In the conversation about terroir in spirits, rum arguably has a stronger position than most. There are numerous cane-to-bottle rums and many more with a credible claim to the dictionary definition of the term typically associated with wine. However, as is often true in the rum world, this isn’t an open and shut case. “Wherever unique spirits are found I think there is an opportunity to discuss the influence of terroir on the liquid,” Mitch Wilson, Black Tot Global Brand Ambassador, says. “How people interpret terroir in wine versus spirits is often different – wine terroir focuses on transmission of flavour from the land and the region into the final product. Spirits can be a much broader interpretation of terroir – here we often look at local ‘method’ and ’savoir-faire’ or know-how – how the local traditions together with production choices of the distiller and blender help to create a sense of identity in the final spirit.” Foursquare Master Distiller Richard Seale picks up the point: “Terroir is an interesting question in rum and you will get a different answer in different rum producing countries.” At the Barbados distillery, Seale ferments with added cultured yeasts in one section and pure cane juice natural fermentations in another. When it comes to the latter, Seale says “terroir in the traditional sense of the word is everything”. “The rum depends on the year of harvest, the time of harvest and the field from where it is harvested. It is 100% natural input. [There’s] not even a cultured yeast to give us some consistency or predictability,” he adds. Daniele Bondi, Export Manager at Hampden Estate's global distributor La Maison & Velier, is a staunch believer that terroir exists in rum and is perplexed by any arguments to the contrary. “I never understand when people think that spirits don’t preserve the characteristics of the fermented wash,” Bondi says. “Obviously, the terroir is respected and expressed only if the whole process of production is carefully preserved.” Wilson says sugarcane juice-based rums are undoubtedly the best examples of terroir in its “classical interpretation”. “Their flavour is almost entirely dependent on the local raw material used, and helps illustrate the vast array of differences between different genus of sugarcanes,” he explains. “Sugarcane juice is not easily transportable – when cane is crushed, the natural yeast on the outside of the cane is immediately brought into contact with the fermentable sugars in the juice, meaning fermentation happens spontaneously within a short period of time. This tends to encourage much more local distillation, often on the same estate where the cane is produced, allowing us to more easily focus on environmental terroir in these specific regions.” He says the fact rhum agricole, as well as their sugarcane-spirit cousins clairin and cachaça, are often found unaged means they are excellent examples of terroir. The purity of the raw material is preserved all the way through to distillation and ultimately glass. The climate of ageing has an enormous impact on terroir, according to Seale. He points to the fact a rum will age very differently in Martinique, which is approximately 140 miles away from his distillery in Barbados. Bondi says this crucial stage can negate terroir entirely. “If a product is aged far from the rest of the production, terroir doesn’t exist anymore.” This is something Dictador has played with in its 2 Masters series. Creative Director Ken Grier says rum, arguably, has a more diverse terroir influence than any other spirit category and this is about the influence of culture rather than soil. “Simplistically, the role of the original colonists has the biggest influence on rum production,” he explains. “The rhum agricole style found in ex-French colonies is derived from the juice of the sugarcane. In former British colonies like Jamaica the predominant style has been pot still, drawn from molasses. Ex-Spanish colonies have been more about column stills and finally Cuba is a tapestry of styles. Of any spirit, rum really reflects the history of the place where it is produced.” Sugarcane honey is used as the spirit base for Dictador. A blend of column and pot still rums are matured in oak casks on the coast by the Caribbean Sea. Grier says these factors all contribute to a particularly elegant, well-aged and complex rum. For the 2 Masters series, Dictador laid down between 10 and 20 casks with prestigious partners from the spirits and wine world. The rum was transported for maturation in the partners’ warehouses to benefit from their terroir, according to Grier. From there, the partners have the creative freedom to choose, in conversation with Dictador Master Blender Hernan Parra, which age and style of rum to use and what to do with it. These partners have included the likes of Glenfarclas, Royal Tokaji and Niepoort. The Royal Tokaji project, for example, took a 1977 rum and matured it in 12-year-old 300-litre Zemplen barrels for seven months in Hungary. These barrels had previously been used to age the producer’s 2016 Tokaji Aszu 6 Puttonyos.
 While there is a general consensus about ageing and sugarcane-juice rums, there is less accord when it comes to the role of molasses in the terroir conversation. “Molasses tends to be a fairly homogenous product,” Seale explains. “When discussing the contrasting styles of molasses rum from Barbados and Jamaica, the terroir element is more about the process and the know-how and less about the agricultural input. Much like a lot of Scotch whisky in that sense,” he explains. The decline of sugar production in many regions has understandably presented a problem when it comes to supply and demand. For this reason, many distilleries have resorted to importing their molasses. The same is true of grain in Scotch whisky production, which is often where the wheels come off in the debate around terroir in whisky. “It might be tempting to consider molasses-based rums as lacking a sense terroir (certainly in the wine sense), but this would be unfair,” Wilson says. “I’d be tempted to bet that given the opportunity to taste a line-up of single origin molasses from around the world that there would be enough variety to contribute to the idea of local terroir.” Ultimately, he says, it’s down to the producer at each stage of the production process to decide to what extent to allow the terroir to influence the final liquid. And, lest we forget: their savoir-faire. Explore all rum or read more Editorial 

The concept of terroir in spirits is a comparatively new one. And, in the case of rum, takes on a very different meaning to wine. Holly Motion explores

Exploring the comparatively new concept of terroir in spirits via the lens of rum – and how it takes on a very different meaning to wine. 

