The Thienponts reign over Bordeaux’s Right Bank. At Vieux Château Certan, Alexandre Thienpont – almost always dressed in his Barbour – rules, producing Pomerol of immaculate pedigree, as his family has for over a century now. Nearby, cousin Jacques Thienpont holds court at Le Pin, Pomerol’s original cult address. Nicolas Thienpont is another cousin whose domain stretches out from Saint-Emilion – from Pavie Macquin and Larcis Ducasse across to several estates in the Côte des Francs. And the dynasty continues to grow, as each thread of this complex family finds a new corner of the region to master.  The Flemish family has a long history in the world of wine, having traded French wine (especially Bordeaux) since 1842. Georges Thienpont – grandfather of Jacques, Alexandre and Nicolas) was the first to move into production, buying Ch. Troplong Mondot in 1921, then Vieux Château Certan in 1924. It wasn’t long before the Great Depression hit, however, and Georges Thienpont was forced to sell Troplong Mondot in 1934. Reportedly the only reason he kept Vieux Château Certan was that no one wanted to buy it – with vines holding little allure at the time. It was the château itself at Troplong Mondot, positioned at the highest point in the region and with a view across the village of Saint-Emilion, that allowed him to sell the Saint-Emilion estate. Georges continued to make wine through the Second World War and the devastating frost of 1956. Despite a challenging start, “VCC” (as it is affectionately known by wine-lovers) has become one of Bordeaux’s leading names.  It was Jacques Thienpont, however, who thrust the family firmly into the limelight. It was in 1979 that Jacques, then still a Belgian wine merchant, purchased a 1.6-hectare vineyard in Pomerol. The site had produced generic Pomerol, but Jacques started making tiny volumes of opulently styled wine, naming it after the lone pine tree (“le pin”) that stood on the property. The 1982 vintage was pivotal, receiving significant critical acclaim – especially from Robert Parker – and soon Le Pin became one of the world’s most desirable wines.  Just over 30 years after that first vineyard purchase, it seemed like fate when Jacques went to see a plot of land in Saint-Emilion right next to Troplong Mondot. Previously known as Ch. Haut-Plantey, the potential of the site was clear to Jacques and the symmetry of the Thienponts returning to where their family’s winemaking legacy began seemed fitting. He bought the property in 2010 and put Cyrille Thienpont (his cousin once removed) in charge of its daily running. In keeping with the arboreal theme, he named the Saint-Emilion venture L’If (the yew tree).  The first project the team undertook was a detailed soil map to get to grips with the site. The winery is in Saint-Laurent-des-Combes, just to the east of Troplong Mondot, with five hectares of vineyard around it and another two hectares of west-facing vines next to Saint-Hippolyte. The lower parcels are more eroded and sandier, but much of the vineyard sits on pure limestone and clay. They set about restructuring the vineyard – getting rid of the 5% Cabernet Sauvignon and increasing the portion of Cabernet Franc, with around 25% across the property today (any new plantings were with a massal selection from Pavie Macquin).  In 2013, Jacques bought another hectare or so of vines in Saint-Etienne-de-Lisse, right next to Ch. Puy-Blanquet. Despite the quality of the soils, Jacques was hesitant about buying such a “distant” plot, a whopping three kilometres as the crow flies – or a circa 10-minute drive. They pulled the vines out and replanted this additional parcel, harvesting its first fruit in 2018. Despite its youth, the fruit from the plot has made it into the final blend for every vintage of L’If since 2020 (“Worth the trip,” jokes Cyrille). Even with the significant replanting and this new plot, the average age of vines across the estate is around 40 – with the oldest over 60 years in age.  Work on a new winery finished just in time for the 2023 harvest, allowing greater precision and flexibility – with more space to work (and 16 concrete tanks for their eight hectares of vines). You might expect a flashy building, perhaps designed by a famous architect – but that’s not the Thienpont way. Understatement is everything for this family – and the winery is an almost exact replica of what stood there before, simply with more space inside, designed for simple functionality. In one corner stands an otherwise anonymous stainless-steel tank – the first one that Jacques bought for Le Pin back in 1979.  It was perhaps inevitable that L’If would sit in Le Pin’s shadow. But now, 15 years after Jacques Thienpont bought the estate, with a new winery and the significant work in the vineyards completed, L’If is building its own reputation.  Although the same team is largely involved in both estates, L’If is a totally different site and wine. The cool soils have better water-holding capacity, and budburst is around 10 days later than at Le Pin with its warm free-draining gravels – a gap that often widens as the growing season progresses, meaning harvest is significantly later here. Diana Berrouet Garcia – who acts as Managing Director for Domaines Jacques Thienpont, including both Le Pin and L’If – notes how at L’If the terroir seems to speak louder than the vintage and can better adapt to more challenging conditions, while the vines can struggle – especially in hot, dry years – at Le Pin. Where Le Pin is round, supple and exotic, L’If is linear, taut and mineral; one sensual and spherical, the other just on the right side of severe, with a crystalline quality. Even in the last few years, it’s amazing how the wine is evolving – nipping at Le Pin’s toes in terms of quality. Re-tasting the 2019, it’s amazingly approachable with a perfumed nose and juicy, pure fruit that complements the wine’s natural tension.   It's still comparatively early days for L’If –  and the team has invested significantly, focusing on shaping the vineyard and ensuring they have the tools in the winery to translate the work in the vines. For now, over half the vineyard is being used for the second wine, Les Collines d’If – something that will change in time, as they continue to replant parcels. As it happens, yews grow incredibly slowly – but are also some of the longest-living trees (Perthshire in Scotland is home to the Fortingall yew, thought to be 2,000-3,000 years old and one of the oldest trees in Europe). The Theinpont family is just settling in at L’If, but as they lay down roots, the potential is clear.   The Thienpont family: who does what?  Jacques Thienpont: Owns Le Pin, L’If and L’Hêtre (the latter with his sister Anne de Raeymaeker), but is also a co-owner of Vieux Château Certan. He oversees the family’s original Belgian wine merchant business, the Belgian Royal Warrant-holding Thienpont Wine, which is managed by his wife and award-winning wine writer Fiona Morrison MW.  Alexandre Thienpont: Co-owns and manages Vieux Château Certan with his son, Guillaume, as well as co-owning Le Pin with Jacques. Alexandre and Guillaume also farm the vines at Le Pin, L’If and L’Hêtre, as well as Vieux Château Certan.  Guillaume Thienpont: Manages Vieux Château Certan with his father, Alexandre, as well as making L’Etoile and Les Fillottes with his second cousin, François Thienpont. He also now manages Ch. Guillot-Clauzel, which is not owned by the family.  François Thienpont: Manages the family’s négociant business, Wings, as well as making L’Etoile and Les Fillottes with Guillaume Thienpont and is a co-owner of both Vieux Château Certan and Ch. Puygueraud.  Nicolas Thienpont: Owns and/or manages a group of estates with his son Cyrille: Pavie Macquin, Larcis Ducasse, La Prade, Laclaverie, Charmes Godard and Puygueraud.  Cyrille Thienpont: Owns and manages the Nicolas Thienpont group of properties with his father, as well as managing and making the wine at L’If.  There are many more members of the Thienpont family involved in wine, but these are the most prominent at the time of writing.   Explore all current listings of L’If or read more about Bordeaux 

