the exceptional quality of 2020, this is a vintage that is hard to miss. The vintage in summary A vintage of outstanding quality Whites very slightly edge the reds, with more consistency Despite being a warm year, wines show vibrant acidity and good terroir expression Yields reduced by up to 40%, with Pinot Noir more impacted than Chardonnay Prices will be up (around 10-30%) due to the year’s low yields, and the almost catastrophic levels seen in 2021 Explore more Editorial 

Our team spent a week tasting their way around Burgundy, getting a handle on the 2020 vintage. Here we dig into a unique year and the stunning wines it produced

Our team tasted their way around Burgundy, getting a handle on the 2020 wine vintage. We dig into a unique year and the stunning wines it produced

Burgundy vintage 2020 review

Burgundy 2020: an exceptional year

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

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Before you request delivery, you can adjust the quantity for each item in your selection below.

* At time of sale a 15% trading fee will be deducted from the final sale price.

Total estimated value*'

Split into {caseSize} individual {bottleSize}cl bottles.

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This item is at Vinfolio, available for storage or shipping. For more information on shipping and handling visit vinfolio.com/shipping

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Upon arrival your wine will be stored at Vinfolio in our temperature-controlled warehouse until you decide to take delivery.

We will source this item at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

When a wine is on "pre-arrival", it means that we have a confirmed order on the bottles from our supplier and we are simply waiting for the winery or distributor to ship the wine to us. The delivery timeframe for pre-arrival wines varies significantly, depending on where the wine is coming from. We will notify you once they arrive at our warehouse and, at that point, you can decide to arrange shipping or list them for sale.

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