Exploring what terroir means in the rum world

Rum: the raw deal

Of all the misconceptions about rum – and there are many – the belief that there aren’t any rules is arguably the most rife. “There is not a lack of regulation in rum,” Mitch Wilson, Global Brand Ambassador for Black Tot, says. “Rum is an umbrella term for an entire category, it does not specify a particular locale like ‘Barbados Rum’, ‘Jamaican Rum', 'Guyanese Rum’ would. Just as there is no 'one rule' for all the different whiskies around the world, there is no one rule for all of the different rums either.” Industry legend Richard Seale picks up the point. “Rules do vary from country to country in rum but that is no different to any spirit. What is different about rum is that it is rarely protected in export markets with a generic rule applying to all origins. “For example, rhum Agricole is a protected term in the EU, but in the US, you can use the term agricole with impunity. Jamaica excise law has protected its rum from adulteration for as long as Scotch whisky [regulations have existed] but you can find Jamaican rum with added sugar for sale in the EU and there is nothing at the moment to stop it.” Herein lies one of rum’s greatest problems and a source of the most heated debates: abuse. “Many rum brands have got away with misleading age claims and egregiously adulterating their products,” Seale explains. “There is little impetus to regulate. I am quite sure if similar happened with whisky, the Scotch Whisky Association would be pressing authorities to act.” Instead, it’s been something of a people’s movement and Seale says consumers are demanding more transparency. “I think huge progress has been made at the level of enthusiasts and industry professionals,” he adds. “Of course, there are many duped consumers but they are typically at a level that they do not care, so we do not care. “We have a mantra: ‘drink what you like, know what you are drinking’. Simply put, make an informed choice.” Daniele Bondi, who works for Hampden Estate's global distributor La Maison & Velier, agrees and says it’s only fair that people are made aware of the content in their glass. He adds: “You can keep adding whatever you like but tell me please. If there is a lot of sugar in what you buy, you should at least know about it like other food categories.” There are countless examples of European entities buying rum in bulk and adding sugar before bottling. They are not lawfully required to declare this and can brandish the words “Jamaican rum” on the label. This, argues many, is deceitful and incredibly harmful. “It’s important to limit this sort of practice and preserve the rum style and not create confusion,” Bondi adds. The Export Director says people will taste a sweetened Jamaican rum and not realise the liquid isn’t true to Jamaican style or that it has been adulterated. The need to disclose these practices extends beyond the consumer’s welfare and is of vital importance to the preservation of rum heritage and production methods. While valiant efforts are being made, the vested interests of some, who wield great power, are thwarting progress. For this reason, the team at Foursquare has created #saveBarbadosRum and are working towards getting the EU to recognise a Geographical Indication (GI) for rum from Barbados and Jamaica. “This would protect our rums from the adulteration that currently happens,” Seale says. “While the US does not recognise GIs, we could communicate to consumers which are the certified rums.” Seale says this is not universally popular. “At the moment, a single foreign interest who bottles adulterated rums sourced from distilleries in which they have a financial interest is taking whatever action they can to effectively derail the process.” The campaign hopes to raise awareness of this and what he calls the “long-term threat to the integrity of our rums”. He continues: “The hubris of some European companies towards rum is astounding. They continue to have an extraordinary sense of entitlement notwithstanding Barbados and Jamaica are sovereign countries.” The ethos at Foursquare and many other distilleries, including Mount Gay in Barbados, is to produce unsweetened, unadulterated rum in the centuries old tradition. Beyond the skulduggery that occurs, rum has struggled with another image issue and this is largely due to classification. Wilson says an insistence on grouping all rums as the same thing, irrespective of who made them – and their local laws, know-how and traditions – perpetuates the myth and undoes a lot of hard work over the past five to 10 years. The only way for this to truly change is through better education. “Without a doubt rum’s greatest struggle is to catch up our education with that of the whisky category,” he says. “On one hand you have hundreds if not thousands of whisky aficionados able to rattle off dozens of distilleries and their corresponding nuances throughout each Scottish region and the rest of the whisky world, with well-established whisky shows and dozens and dozens of books on the subject. Meanwhile, most people still think of rum as ‘white, gold, dark, or spiced’ and have very little understanding of the various regions of rum, raw materials or the differences that lay within.” He says there are undoubtedly a brave few who bang the “rum drum”, but they are “vastly outnumbered”. Another key difference, he says, is the way the rum world is set up compared to the whisky world. There are considerably more whisky distilleries than rum producers, and the majority are owned by behemoths with deep pockets to fund whisky education on various styles and regions. By contrast, many rum distilleries are independent or government controlled. In the instances where big multinationals do own rum distilleries, Wilson says, they typically only own one or two and understandably finance education on their offerings rather than the wider rum world. For the most part, he says this different structure is a positive thing, resulting in a “fiercely independent style” from each region and act as a “great preventative against homogenisation in the industry”. But the cost is felt by others who have struggled to get their message to the masses. “It’s like wine,” Dictador Creative Director Ken Grier explains. “Pinot Noir from the New World tends to be lighter but with a higher abv. Those from Old World producers are often darker and lower strength. It’s the same in rum; you really need to look beyond the headlines on the label. We have to explain the differences between rums from different regions and the distinction between brands. “We need to educate about provenance (cultural influences, stories), production, maturation etc. They will all become key.” One way to educate consumers, in Wilson’s view, is through conversations about blends. “The very essence behind blending rum from different regions is because each distillery’s flavour profile can be so unique and so varied,” he says. “If we choose to tell the customer why we picked the rums we did, and why each region has its own unique flavour profile and is individually important, I think we can give people a great snapshot of the wider rum world, and at the very least give them a starting point as to where to look should they be interested in researching further.” During the pandemic, Black Tot has – via the medium of technology – hosted tastings to do just this. “Rather than just let them taste our finished blend, we also deconstruct the blend into its individual components, allowing people to try rum from Barbados, Guyana, Jamaica individually, and understand what each one brings flavour wise to our blend. I believe this is the future of blends, to not just look at the finished product, but to really celebrate the provenance of where the rum is coming from.” In a similar vein, Venezuela’s Diplomatico has championed alternative production methods with its Distillery Collection. “The concept behind the collection is to produce, in limited quantities, rums from a single distillation method that are subsequently aged for a certain number of years,” Maestro Ronero Nelson Hernandez says. “The objective is to offer the opportunity to connoisseurs and rum lovers to discover the very own character of each one of these rums, in a collection that reflects our distillery’s wealth.” It might sound simple but tasting the liquid and reading the label can be the difference between cutting this misconception off at source or continuing down the sticky road. Bondi says it is sometimes easier for him to speak with single malt drinkers rather than “rum drinkers” who are used to a lighter and sweeter liquid. He often gets them to try the Hampden 8 Year Old – the most approachable rum – and asks what they think, and if they thought rum could taste like this. The reaction is instantaneous and incredibly satisfying for the Export Director when he gets to explain that this style is rum, in the authentic sense. Historically, “global” rums have tended to be lighter and sweeter, and far removed from the authentic liquid that is recognisable to the rum purist. To satisfy the global market, sugar has been added to sweeten the taste and in many cases caramel to darken the colour. “The first conversation is always – no, this is rum and all the other sweeter stuff, what you think is rum, maybe is not. At least from a historical point of view,” Bondi adds. “If you speak with single malt experts, they are normally super happy because there is sort of a resistance among the single malt community because ‘rum is sweet’, so when you approach with something like this [Hampden] they say wow, this is something that I can easily recognise because it is dry, it’s full-bodied, it’s funky, it’s flavourful like all the single malts they like.” Bondi finds adopting his boss, Luca Gargano’s – the man responsible for the classification of the same name – production-driven terminology helpful when introducing people to real rum. In the same way whisky drinkers understand Scotch whisky has regional styles – Speyside, Highlands, Islay etc – rum can be communicated in the same way. “Like a different category within a category,” he adds. Hampden is famous for its funky, high ester style, that Bondi says appeals to the peated whisky fan. “It’s more for the adventurers”, he says. “They love this crazy taste of Lagavulin and Laphroaig and maybe they will love to try rum with a different, funky taste.” Undoubtedly, the conversations and appreciation for rum are maturing. The category is shedding its skin of these unhelpful labels that have besmirched its reputation and the right questions are now being asked. Thankfully, there’s a formidable cohort armed with the answers and willing to speak truth to power in order to protect something that is truly sacred. Explore rum or read more Editorial 