Le Pin is one of the world’s most famous wines – but it’s just one of the Thienpont family projects. We dissect the dynasty and explore the evolution of L’If, the Saint-Emilion estate that is emerging as one of the region’s most exciting names

Jacques Thienpont created cult Pomerol wine estate Le Pin in 1979, but now he’s got a new project in Saint-Emilion, Bordeaux: L’If 

Exploring L’If: Le Pin’s Saint-Emilion sibling 

I first sat down with winemaker Chris Phelps almost two years ago, diving into his remarkable journey. Having worked at the likes of Dominus, Caymus and Inglenook, it was chance – or maybe fate – that led him to establish his own wine label, Ad Vivum, in 2007.  He was sitting above a tank of just-fermenting fruit when he was struck by a “coup de foudre” – falling instantly for Sleeping Lady Vineyard, a site farmed by his good friend Larry Bettinelli. He bought the half-fermented must, and has continued to do so every vintage since.  The specific blocks that filled that tank sat up against the Mayacamas at the very top of the vineyard, which is the southernmost site in Yountville. Here, the vines are shielded from the blaze of the afternoon sun, preserving acidity and aromatics in the fruit, while a flow of underground water allows the site to thrive in even the driest of years. Each year, from just 1.5 acres of Cabernet Sauvignon, Phelps crafts another expression of the site.  The exact parcels have shifted very slightly over time. In 2007, the vines were all Clone 191 – the clone he felt was best on the site, but the block needed replanting so they started using fruit from an adjacent plot, planted with Clone 7. After a “carefully thought-out dance” balancing the two plots, the 2024 vintage marks a return to using fruit only from the original plot, now replanted with Clone 191 (and known as Clone 34, which is genetically identical to 191).  Phelps left his day job (working for other wineries) at the end of 2023, finally able to focus exclusively on Ad Vivum, as well as a newer project with his son Josh (Coil Wines). Although we’d tasted the current releases before, earlier this month we were able to taste a trio of back-vintages for the first time. They reinforced how special this site is, as well as Phelps’s talent when it comes to capturing it in bottle.  The three vintages we tasted were 2016, 2017 and 2018 – three very different years in Napa. All three, however, manage to combine great freshness with Napa polish – creating wines that are surprisingly approachable already.  2016 Ad Vivum  In Phelps’s words, 2016 was “a classic Napa vintage”; the weather was warm at the end of June, allowing the vines to focus on fruit ripening, while autumn brought cooler weather. Phelps harvested from 7th October, fermenting in 21% new French oak (the rest in stainless steel), with a total of 19 days on skins prior to maturation for 18 months in 65% new French oak. It has always had “a seamlessness”, Phelps noted, and that’s certainly true tasting the wine.  The nose offers sweet, dark fruit, graphite purity and hints of lifted florals as well as an herbaceous edge. The palate is linear and pure, with mouthwatering acidity and a savoury core of ripe fruit, sweet cassis and ripe tannins that provide a drying grip on the finish. Although the oldest of this mini-vertical, it almost feels the youngest and will certainly benefit from additional time in bottle. A blend of 56% Clone 7 and 44% Clone 191 Cabernet Sauvignon.   2017 Ad Vivum  The 2017 vintage is one that will forever be remembered for its wildfires in Napa, although fortunately Ad Vivum wasn’t impacted by them. After an early budbreak, the growing season was marked by three heatwaves – in mid-June, at the end of August and in mid-September. Having a cooler site, shaded from afternoon sun and with sufficient water reserves was key for Phelps. He harvested from 5th October, bringing in 55% Clone 191 and 45% Clone 7 Cabernet. It was fermented in 25% new French oak, spending 20 days on skins in total (Phelps noted how easily colour and tannin came in this hot vintage), before being aged 17 months in 70% new French oak.  The nose here is bright and perfumed, combining sweet dark fruit – black cherries and blackcurrant – with floral lift and pencil lead. There’s a glorious purity to the fruit here, which follows through onto the dense yet fresh palate, displaying a juicy elegance. There’s a satisfying chew to the tannins, firm yet velvet-like, framing the waves of fruit that flow towards to the long, saline finish. Mouthwatering and moreish, this is hard to resist now.  2018 Ad Vivum  Although the 2018 vintage in Napa started with relatively late budbreak, cooler, even temperatures made for a long growing season, and producing relatively plentiful yields – yet without any dilution, thanks to the extended season. Phelps harvested from 17th October, with the blend moving back towards around two thirds Clone 191 Cabernet from the original block and a third Clone 7. Fermented in 25% new French oak, Phelps left the 2018 on skins for 23 days – slightly longer than other vintages, feeling structured fruit needed more time to reach its potential, echoed with its maturation in 75% new oak for 20 months. Phelps notes how generous this wine has been from the beginning, but has developed further opulence and depth in bottle.  This is a beautiful wine: the nose is intense, exuberant with dark fruit and a satisfying herbaceous edge. Although the blackcurrant and black plum fruit is beautifully ripe and smooth, there’s bright acidity that brings gorgeous freshness – making for a lithe and vibrant palate. The tannins are round and sleek, lending effortless structure, while there’s a saline, savoury edge to the long finish.    Explore all current Ad Vivum listings, including a mixed case of 2016, 2017 and 2018, or read more about California   