Rum isn’t regulated. It is either dark or white. It all comes from the Caribbean. It’s nowhere near as high quality as Scotch. These are just some of the misconceptions that hang around the category like a millstone. Holly Motion speaks to some of those fighting to be heard among all the mistruths

Exploring some of the greatest misconceptions that hang around rum like a millstone, including miscategorisation and questions concerning quality.

How sugarcane spirit mistruths are coming unstuck

Rum: the sticky issues

It is little wonder there has been a veritable tequila gold rush, after celebrity-backed brands have sold in excess of $1bn, and the category continued to report double-digit growth during a global pandemic. This growth wasn’t just at the entry level – as some might expect – as online sales of reposado, añejo and extra añejo soared in tequila’s biggest market, the US. The thirst for premium-and-above tequila falls to 163 certified tequila-producing companies and 8,000 agave producers, which is not as easily sated as some might think when your agricultural product takes years to mature in the ground and in barrel. While category growth is undeniably cause for celebration, artisanal producers like Clase Azul are struggling to meet demand. Production is so time and labour-intensive that, with increasing popularity, Clase Azul is considering an allocation model in the UK, as already employed in other markets. The brand’s distinctive hand-painted decanters take two weeks to produce, made by local artisans from the Mazahuas, in the town of Santa María Canchesdá. Before bottling, the organic, non-genetically modified Blue Weber agave takes nine years before it can be harvested, 72 hours to cook, and the Reposado and Añejo are both aged in ex-Bourbon casks for eight months and 25 months, respectively. Clase Azul Ultra – their top tequila – is aged between five and seven years in ex-Sherry casks, making it a popular choice for whisky lovers. Founder Arturo Lomeli is adamant he doesn’t want to streamline any of this process and compromise on quality. “In terms of the quality," Chantal Serrano (Prestige Account Manager for Spirit Cartel, the company's UK distributor) explains, "if you really want to have real agave quality with all the certifications – organic, non-genetically modified – there’s going to be a point when you are limited.” Clase Azul already has a Mezcal offering that is made from wild, 12-to -15-year-old Cenizo agave which can only be harvested once a year. The Cenizo is slowly roasted using firewood and volcanic rock, then milled by hand using an axe. Next it is fermented using stone piles with red oak and double-distilled using an alembic copper still known as El Viejo.   Premium-and-above tequila has been reporting double-digit growth for the past five years, but some still do not afford it the respect it’s due, according to Serrano. “I think if you told some of the biggest producers of Cognac that you were going to shot it, then I think they will be scandalised. Tequila might not have been aged in a barrel for as long as some whiskies, but the plant had to mature at least on average for five to seven years and, for some producers, like Clase Azul, it is nine years, so appreciate that.”  It is increasingly difficult for producers to have this conversation with consumers when some companies are being forced to cut corners to meet the seemingly unquenchable thirst for all things agave. The use of diffusers to process, in many cases raw, agave piñas so the sugars can be fermented and distilled more quickly has become a popular way of circumventing the challenges. While diffusers are undeniably effective in extracting the potential fermentable sugars – 99% to the traditional brick oven and tahona method’s 70% – the change in flavour profile is not always a favourable one.   “The only objective is to extract as much sugar as they can from the agave,” Serrano laments. “And I can sort of understand why they do it because there is such a huge demand… but you then sacrifice quality.   “Unmatured agave or very young agave is being used in the production of these diffusers. Even some chemicals will be used sometimes. Because of the whole process, certain bitter flavours will be there that ideally need to be removed so you potentially even add some flavours to make it feel like it was a real product.”  For Serrano, the two products are like day and night. “You cannot compare [diffuser products] to a product that has been aged for many years. The producer took the financial risk of having that capital sitting there and waiting for it. It takes a lot of time to create a good product, but that is also the beauty about it.”   The involvement of celebrities in the industry has done wonders, shining a light on the category – but it can also confuse consumers, according to Serrano. “Because Clase Azul is a luxury product, a lot of people think we are just focused on the marketing and the image,” she says. But the company is focused on much more than branding, with a clear commitment to its community.  Clase Azul was set up by Guadalajara-native Arturo Lomeli after he identified a gap in the market for a higher-end tequila to be sipped and savoured, much like a whisky or Cognac. Lomeli favoured the fruitier, sweeter and floral notes a Highland tequila imparts versus the typically peppery, spicy and vegetal notes from the valley (Lowlands). As such, he set up shop in Jésus María, a small town near Arandas – one of the highest points in the Jalisco highlands.  Clase Azul is in esteemed company with a Positive Luxury Butterfly Mark for its sustainable efforts. Glenmorangie, Macallan, Château d'Yquem and other luxury drinks brands boast the same. In addition to reducing its plastic and water use, the decanter can be upcycled, and Clase Azul tries to work with fair labour providers and sub-contractors. “Clase Azul try and implement all these measures with the same aim of giving something back and being a bit more responsible as a brand,” Serrano adds.   Sustainability has become increasingly important as drinkers increasingly consider a brand’s environmental impact as part of their buying decision. While this is something that is encouraged by many producers, it can lead to some slightly less robust claims in the industry, according to Serrano.   “It can be frustrating because some brands might say, ‘Oh we do give back to our community or a charity, or we do one specific action and they think look at us we do a lot of sustainability,’” Serrano says. “Whereas, for me, Clase Azul really embodies these values. Arturo Lomeli, from the start, wanted to give something and be sustainable. It was not just a trend and he thought ‘let me do it’. He’s been doing it almost from the beginning with the brand.”  The demand for aged, sustainable tequila is clear and Clase Azul is well positioned to go toe-to-toe with anybody in a battle of style versus substance.   Discover more about Clase Azul or read more Editorial 