Since 2007, Chris Phelps has been working with just 1.5 acres of Cabernet Sauvignon in Sleeping Lady Vineyard in Yountville. The resulting wine is Ad Vivum, a beautiful expression of this special site. We sat down with Phelps to taste through a mini-vertical of the project 

Exploring Chris Phelps’s Ad Vivum Napa Cabernet Sauvignon wine from Yountville’s Sleeping Lady Vineyard through three vintages, 2016, 2017 and 2018 

Tasting Ad Vivum Napa Cabernet Sauvignon – 2016-2018 

Tasting Ad Vivum: 2016-2018 

Some of Nicolas Champagneux’s earliest memories are of life in the vines – of the hubbub of harvest with his grandparents. It’s not the hard work that he recalls, it’s “des bons moments de famille” he tells me – the convivial spirit that infused the air. He grew up in the heart of Côte-Rôtie, spending weekends and holidays in his family’s vineyard – a swathe of Les Grandes Places, a prized site in the commune of Verenay, where his great-grandfather planted vines at the start of the 20th century.  Les Grandes Places is an extraordinary site – with the most famous producer arguably Jean-Michel Gérin. In the north of the Côte Brune, in a southwest-facing amphitheatre, this steep site has crumbly mica schist soils, which allow the vines’ roots to drive deep into the bedrock. It’s home to some very old vines – such as the centenarian plantings that Champagneux farms – and produces wines that are beautifully elegant yet with dark, fleshy power. Champagneux has almost two hectares here, having the largest holdings. Nicolas’s uncle André took over running the vineyard after his grandparents, while his father Gérard went to work in a factory. There wasn’t enough money for both brothers to join the family business back then, with Côte-Rôtie not nearly as sought-after as it is today. Other than a couple of barrels for personal consumption, the family didn’t make wine, farming the site and selling almost all the fruit to Guigal, one of the Northern Rhône’s most famous names.  Indeed, beyond the family vineyard, Nicolas spent a lot of time at Guigal – after his father Gérard left life on the factory floor to head up their viticulture team. From 16, Nicolas would work there in his holidays to earn some money. When Champagneux turned 18, he needed to find a job: he was determined not to work in an office and loved being outside, so he ended up becoming a high-wire electrician – working with huge currents of 20,000 volts. “You were never in the same place, each day was different, each task was different – so there was no monotony,” he says. He often finished his day early, and – a farmer born and bred, unaccustomed to the concept of relaxing – would go help in the family vineyard.  When his uncle passed away, there was no one else to take over the domaine – so he stepped up to the plate, keen to ensure his family’s heritage was preserved. He decided to start keeping the fruit and making wine under the family name, wanting to see the year’s efforts captured. He knew how to work the vines but had never dreamt of being a winemaker – but, never one to be put off by a challenge, he learnt on the job. That was 2014, and the wines have rapidly earned him a reputation in the region. The family cellar had the essentials, but the first few vintages were made with the bare minimum – with a new cellar built in 2016 (Yves Cuilleron advised on the project).  Almost a decade after he left the world of pylons, transformers and conductors behind, life might follow an annual cycle, but it’s as un-monotonous as it was before. Nicolas works as a one-man band and values the independence that brings – managing his own time and being his own boss. “There is still a lot to do and each year is different,” he tells me. He hopes his son will join him at some point – he was born in 2009, and his uncle put away a stash of wine from the vintage, some of which is set to be released for its 20th anniversary in 2029.   Climate change is at the forefront of his mind, with harvests now early September and even August versus October under his uncle. Where they used to struggle to get 13% potential alcohol, his wines often sit at 14-14.5%. He’s now working with grass cover, deleafing less and using a little whole bunch in warmer years to preserve freshness in the wines. Otherwise, little has changed in the decade since he started – he continues to work as simply as possible, looking to translate the vines he grew up amongst into wine. And that’s just what he does: the wines are elegant expressions of Les Grandes Places, perfumed and suave, with a fine grip of tannins and an underlying savoury salinity, ageing beautifully – as a mini-vertical of the 2015, 2016 and 2017 vintages showed recently.   The Nicolas Champagneux wines  From his four hectares of vines, Nicolas Champagneux makes three wines: an IGP Vin de Pays des Collines Rhodaniennes La Rémise and two Côte-Rôties, Les Grandes Places and La Dédicace, all made with 100% Syrah.   La Dédicace comes from the younger vines in Les Grandes Places, with a “mere” 40-60 years behind them on average. Around 6,000-7,000 bottles are produced of this “baby” Grandes Places.   Les Grandes Places comes from his oldest vines, averaging a little over 100 years in age, with some planted in 1910. Just 1,500 bottles or so are made of this wine each vintage.  Both the Côte-Rôtie wines are made in exactly the same way, mostly de-stemmed with  little whole-bunch added in warmer vintages and fermented with indigenous yeast, reaching a maximum 28-30°C, and spending around three weeks on skins. The wine then spends 20-24 months in old oak before bottling.  Nicolas Champagneux Côte-Rôtie Les Grandes Places: a vertical tasting  2022 Côte-Rôtie Les Grandes Places: This is packed with spicy intensity – clove and cardamom along with a hit of Szechuan pepper. The palate offers a juicy lushness, layered with deep, concentrated dark cherry fruit and a twist of black tapenade, with mouth-coating tannins and all refreshed by a line of vibrant acidity. A baby now, best approached from 2030.  2021 Côte-Rôtie Les Grandes Places: A really impressive 2021, poised and powerful, Champagneux’s Les Grandes Places needs air but gradually reveals pepper spice and more delicate, lifted, violet florals. There is, however, power and weight to the palate – more than you might expect from the pretty nose, with a savoury firmness, supple but structured tannins and juicy acidity. It’s dark and brooding, gothic with its haunting florals, with a long, mouth-watering, saline finish. Approach from 2027.  2017 Côte-Rôtie Les Grandes Places: The 2017 Les Grandes Places combines delicate florals with a bloody, iron note on the nose, leading on to a palate layered with bramble fruit. The tannins are round, supple and soft-textured, with tangy acidity that cuts through the concentrated fruit, while the long finish is scented with white pepper and parma violets.  2016 Côte-Rôtie Les Grandes Places: This 2016 is in a gorgeous place. Heady incense combines with sweet cherry fruit and a touch of smoke on the nose, leading onto a palate that you sink into – the wine soft and supple, with waves of sweet fruit, yet all cut by an intensely saline, savoury edge. Fresh and flawlessly balanced, decant and enjoy now and over a good decade to come.   2015 Côte-Rôtie Les Grandes Places: The sternest of the trio of 2015, 2016 and 2017, this is a powerful and impressive vintage of Les Grandes Places – with all the best characteristics of the year. The wine is dark and broody, compact and amazingly primary still, with black cherry fruit and blackberry filling the nose. On the palate, however, it has amazing purity and intensity, with a crystalline quality to the fruit, plenty of acidity to complement its concentration and the firm tannins. Smoky, saline notes linger in the mouth, with a dusting of petal florals on the finish. Decant if opening now, but this will be even better if you can resist for another few years.  Explore all current listings from Nicolas Champagneux including a range of back-vintages or read more about the Rhône 