In a world filled with big brands, Clase Azul is a tequila producer looking to do things differently. Holly Motion finds out why the artisan brand is determined for tradition to trump trends

Exploring how the highly collectable artisan tequila Clase Azul is doing things differently by honouring tradition rather than following trends.

Exploring artisan tequila producer Clase Azul  

Authentic agave: Clase Azul

Rum has been positioned as the next big thing. The one to watch. The spirits category to steal market share from Scotch whisky and the sure-bet to clean up when that gin bubble finally bursts. These claims have been made for the past five years, if not longer. When you look at the figures, which don’t tell the whole story but are a good starting point, rum has been in rude health since 2018 when sales in the UK surpassed the £1 billion mark for the first time. This same year, a rum was named the best spirit at one of the most prestigious blind tasting competitions for the first time. Rum, for many, had finally arrived. “What has changed in the industry is what we can bring to market,” Master Distiller Richard Seale says, in a typically matter-of-fact and non-marketeer way. “So, it is not so much that we are changed in our rum making but today we can think to invest in very old rums, we can think to release cask strength rums, we can offer more specialised rums like pot still or pure cane juice rums and we can think about non-traditional markets – like the Far East. Twenty years ago the market for any of this was extremely limited.” Seale’s family-owned Foursquare Distillery in Barbados was the winner of the aforementioned 2018 blind tasting and the awards have continued to rain down on them since. While always destined to join the family business, Seale says that didn’t necessarily mean a career in rum, other than to sell. “What happened was the year I officially joined, my father made the biggest acquisition we had ever made in acquiring the Martin Doorly and Alleyne Arthur brands. This made for two big changes: one, we would have to invest in aged stocks as these were premium brands and two, we would start exporting. This naturally drew my focus.” Rum has been produced in the Caribbean for centuries. Historically, the new-make was sold to brokers and blenders in much the same way as Scotch whisky. Whereas Scotch distilleries started to bottle single malts from the 1970s, most rum producers wouldn’t have the epiphany to move away from a purely bulk model for another 20 years. It was from this time that rum brands as we know them began to appear in the European market. El Dorado from Guyana, for example, had been produced for centuries before it was marketed for the first time in the early 1990s. Similarly, Hampden Estate, which had been producing rum since 1753, only came to market in 2018. Legendary Trinidadian rum Caroni never actually saw the light of day as a brand in the traditional sense before it closed for good in 2003. “The rum category has changed out of all recognition,” Ken Grier, Creative Director at Colombian brand Dictador, says. “It has progressed from a white and dark mixable spirit to a premium spirit aged in good quality oak casks.” The reason for this progress is down to a multitude of factors – one of which is the realisation that rum has tremendous breadth and depth. “People have realised the rum world has a beautiful range of quality liquid to offer at the top end (rather than just the stock-standard ‘every bar has a bottle of this’ at the low end) and it has encouraged the rum-curious to be more adventurous,” Mitch Wilson, Black Tot Global Brand Ambassador, says. “We’re even starting to lead astray some of our more open-minded whisky brethren who are used to having to pay several times the price for a bottle of their favourite malts,” he adds. Wilson says better access to rums and rum makers have also contributed to this seed change. During the pandemic, the world in many ways got smaller and rum makers who had previously shied away from using technology were forced to embrace it (wifi permitting) to ensure their survival. He says thousands of people came together to discuss sugarcane spirits and meaningful connections were established between rum producers in the Caribbean and their ever-growing appreciators. Physical access to rums has also changed in recent years. Historically, French markets would predominantly sell rhum Agricole (made from sugarcane juice) from the likes of Martinique and Guadeloupe, and English speaking countries would typically sell rums from Barbados and other Caribbean islands, limiting the discovery of rums. As this has shifted, so too has the understanding and appreciation of rum. Similarly, social media has narrowed the gulf and empowered distilleries and rum enthusiasts to disseminate accurate information on rum and campaign against perceived wrongdoings. “In any spirits category there are many different levels of quality available,” Wilson explains. “I firmly believe that anyone who loves spirits but doesn’t love rum yet, just hasn’t tried the right rum for them. Perhaps their perceptions are skewed by some cheap bottle of rum they had when they were younger, or the fact that the average pub or supermarket might not offer a particularly premium selection (especially when considered next to the other spirits offerings).” Now things are changing, Wilson believes everybody has the chance to explore the very best of each spirits category and not just the “commercial rank and file” if they are willing to spend a little more on quality liquid. And rum is no different. “There are some exceptional rums that are of comparable quality to their favourite spirits,” he adds. In the same way whisky has its hard-core enthusiasts who are authorities on the subject in their own right, certain rums have developed a cult following which has driven up the cost of bottlings of certain styles from certain distilleries. High ester rums, for example, are a source of great fervour among rum fans. Jamaica is arguably the godfather of this style, with Réunion Island and a few other French territories also famed for this funky rum that in many cases wasn’t produced for consumption. Part of its appeal, according to Daniele Bondi from La Maison & Velier, is that high esters satiate in a way that whisky currently does not – on the matter of fermentation. “Historically, whisky has never spoken about raw materials or about the fermentation,” Bondi says. “Whisky normally speaks about the ageing, the master blender, and the magic. Here it is more a matter of raw materials so it is another point of view.” This point of difference and palate-altering taste is gaining in popularity. Bondi and others are quick to caution that it might be unwise to follow high ester count alone, in the same way whisky fans have pursued age statements. “It’s important not to chase the highest level of ester regardless the quality,” he says. “Esters are classified by quantity, and we know that connoisseurs love numbers on label, like for the ageing, where the worst mistake is the highest number equals the best. Also in ester amount this is a mistake: what is important is the balance of the product.” Another comparison that can be drawn with the whisky world and collectability is mothballed and closed distilleries. There have been several significant closures in the rum world – Caroni arguably being the most devastating to rum enthusiasts almost 20 years ago. Blends from closed distilleries, proprietary bottlings from a single distillery, and rums that have been produced via methods that have long since been lost have all become collectors’ items and driven scarcity in the category. While there is a market for these collectors’ items, Wilson feels true excitement towards rums that are currently flying under the radar. “You can get tremendous rums for incredible value and have something really enjoyable to explore,” he adds. “This may not always be the case though – we are already starting to see incredible demand for rums like Foursquare, Velier, and Caroni bottlings, all of which command multiple times their retail price at auction mere days after they are launched and sold out. “Even with the demand for rum going up, it is still incredible value when compared to liquid of a similar quality from the whisky categories.” For many reasons, we’re in the eye of a perfect storm for rum. Its high quality credentials, point of difference, and the tireless campaigning of certain individuals to put an end to the nefarious practices of some, ensure that rum is finally having its time in the sunshine. “If ever there was a time to build your rum collection, it was 10 years ago,” Wilson says. “The next best time is right now.” Explore rum or read more Editorial

Rum is one of the most misunderstood spirits categories. Burdened with less-than-premium associations of pirates and insipid cocktails, it’s taken a long time for the authentic, remarkable liquid to break through the malaise

Exploring how rum has grappled with misconceptions and finally started to be taken seriously for its authentic, remarkable liquid.

The evolution of rum

It’s no secret that Scotch whisky is dominated by two giants – Diageo and Pernod Ricard, who represent 60% of the market, with three other big players taking the next 20%. That leaves a mere 20% for those who have the wallets and mettle to fight over the rest – but that’s an increasing number of people. There are currently over 30 single malt distilleries at some stage of opening.  “I think it’s a bit of a worry to be honest,” Mark Reynier, Renegade Spirits founder and CEO, says. Reynier has been behind three of the most talked-about distillery projects in the past 20 years – the resurrection of Islay powerhouse Bruichladdich in 2000, the renovation of a former Diageo brewery into Irish single malt distillery Waterford in 2015 and the construction of Renegade rum distillery in Grenada from scratch in 2020. All three have a dogged focus on terroir and have not been without their struggles. “Superficially it does look easy - but it sure as hell isn’t,” he says. “With Bruichladdich we almost went bust twice. With the best will in the world and two-distillery experience I got it wrong with Renegade and almost went bust last September.”  In Reynier’s view, many of those opening distilleries are driven by romantic ideas and the desire to make a quick buck – from landowners looking to monetise estates to “crooks” who “promise fortunes to be made”. Few, however, have the knowledge, business nous or money to back up their ambitions.  Wolfcraig – a new distillery in Stirling – is one of the industry’s most interesting projects, largely thanks to the experience of the team involved. While neither of the founders Jamie Lunn or John Moore had worked in whisky before (coming, respectively, from construction and finance), Jamie Lunn’s father is former Whyte & Mackay chairman and chief executive Michael Lunn – and happened to be eager for a new project. It hasn’t been plain sailing though: the team had a false start with an ill-fated attempt to take a controlling stake of an existing distillery. Downhearted but not defeated, they made the decision to go it alone. Moore and Lunn have assembled a first-rate team with over 200 years’ experience. Master Blender Richard Paterson OBE was the most recent addition to the roster – which Jamie Lunn affectionately refers to as “the Harlem globetrotters of whisky” – including Dr Alan Rutherford OBE (former Production Director at Diageo, Master of the Quaich and previous President of the Malt Distillers Association of Scotland), Ian Macmillan (a Master Distiller, also a Master of the Quaich and a member of the Worshipful Company of Distillers) and Iain Lochhead (former UK Bacardi Operations Director, and another Master of the Quaich). But even with a team of such pedigree, it hasn’t been easy. “It was three and a half years of pain,” Moore says. Every decision has been driven by an unwavering mission to produce a truly special liquid, considerable industry experience and business acumen. Stirling, for example, was chosen not just for its infrastructure, but its accessibility – within an hour’s drive of 70% of the Scottish population. The team ensured they were fully funded and have consciously built a brand – and decided on the style of spirit they’ll be making – before physically breaking ground. “Out of all the new whisky distilleries,” Moore says, “very few of them are designing their own unique spirit and they have not put any thought into why they have a particular shape of still.” Wolfcraig, by contrast, is having their still handmade by Forsyths, with a distinctive double-ball design to produce a more muscular, full-bodied spirit. It’s not just new players and mavericks behind the trend though, with some of whisky’s most historic names being given a new lease of life. Halewood International, for example, is bringing malt whisky distilling back to the heart of the Scottish drinks industry in the Port of Leith, Edinburgh, for the first time in 100 years with the John Crabbie Distillery.  Today, the name John Crabbie might be synonymous with ginger wine, but he was an independent bottler, single malt producer and recognised blender in the 19th century. For the team here, creating something new brings great freedom. “One of the key parts of our distillery is its versatility,” Global Dark Spirits Manager Andy Wallace says. “Because of the type of distillery we have, we can change our new make spirit and we can be very adaptable. That flexibility, put in the hands of somebody who knows what they are doing, like our Master Blender Dr Kirstie McCallum – a chemist with an excellent palate – and we’re going to experiment.”   Experimentation with different casks is high on the agenda. In addition to PX and Oloroso casks, the team is looking at how Manzanilla might work and playing around with other wine cask finishes.   Prior to joining Halewood, Wallace spent six years at William Grant & Sons, the home of Balvenie and Glenfiddich since 1887. “They are beautiful, incredible distilleries in a beautiful part of the world,” Wallace says, “but they come with their own inherent limitations… some people will see them as being a bit aspirational and not for them.” In his view, building something from scratch – even with a history like Crabbie’s – means they don’t have to produce a certain type of product. “What we want to do is bring new people into the category and allow people to drink differently,” he explains. Free from the burden of a legacy, a new distillery can be more agile. This can, however, be a catch-22. In a quest to stand apart, rather than play the old boys at their centuries-perfected game, innovation – if not managed in a considered, well-financed, way – can end in tears. “A lot of people have got rather carried away with the romance and [they] don’t really understand the consequences and the costs, and the durability that you need,” Mark Reynier explains.  “And above all you need a unique proposition. Just to be another distillery isn’t enough. The distilling bit is the easy bit. I think this is what’s going to be the downfall for a lot of people. The maturation and the time and cost is the crunch. And then you have got to bring it to market.” Wallace agrees. “You must have a long-term plan for selling your product because you have got a several-year timeline before you can launch anything in the first place,” he says. “One of the big challenges for whisky companies is predicting demand. If you have to predict how much 12-year-old product you’re going to sell on day one, that is a really difficult challenge.”   This was one of the many reasons Wolfcraig was determined to be fully funded from the get-go. “A lot of new whisky distilleries are just living hand-to-mouth and raising money year-on-year and that is emotionally draining,” Moore says. “But, also more importantly, it takes time away from the business when you are constantly fundraising.” It’s no small amount of money required, either. While you might be able to start a gin distillery with £50,000, whisky is a different beast. “Even the small craft distilleries, you’re talking several million pounds to set up,” Moore explains. “Our overall investment will be close on £20million… So, it’s not something you go into lightly.” “Running a distillery is an expensive business,” Reynier adds. “Just when you most need the revenue to get into the market, that is when you are least likely to have it. You are building in a lag period. You have created this brand over a decade, but you don’t actually have enough stock maturing to satisfy the sales that you have created or are creating. So, you have got to plan forward.” Waterford is a distillation of everything Reynier got wrong at Bruichladdich and everything he felt he wasn’t able to do because of a “lack of resource, lack of desire perhaps, tradition getting in the way, and the lack of logistics”. “We had a war chest because we knew that to do it properly, we had to be able to insulate ourselves financially to be able to buy ourselves the time to do it properly, with proper, premium-quality barley, single-farm distillations for uniqueness and for complexity,” Reynier explains. “Practised at Bruichladdich, perfected here.” Ultimately, once you get past the business and branding, it’s the quality of the liquid that will sort the wheat from the chaff. “We need to achieve the same core things any distillery does,” Wallace says. “We want to make genuinely brilliant drams that people will enjoy in years to come.” Browse all Scotch whisky or read more Editorial 