It’s almost a decade since Nicolas Champagneux took over his family’s vines and started making wine under his own name – the first generation to do so. We sat down with the vigneron to find out more about his heritage and the journey so far 

How the talented young vigneron in Cote-Rotie has taken his family’s legacy and created a new domaine that is one of the Rhone’s most exciting 

Nicolas Champagneux – building on his birthright 

Nicolas Champagneux: building on his birthright 

Long ago, we wrenched grapevines from their natural habitat. Enthusiastic creepers, their shoots and tendrils are designed to cling onto whatever they can as they grow; winding themselves around trees or other plants in the wild. But we dragged vines out of the forest and forced them into rigid trellises, taming their wayward growth to produce a crop that served our purpose. Now, however, there’s a movement to re-integrate trees and plants into viticulture.  Cheval Blanc is one of the most famous proponents of agroforestry, which is a key part of its manifesto on a modern approach to viticulture. Augustin Fromageot – who now works full time at Anjou’s Domaine Belargus – was one of the team involved in the project, planting over 4,000 trees at the estate in two years. Until then, Fromageot – a trained geologist – had been working in South America, largely in cocoa and coffee, but the vine was calling. The team converted the estate into a laboratory of sorts – experimenting with different ways to integrate trees, within rows, replacing rows, in copses and borders or any other way you can imagine planting them alongside vines, all set to be followed in scientific programmes to track what works and what doesn’t. Now he’s doing a similar thing at Belargus, managing their extensive nature reserve and working to increase biodiversity on the estate – working to manage the landscape, as he sees it.  It’s an oversimplification to suggest that vines have gone directly from wild creepers to industrialised monocultures. Historically, farming was poly-cultural, a smallholding contained everything a family needed – and vines often formed part of that. Pergola trellising, for example, allowed for other crops to be planted beneath, while trees being used as a living trellis was not uncommon – often referenced as married vines, the Roman method of arbusta (favoured by Pliny, for example) – and grown alongside each other, culture en hautain, cultura mista or joualle. It’s this latter method, favoured in southwest France a century or so ago, that Cheval Blanc has in part been trialling, with individual trees replacing vines within a row. It looks beautiful, however brings its own complications, limiting mechanisation. It is, as Fromageot, says, a “poetic” way to integrate trees. You’ll still find vines trained up trees in Bolivia, in the Cinti Valley (as for the Jardín Oculto project), although these are ancient examples – and few would plant vines like this today. It’s an impractical way to farm, at the end of the day, one that only worked on a very small scale, but it’s clear that industrialisation has pushed monocultures too far – and agroforestry is one way in which producers are trying to fix the damage done.  Trees are remarkable in many ways, but they can have a huge impact on a vineyard. Their physical presence can influence the microclimate – protecting a vineyard from frost, heat and wind, as well as acting as a physical barrier between neighbouring properties – preventing any unwanted sprays drifting into your vines. They increase biodiversity – providing a habitat for insects and animals, in particular bats, and they absorb carbon dioxide. They reduce soil erosion (with topsoil erosion a major threat to agriculture worldwide) and increase organic matter, which in turn increases soil’s water-holding capacity – a major plus in dry regions. For Fromageot, trees help to create a resilience in the vineyard, reinforcing the vines’ natural defences, and therefore reducing the number of treatments required.   It’s easy to look at such a list and understand the principles at play. Clearly there are benefits for the environment – but what does it mean for the wine in your glass? Well, a lot, potentially. As few as five trees will influence the microclimate in a 100-metre radius; they can reduce the temperature in a parcel by as much as 2-3°C, preserving acidity, lowering alcohol and retaining precision in the aromatics. And, shielding a vineyard from extreme frost or heat, as well as providing better water reserves in the soils, allows for a more consistent yield, all of which is beneficial with climate change – with both more extreme weather conditions and global warming.  Of course, it’s not quite as simple as it sounds. “It teaches us an immense humility,” Fromageot tells me, as I start asking him about the world of agroforestry, and more specifically vitiforestry. He’s more than aware that agroforestry has become a buzzword in wine – it's suddenly very trendy. But there’s a lot of work involved in planting and managing trees. For starters, deciding where and how to plant trees is key. Their ability to influence microclimate can be both good and bad – with the potential to create frost pockets, to increase humidity, reduce airflow and therefore disease pressure. “You need to read the landscape,” Fromageot explains.  You also have to decide what sort of tree to plant, as well as the rootstock, ensuring it will complement viticulture. The first thing Fromageot does when taking on a project is look at all the local nurseries to understand the native varieties. Fruit trees are common, but as he notes, you need to ensure it has a different harvest time to grapes to avoid any conflict – he looks to apples, pears and prunes, in particular, highlighting how challenging peaches and apricots can be. Otherwise, the likes of maple, ash, mulberry, black poplar, hornbeam and linden can all work – essentially trees that share the same type of mycorrhizae (the microorganisms that attach to roots) as vines. You want to avoid anything that might taint your wine, or anything that will inhibit growth – such as walnut trees, which produce a toxic compound, juglone.  Trees have significantly different requirements to vines, needing different equipment and expertise to thrive, with – for example – extensive fertilisation to establish trees, which need richer soils. Trees will – wherever they are planted – occupy space that could otherwise be used for vines, yielding additional crop. And it’s a slow process, with it taking around a decade for trees to start influencing viticulture in a meaningful way, says Fromageot. All of this costs time and money – making agroforestry a luxury that not all producers can afford, although Fromageot feels that trees can be integrated in a different way for producers working at scale.  Alain Canet – an agronomist and specialist in agroforestry – argues that re-introducing trees is crucial for agriculture. “For some soils it is already too late,” he writes. “But for most, we have time to act... In agroecological terms, the transition to trees is the transition to life.”  There are many scientific reasons to favour vitiforestry, but for Fromageot there is a more compelling reason: the landscape fixes people to a geography, to a place, and that – he argues – is essential for making fine wine. Beauty in the landscape you live and work in helps us “find sense in life”, he tells me. Romantic? Maybe. But with the science to back it up, it’s hard not to be persuaded that trees line the way to a more sustainable future – in wine, yes, but in wider agriculture too. 