As demand for single malt whisky continues to soar, the number of distilleries – big and small – preparing to fling open their doors increases at a bullish rate. Holly Motion talks to a few of the industry’s newest names to see if everything is as rosy as it seems

Investigating the sharp rise in the number of single malt whisky distilleries with Waterford, Wolfcraig and John Crabbie. 

Distilling dreams

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

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

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

Serge Valentin – the Joker in the pack

Serge Valentin: the Joker in the pack

Saint-Emilion has been hitting the headlines. And not in the way it would like to. In July, just after the region’s châteaux submitted applications for the 2022 classification, two of the region’s four Premier Cru Classé A estates – Chx Cheval Blanc and Ausone – announced that they would be withdrawing from the classification system. This week sees a dispute over the 2012 classification enter the courts – with accusations that the results were fixed. The Médoc’s leading names were ranked in 1855 – with but one change (Ch. Mouton Rothschild's promotion) in 1973. The classification was uncomplicated, with no fussing over terroir, tastings or winemaking talent; it was based purely on price. It’s hard to believe that it remains relevant today – but, while of course there are properties that stand out, it’s more or less accepted, and reflective. Across the river in Saint-Emilion, they wanted something different. Something fairer. A system that flexed with an estate’s waxing and waning. The ambition was – and is – laudable. The reality, well… The classification is overseen by the Institut National des Appellations d’Origine (INAO) – the body responsible for France’s appellation system. The concept was mooted in the 1950s, with the first list published in 1955. The idea was that it would be re-drawn every 10 years – both to be more democratic and provide an incentive for long-term quality. Unlike the Left Bank’s system, it would assess terroir and include a tasting of the wines. The aim was, and is – as a spokesperson for the INAO told me, to help consumers distinguish between the region’s many properties and help “maintain a level of excellence”. The classification is based on a scoring system out of 20, with the breakdown of scores different to qualify for Grand Cru Classé (requiring a minimum 14 points) versus Premier Grand Cru Classé (requiring a minimum 16). In 2012, the possible points for Premier Grand Cru Classé were broken down thus: 30% based on the quality of the wine – with a tasting of 15 vintages; 30% on the estate’s terroir; 35% on the property’s renown (both national and international), promotion and distribution; and the remaining 5% on viticulture, vinification and traceability. Even the first, 1955 list was disputed, changed just three years later, then again two months later, before settling on 63 Grands Crus Classés and 12 of the elite Premiers Grands Crus Classés. The very best of this latter group were named “Premier Grand Cru Classé A” (the rest Premier Grand Cru Classé B) – with just two making the cut, Chx Ausone and Cheval Blanc. Since 1958 the region’s wines have been re-classified regularly – if not quite on the 10-year cycle forecast, in 1969, 1986, 1996, 2006 and then 2012. But there has always been an undercurrent of discontent. In 2006, five properties filed lawsuits and the ruling was declared invalid, with the 1996 classification reinstated. For the 2012 classification, the INAO seemed determined to clean things up. The tastings and site inspections were, for the first time, outsourced by the INAO, with wine professionals from other regions (Burgundy, the Rhône, Champagne, the Loire and Provence) roped in – including Marcel Guigal and Robert Drouhin. A company called Qualisud was to handle the tastings, while Bureau Veritas would take on visiting the estates. These independent authorities would, they thought, make it indisputable. The result was two new Premiers Grands Crus Classés A estates – with Chx Angélus and Pavie; while Larcis Ducasse, La Mondotte, Pavie Macquin, Troplong Mondot and Valandraud all promoted to Premier Grand Cru Classé B, and significant changes to the Grands Crus Classés (with a new total of 64 estates). But of course that wasn’t the end of it. Enter Chx Corbin-Michotte, Croque-Michotte and La Tour du Pin Figeac. The latter two had applied for and hoped to be promoted to Grand Cru Classé, while Corbin-Michotte was demoted in the 2012 rankings. They argue that the decision against them was “incomprehensible”, challenging the criteria for classification and insisting that two individuals – Hubert de Boüard (of Ch. Angélus) and Philippe Castéja (of Ch. TrotteVieille) – had “undue influence” with their roles within the INAO. It’s alleged that de Boüard was “present at all stages of the process elaborating the 2012 classification” (with it implied he influenced the ranking not only of Angélus but seven properties for which he consulted), while Castéja “pulled strings” to guarantee TrotteVieille’s Premier Grand Cru Classé status. The case went to administrative court, however the plaintiffs lost in 2015. They appealed, but lost again in 2019. And now they’re taking it to the criminal courts, with jail time and a fine of up to €500,000 on the cards for the accused. When I asked Frédéric Castéja – Philippe’s son and General Director of Borie Manoux – about the accusations, he told me: “I can only tell you that the Attorney General has dropped all accusations against [my father] and stated that he was not concerned at all with this so-called ‘influence’.” “When it comes to a public ranking, the level of controversy is as high as the stakes,” the INAO told me. It’s unsurprising, perhaps, given the impact the classification can have on an estate’s bottom line. After their promotion in 2012, Chx Pavie and Angélus saw instant price hikes: 2012 Angélus was released at 30% more than the 2011 en primeur, while Pavie went up 58%. That’s big bucks. And beyond the actual wine, it’s the land prices that really rocket. It wasn’t just these three (relatively minor) properties that seemed dissatisfied. Rumour has it that each year, the Médoc’s First Growths, Cheval Blanc, Ausone and Pétrus (“the group of nine”) all meet to taste the latest vintage. After Pavie and Angélus became newly minted First Growths, the group reportedly preferred to restrict the group to the original set. And in 2012 Ch. Ausone quietly removed the classification from its labels – a hint at what was to come. Eric Morain – one of the lawyers representing the three disgruntled estates – has commented that the classification has become “a system that sells the brand and no longer the grape”. La Revue du Vin de France’s 2021 Man of the Year, the attorney is a specialist in the world of wine and has earned a reputation for standing up for the little guys. He was instrumental in establishing the Syndicat de Défense des Vins Naturels (which introduced the Vin Méthode Nature trademark last year – a formal definition for natural wine in France), and has defended several wronged natural wine producers, such as Olivier Cousin and Alexandre Bain. Morain’s latest crusade, however, is against two goliaths – with connections and deep pockets. “The classification was thought out and developed and judged by people who had a direct interest. The rules were not the same for everyone,” Morain said on email to me. De Boüard and Castéja should have recused themselves, he argues. For Chx Corbin-Michotte, Croque-Michotte and La Tour du Pin Figeac (“They aren’t notable, just winegrowers who do their job well,” Morain says), this isn’t about money. They just want someone to admit they were wronged, unfairly excluded from the ranking. “Will they be convicted?” Bordeaux expert Jane Anson pondered, “I would imagine not, but I guess we will all have to wait and see...” For her, the drama is an unnecessary distraction “from the excellence of the wines and the entire classification”. In the meantime, the process for the 2022 classification has been rumbling on, with applications submitted this summer. Some changes have been made, again trying to make the classification – once and for all – watertight. Independent third party Bureau Veritas is now in charge of both tastings and site inspections, and the weighting of the tasting element has been increased for the Premiers Grands Crus Classés (bringing it in line with the weighting for the Grands Crus Classés) – worth 50% of the score (previously 30%) – while the portion for a property’s terroir has been reduced to just 10% (previously 30%). The puzzle is why the criteria remain different for a Premier Grand Cru Classé versus a Grand Cru Classé – something for which I haven’t been able to find an answer. Given estates need to score 17 for the heralded Premier Grand Cru Classé A, 16 for Premier Grand Cru Classé B and 14 for Grand Cru Classé, why make things even more complicated and declare that, for example in 2022, the quality of terroir has more significance for a Grand Cru Classé than a Premier Grand Cru Classé estate (20% versus 10% for the latter)? To make it into the upper echelons of the Premiers Grands Crus Classés, reputation is considered key – and this is a sticking point for many. While reputation, promotion and distribution represents 20% for the Grands Crus Classés, it stands for 35% of a property’s score for Premier Grand Cru Classé status. Including elements such as wine tourism, social media, PR and the accessibility of an estate, it has prompted remarks that the size of a winery’s car park has more relevance than the quality of its soils. The INAO emphasises that the criteria are very similar to those of the original classification in the 1950s. Reputation has always been included, they argue – they are simply adapting this to the modern day. Either way, it’s a minor element, they assure me – with, for example, social media representing just 0.3 points, or 1.5% of the final score, while wine tourism makes up a mere 1%. This hasn’t soothed the worries of the region’s two original Premiers Grands Crus Classés A properties, Ausone and Cheval Blanc. News broke soon after applications for the classification closed on June 30th that the prestigious estates had not submitted anything. When I spoke to both estates ahead of en primeur (April this year), the responses were interesting. Pierre-Olivier Clouet, Technical Director at Ch. Cheval Blanc, noted it was “a touchy question” before he continued. “We believe it’s quite difficult in 2021 to classify the wine like in 1855. This is not the same period this is not the same price per hectare, it is not the same price per bottle… Producing an outstanding wine is difficult on paper,” he said. “We don’t produce wine for the critics, for the classification – we make wine for the wine lover. Premier Grand Cru Classé A, Premier Grand Cru Classé B, Grand Cru Classé… we are Cheval Blanc, that’s it.” When I enquired whether he felt a wine’s distribution should have as much weighting as its terroir, he shrugged and smiled: “The answer is in the question.” Pauline Vauthier of Ch. Ausone was less willing to broach the topic, not wanting to be embroiled in the debate. “What counts is the quality of the product,” she said – making very clear that that is where the estate’s focus lies. “There are many classifications and they’re difficult for the public to understand. Ausone prefers to communicate about the quality of its wine.” She added: “[The 2012 classification] created much controversy, and that will certainly be the case with 2022.” When the news broke in July that both estates were withdrawing (along with sibling estates, La Clotte and Quinault l’Enclos), Pierre Lurton (Director of Ch. Cheval Blanc) and Clouet told Terre de Vins that there wasn’t enough emphasis on “the terroir, the wine, the history”. Edouard Vauthier (Ch. Ausone) explained, “Since 2012, some criteria added are not linked into the wine itself