Agroforestry is the latest trend to take over the world of fine wine – but why? We sat down with Domaine Belargus’s Augustin Fromageot to find out why trees might just be the key to sustainable viticulture 

Agroforestry is the latest trend to take over the world of fine wine – but why? We sat down with Domaine Belargus’s Augustin Fromageot to find out more

Trees and wine: exploring the world of vitiforestry

Putting down roots: the world of vitiforestry 

For Marelise Niemann, the lure of wine is the very thing that might frustrate less intuitive winegrowers. “You’re never in control: you’re always humbled,” she says – by the weather, by the baboons that eat your grapes, by nature. Humbling though it may be, Niemann has made Grenache her mission – crafting South Africa’s finest, most elegant expressions of this grape under her Momento label.  It's perhaps not surprising, given the style of her wines, that it was a vintage in Burgundy that provided her lightbulb moment. At the time, in the late noughties, South Africa was still focused on producing big wines: bold reds, extracted and heavily oaked, were seen as the best. Parker’s influence was lingering, and South Africa was still bouncing back from apartheid and the stifling monopoly of the KWV. But a stint working with Pinot Noir made Niemann realise the surprising and sometimes incongruous power of delicacy – in short, that bigger wasn’t always better.  And she was one of many on a similar journey. South Africa’s New Wave movement was gathering pace. Led by the likes of Eben Sadie, Adi Badenhorst, and Chris and Andrea Mullineux, these producers were crafting fresh and fine wines, reinventing South Africa’s vinous identity. What started in the Swartland soon swept across the nation, and Niemann was part of this groundswell.  It was farming that first drew her to wine, having spent time as a child on her grandparents’ farm in Stanford, a small village in the Overberg, getting up at the crack of dawn to help milk the cows or do whatever else needed doing. Although her parents both left agriculture behind, she wanted to work the land. Growing up in Elgin, dominated by apples but with a nascent grape industry, she decided to try viticulture. Late nights with many bottles at university in Stellenbosch convinced her that growing grapes wasn’t enough, and soon her degree had broadened to include winemaking.  After travelling the world and doing vintages in the Rhône and California, she got a job working alongside Sebastian Beaumont – who had just taken over his family’s estate, Beaumont Family Wines. It was here, she explains, that she could unlearn everything in the books. While there, she continued to travel and do vintages in the Northern Hemisphere – including the aforementioned stint in Burgundy.   Although Pinot Noir was her inspiration, it was the freshness and vibrancy that she was chasing, rather than Pinot itself – well aware that much of South Africa is simply too hot and dry for the variety. A trip to Terroir al Limit (the Priorat project created by Dominik Huber and Eben Sadie in 2001) in 2010 was pivotal. She fell instantly for the region’s beautiful old Garnacha vines, and the lighter styles that Huber and Sadie were producing.   She immediately returned and sought out a parcel of Grenache in the Western Cape. She bought two tonnes from a 50-year-old vineyard in the Swartland with Donovan Rall (of Rall Wines); he picked the fruit and trucked it down to Stellenbosch, where they stashed it illicitly in a university cold room overnight courtesy of a friend, and she then drove it down to Beaumont. The winemaking was minimal, in part because she was busy making the Beaumont wines, and she didn’t have any equipment – but also because it was what the vineyard gave her, leaning towards a lighter, more fragrant style. The first vintage of Momento Grenache was born. That was 2011, and before she’d even decided on a name or considered designing a label for the bottled product, it was chosen for the famous Young Guns tasting. (Her husband – an artist – sketched the vine you’ll see on the label today, with faces in the trunk, because for Niemann wine isn’t just the geeky stuff, but the people – both those who make it and those who enjoy it.)  Fast forward a decade, and Momento has earned quite the reputation. Niemann was named Tim Atkin MW’s Young Winemaker of the Year in his 2023 South Africa Report, and critics gush over the wines from this “Grenache-whisperer” (as dubbed by Malu Lambert, Decanter).  Although Niemann makes a Chenin Blanc/Verdelho blend and Tinta Barocca, Grenache is very much the core of the Momento range – with Grenache Gris and Blanc, as well as several different bottlings of Grenache Noir. It’s unsurprising given the beautifully fragrant, fine and fresh style of her wines that those she looks to for inspiration are Rayas (of course), but also those of Sierra de Gredos (such as Comando G), and finer, new-wave examples from Australia too – like Yangarra or S.C. Pannell. With the 2022 vintage, she introduced three additional single-site expressions of Grenache Noir, adding a bottling from Botrivier shale, Piekenierskloof sandstone and Riebeekberg schist, alongside her Paardeberg wine (previously labelled as Swartland, or Western Cape, all on granite). The idea is to show what Grenache can do in South Africa, speaking of their different soils, yet all retaining her trademark vibrancy and delicacy.  For Niemann, Grenache and the other varieties she works with aren’t an arbitrary choice, but those that are sustainable in the South African climate. Almost all the vineyards she works with are dry-farmed (with one that she’s weaning off its water-dependency). She points to the drought of 2015-2018 with its threat of Day Zero, when no one could irrigate their vines: she recalls how the Cabernet and Merlot in a neighbouring vineyard gave up, offering little to no crop, but it wasn’t the case with her Grenache, which “just carried on with life”. As she says, “There will be another day zero in South Africa. It will become hotter and drier. We need to farm varietals that don’t need to be irrigated.” Grapes like Grenache, Chenin and Verdelho, alongside Cinsault and Carignan are – for her – the answer. “It’s what our climate wants us to plant,” she says.  One thing’s for sure: if this is the future for South African wine, it’s incredibly exciting. Forget high-alcohol, soupy sweet Grenache; Niemann’s wines are fine-boned, fresh, textured, perfumed and pure – wines that speak of place. Allocations of her single-site bottlings vanished almost instantly on release – and I’m in no doubt that her star will only continue to rise. Snap these wines up while you can.  Explore the Momento range or read more about South Africa 

Named Tim Atkin MW’s Young Winemaker of the Year in 2023, Marelise Niemann is crafting some of South Africa’s most exciting wines. We sat down with the Momento winemaker to talk about her journey into wine, falling head-over-heels for Burgundy and why Grenache is the future for the Western Cape

Sitting down with Marlise Niemann, the winemaker behind Momento wines in Bot River, South Africa – Tim Atkin’s Young Winemaker of the Year 2023

Redefining Grenache: Marelise Niemann’s Momento wines

Redefining Grenache: Momento 

Bordeaux is changing. The Left Bank, in particular, has long been a region of labels – of grandiose estates, polished winemakers and the bottles they produce – the vineyards a backdrop to their impressive châteaux and new state-of-the-art wineries. Of course, vineyards have mattered, as much as they’re the source of their grapes, but they’ve rarely been the focus for conversations with trade or consumers. But now, perhaps influenced by the meteoric rise of Burgundy – and an approach to wine echoed around the world, terroir is stepping into the spotlight. Behind the scenes, the Bordelais may always have been looking underfoot, but now they are talking about it too.  Nowhere is this more true than at Ch. Montrose – a property that announced a significant change when releasing its 2023 vintage. The property has always made some of Bordeaux’s finest wines, but over the past 15 years (under the Bouygues’ ownership) quality at this Saint-Estèphe estate has reached new heights. Long known for its austere age-worthiness, there’s now a modern polish that softens its stern style – without sacrificing its classicism and longevity. Each vintage seems to reveal a new level of precision and finesse. From 2023, Montrose announced that its Grand Vin would only come from Terrace 4 (T4). If that doesn’t mean much to you, I’m not surprised.  The Médoc and Graves’s six gravel terraces were uncovered by Pierre Becheler in a series of studies in the 1980s and ’90s. Each terrace dates from a different period and has its own distinct soils, with Terrace 1 (T1) the oldest and Terrace 6 (T6) the youngest – and argued to be a defining factor in the Left Bank’s terroir. T3 and T4 are widely regarded as the best for wine-growing, and Becheler found that, at the time of their classification in 1855, over 80% of the Classed Growths sat on these two distinct geological strata.  In the last decade, these gravel mounds have become a key part of Bordeaux’s story, explaining the estates’ terroir. Despite widespread understanding that the terraces are integral to the quality of wine, there still isn’t a comprehensive map of the Left Bank’s terroir – showing which vineyards sit on which soils (the best are those created by Jane Anson and Kees van Leeuwen for Anson’s book Inside Bordeaux). Most studies have been undertaken by individual estates, as at Montrose – who engaged Becheler himself to uncover the specifics of their site.  It's remarkable that, without knowing anything about the region’s subsoils, Montrose was so fortuitously placed – although it has of course survived thanks to its prestigious site. The property’s first vines were planted – all on the fabled T4 – in 1815, by Etienne Théodore Dumoulin, who had purchased the land from Nicolas Alexandre de Ségur (of Calon Ségur). The land had been covered in heather, its pink blossom covering the gentle slope come autumn, and sailors passing along the Gironde estuary used to call it the pink hill – or “mont rose”, giving the property its name.  It was only 40 years after the first vines went in the ground that the estate earned its place as a Second Growth in the 1855 Classification. By 1861, when Dumoulin passed away, the estate comprised 95 hectares – but its borders have shifted over the years. It was later purchased by an Alsace factory owner, Mathieu Dolfus, who invested heavily in the property. He was a visionary – offering free healthcare, profit sharing and accommodation on the estate for his workers. He even used a wind turbine to flood the vineyards, staving off the impact of phylloxera as long as he could.  Montrose was managed by the Charmolüe family between 1896 and 2006, with Jean-Louis – who ran the estate from 1960 – key in building its modern reputation. It was under him, in the 1970s, that vines were planted on lower-lying land close to the estuary, which sits on T5. These humid, sandy parcels are now used for La Dame de Montrose, the château’s second wine.  It was in 2006 that brothers Olivier and Martin Bouygues (of the eponymous telecoms company) acquired the property. In 2010 they bought an additional 22 hectares from Phélan Ségur, land which had historically been part of Montrose. These vineyards, wooded on either side, sit on the sandier T3, but importantly also brought the total vineyard area back to 95 hectares – as under Dumoulin – and all sitting in one block (something which is relatively rare in Bordeaux).  The Bouygues brothers hired Vincent Decup as the estate’s Technical Director in 2014. Decup instantly set about getting to grips with the estate and its soils. When he arrived, they had a map detailing 16 different soil types across the vineyards – but he soon commissioned further studies, uncovering an additional 10 soil types. This gave them, Decup tells me, “the possibility to explore and separate” parcels, diving into the detail of the site with a Burgundian, rather than Bordelais, vision. From 2017, the team started delineating the parcels – vinifying plots in 93 separate tanks (over twice the 40 that had been used just three years prior), adapting the winemaking to each. Looking at the Cabernet Sauvignon on T3 and T4, he explains how they gained a “new level of precision and comprehension of Cabernet on each terrace”.  “The Cabernet Sauvignon of Montrose naturally gets lots of power,” Decup tells me. “We have to be careful with the extraction.” Especially for fruit from T3, he explains, it can easily become overly austere. T4 has always represented the majority of the blend for the Grand Vin at Montrose – and in Decup’s mind it is not just the property’s historic DNA, but what gives the wine its identity. He tells me how there is something magical about the way Cabernet ripens on these parcels, developing technical (sugar), aromatic and phenolic ripeness all at once. It produces wine that is “powerful, voluminous, demonstrative – a lion in a cage”.  In 2022, the same year that Charlotte Bouygues took over as President and Pierre Graffeuille became CEO, the team started focusing more on T4, and from 2023 the Grand Vin comes exclusively from this prized terrace. Coming from the Delon estates, Graffeuille knew the potential of these soils, shared by Léoville Las Cases. The 2022 vintage was pivotal – earning four potential 100-point scores, with four firm 100-point scores in bottle – and the 2023 followed in its footsteps, with three potential perfect scores to its name.  The gravel terraces rise and fall through the region. T4 surfaces in Saint-Estèphe, running under Meyney and Montrose, disappearing until the southern edge of Pauillac, reappearing around Latour, then running through much of Saint-Julien (including the three Léovilles – Las Cases, Barton and Poyferré – and Ducru-Beaucaillou), rising again throughout Margaux and then again under Haut-Brion and La Mission Haut-Brion, with small pockets further south.  The defining factor of T4 is an iron pan beneath its sandy gravels. The sandy gravel topsoil allows young vines to develop roots easily, before they hit the compact iron layer – forcing the vines to spread horizontally rather than vertically. That compact layer is cool and retains water, feeding the vines in hot years. Decup explains how in July the topsoil might be hot, but if you dig down you can feel the chill of the iron layer – something that is perfect for Cabernet Sauvignon. At Montrose, T4 sits between 12 and 16 metres’ altitude, while elsewhere it reaches a maximum 22 metres. T4 tends to run close to the Gironde, which provides a moderating influence – especially so at Montrose, where the estuary is 4.5km wide (notably protecting the estate from frosts, such as in the brutal 1991 season – a year when Montrose produced the wine of the vintage).  As with T4, T3 runs beneath many Classed Growths – notably Cos d’Estournel, Mouton and Lafite. With sandier gravel topsoil, the key difference is that T3 doesn’t have the iron pan of T4 – the topsoil instead sitting directly on clay-limestone subsoil. Slightly higher in altitude (15-18 metres at Montrose, but generally 20-26 across the Médoc), the soils are very deep and the vines’ roots drive straight down, up to three metres or so at Montrose, Decup tells me. With less clay in the topsoil, the soils are particularly free-draining, and the vines reach down in search of water. “In terms of expression, it is not the same at all,” says Decup. He explains that while it also produces bold Cabernet Sauvignon, it’s got particular energy and length, an austerity – but “positive austerity”. Vines on T3 particularly thrive in hot, dry years, he tells me.  Montrose has an impressive 45 hectares of vines on T4, 12 on T3, a swathe on what the team describes as an “intermediate soil” – somewhere between the two terraces, and a small portion on T5. So what now of the property’s vines on T3? While the château isn’t openly confirming it, a separate bottling of T3 is set to be released – likely hitting the market in 2026, if rumours are to be believed. The rest of the fruit goes into La Dame de Montrose, and a small portion into a third wine, Tertio de Montrose (previously known as Saint-Estèphe de Montrose), which is exclusively for those working at the estate. All in all, the Grand Vin now represents circa 36% of production at Montrose – down from closer to 45%.   “T3 and T4 are, in our opinion, the terraces that produce the best viticultural results,” says Pierre Becheler, when it comes to the Médoc and Haut-Médoc. Interestingly he explains that in the Graves it’s very different, and T2, which is almost non-existent in the Médoc, produces some stunning results. He can’t fully explain why one terrace works better for wine than another, but one reason the terraces are so important is their influence on water availability. With varying proportions of clay and sizes of gravel, it’s a key element in viticulture and, eventually, wine quality. Although he has spent much of his career diving into these gravel beds, however, he’s very clear that the terraces are one very important piece of the puzzle – but will never provide the entire picture. Some terraces are the best in certain appellations, he says, “but we don’t really know why or how”.  The complexities of Bordeaux’s terroir are manifold – and some argue that the bedrock, from richer clays to hard limestones, are more influential than the gravel terraces that lie over them. On top of this, slope exposition, proximity to the Gironde, and many other elements influencing microclimate, not to mention the human influence, all contribute to the concept of “terroir”. It’s exciting to see site pushed to the fore, especially alongside an increased focus on sustainability in the vineyard. The conversation is evolving – and, if Montrose’s 2023 is anything to go by, it’s only going to push quality in the region higher than ever before.  Explore all current Montrose listing (including a special selection of ex-château stock) or read more about Bordeaux 