anymore. Some people apply for the classification for economic reasons more than quality and the respect of the terroir.” He highlighted that many of their customers hadn’t even noticed that “Premier Grand Cru Classé A” was no longer on the label. Indeed, why would they? Interestingly, these estates agree with Eric Morain on this. For Morain, the tasting component should represent much more – and as long as it counts for so little, “the classification will mean nothing”. The two behemoths are their own brands – brands that are much stronger than that of Saint-Emilion Premier Grand Cru Classé A. The loser, sadly, is set to be the classification itself, and its top-tier properties – which will no longer benefit from Cheval Blanc and Ausone’s halo effect. Of course, the INAO was keen to emphasise that – whether classified or not – the two estates would always be closely associated with the region, and that there were plenty of other estates that eagerly submitted applications. “Ausone and Cheval Blanc have always been driving forces behind the appellation and I hope will remain so,” Frédéric Castéja told me. “The risk is that at the next occasion other top estates (meaning other First Growths) do the same, then if too many leading estates leave, the classification is meaningless.” Morain – unsurprisingly given his campaign against the classification – is damning about its fate. Ausone and Cheval Blanc’s departure is, for him, “a symptom of a system on its last legs”. So is the 2022 ranking set to be the Saint-Emilion classification’s swansong? Perhaps – the more important question is maybe if it matters. “Saint-Emilion has so many châteaux (by far the most of any of the prestigious appellations) that there is a definite benefit to have some way of distinguishing the best wines,” Jane Anson said. “I fully agree with the principles, in fact think the idea of a renewable classification is very much consumer-driven and provides an incentive to estates to keep investing etc, but I think it has become unworkable.” And that is the problem – the theory is excellent, but how can it be put into practice? While the classification sounds helpful in principle, for most people, I suspect it isn’t. There’s too much confusion with Grand Cru, Grand Cru Classé and Premier Grand Cru Classé A or B. Unlike the Médoc’s straightforward numbering of First to Fifth Growth, it is not – to the uninitiated – immediately clear which is meant to be better than the other. Price and branding of an individual estate will be the more important differentiator. Talking to other producers in the region, few have answers – and few wish to champion the system’s survival. I asked Noëmie Durantou Reilhac – of Denis Durantou estates – whether she’d ever wish to see something similar in Pomerol. The answer was a firm no (“definitely”). “What really saddens me is seeing some plots in Saint-Emilion Grand Cru that are truly devastated,” she tells me. When I ask Nicolas Glumineau at Pichon Comtesse in Pauillac – a producer with a little distance – about his thoughts on it, he’s quick to quip: “That’s why we have an 1855 [classification] that we never move.” More seriously, he thinks the decade cycle is problematic. “I have this feeling that one classification every 10 years is probably too fast, too frequent. Probably 25 years – one generation could be enough.” Of course applying for the classification is voluntary – and not everyone does. Ch. Tertre Rôteboeuf, notably, has never played the game – despite the high quality of its wines. (The property is also renowned for handling its own distribution, outside the négociant system.) Ch. Haut-Brion owner Prince Robert of Luxembourg recently highlighted a benefit to being outside the classification – announcing his plans to expand Quintus with vineyards from the recently bought Ch. Grand Pontet. And this really gets to the point of what could make the Saint-Emilion classification work. As Anson said to me, “Saint-Emilion is the only classification in Bordeaux that includes the notion of terroir (and in fact taste) and that is also linked to a specific piece of land.” A classified property can’t automatically include new vineyards – unlike estates on the Left Bank. The classification is admirable in many ways – but how can you really quantify excellence? Is it ever really possible to pin down the true quality of a wine, or estate, with such exactitude? Is the picture not more nebulous than points can ever paint? “All classifications are correct as long as all players clearly know the rules,” Frédéric Castéja noted. “One must remember that classifications are always the picture of the past, but of course confirm the potential of the estate.” For Saint-Emilion, even the past feels in flux – discussed and debated. What the future holds is hard to say – but, for now, we’ll wait to see what’s in store for the class of 2022. Read more about Editorial  Since this article was published, Hubert de Boüard was found guilty of having undue influence in the 2012 Saint-Emilion classification. He was fined €40,000 and has not appealed the charge. Two properties, Ch. Croix de Labrie and Ch. Tour Saint-Christophe, are taking the INAO to court over their applications for the 2022 classification. In January 2022, Ch. Angélus announced it too was leaving the Saint-Emilion classification, stating the system had become a "vecteur d'antagonisme et d'instabilité". This leaves Ch. Pavie as the only remaining Premier Grand Cru Classé A estate. September 2022: the new classification has been unveiled, with Ch. Figeac promoted to Premier Grand Cru Classé A, alongside Ch. Pavie.

Saint-Emilion’s classification is in crisis – embroiled in court cases and controversy. But why? And does it matter? Sophie Thorpe investigates

Saint-Emilion’s classification is in crisis after leading names abandoned the system. We talk to Ausone, Cheval Blanc, Angelus and more about the controversy

Investigating Saint-Emilion's classification

Class act: Saint-Emilion

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