While long a leading estate, recent vintages of Ch. Montrose have earned sky-high scores. We sat down with the property’s Technical Director Vincent Decup to find out how the team is taking the Saint-Estèphe titan to new heights – all by looking underfoot  

Sitting down with Ch. Montrose’s Technical Director Vincent Decup to talk about its terroir, terraces and perfect-scoring vintages of the Saint-Estephe wine 

FINE+RARE: Talking terraces and terroir with Ch. Montrose 

What lies beneath: talking terraces and terroir with Ch. Montrose  

“I want to struggle,” says Cristiana Tiberio, earnestly, as we talk in London. This Abruzzo winemaker has rapidly become one of Italy’s most fashionable names. Thanks to her hands-off approach in the winery, she’s a darling of the natural wine scene, but is also earning top scores and rave reviews from the likes of Eric Asimov (The New York Times), Antonio Galloni (Vinous) and Ian d’Agata. But, as I found talking to her, she’s far from complacent.  Cristiana fell in love with wine as a teenager. Her father, Riccardo, was friends with Bruno Giacosa and the legendary Piedmontese producer’s wines were her favourites. She noticed early on that wines made with the same grape from different sites tasted totally unlike each other. “Wine was an infinity world,” she tells me, still with a touch of whimsy – and it was a world that she set her heart on exploring. When the time came, she set off to study chemistry at university – looking to the science behind wine rather than more practical oenology. Before she knew it, however, she’d been diverted, ending up with a PhD in photochemistry, far from “the infinity world” she’d committed to. So she quit. Instead, she travelled the world, working with various top producers, including Jacques Selosse, Nicolas Joly, Egon Müller and leading names in Chablis, before returning to Abruzzo in 2004.  In the meantime, her father Riccardo had found a special parcel of land in the mountains near the town of Cugnoli, with an abandoned plot of Trebbiano Abruzzese – the indigenous grape that had largely disappeared from the region. With its large, juicy berries and thin skins, this variety is more susceptible to fungal disease, can be challenging to ripen and lose its bright acidity if not picked at the perfect moment. Trebbiano Toscano (ubiquitous across much of Italy, and in France under the guise of Ugni Blanc) had replaced many plantings – favoured for its small berries, ability to accrue sugar easily and retain its moderate acidity.  This abandoned vineyard had survived largely because of its unique site – with canyons to the south and west, meaning a wind blows through the vines constantly, clearing the humidity and reducing disease risk. It was also planted in the traditional Abruzzese pergola system, with two vines planted at each post, wider (four-by-three-metre) spacing, providing competition but also forcing the branches to grow longer, meaning a larger canopy, aiding photosynthesis and therefore ripening. Now 95 years old, these ungrafted vines had also endured thanks to their fortuitously sandy soils (a neighbouring plot, on marly clay, had to be replanted on rootstock, and is now around 80 years old).  While the Trebbiano Abruzzese was the lure of this site, much of the property Riccardo purchased was unplanted. Today, Tiberio has 30 hectares of vines, all in one contiguous parcel – with additional woodland, as well as alfafa and wheat fields, all part of the family’s championing of biodiversity. And, as much of the area hadn’t been planted, the property hadn’t suffered from industrial farming – meaning the soils were already healthy, however preserving it is at the forefront of what Tiberio does.  The vineyards are divided between Trebbiano Abruzzese, Pecorino and Montepulciano – a fraction of the various grapes permitted in Abruzzo, but – importantly for Cristiana – the ones that were historically native to their mountainous terrain. They only planted with massal selections – something Cristiana feels is key. She argues that clones sourced from vine nurseries are designed to be planted anywhere, sacrificing anything “native” in the name of disease resistance and/or yield. “For me, historical heritage is everything in the wines,” she explains. On a more practical front, she finds that massal selections cope better in difficult vintage conditions, adapting more easily. As evidence, she points to a plot of ungrafted vines that she planted in February of this year (2024), explaining how despite the extremely dry conditions, the vines survived – entirely unirrigated.  While Cristiana clearly values the traditional pergola training, she has chosen to use guyot training for most of their vines. The old vines – largely used for Fonte Canale and Archivio – are under pergola, however she doesn’t feel it’s right for everything. When it comes to Pecorino, she explains how the variety naturally grows vertically, meaning pergola-training would force the vine into an unnatural shape, impact sap flow, and therefore quality. As for Montepulciano, while they have 2.5 hectares (used for Archivio) under pergola, she feels that the pergola system can push the grape’s rustic character – the thin skins with less phenolic ripeness (due to shading) at risk of producing more easily extractable, less refined tannins. For her, guyot elevates the flavour profile of the grape and helps balance the potentially aggressive tannin, avoiding it being too “loud”.   Cristiana’s brother Antonio is in charge in the vineyards, where they work organically. They briefly trialled biodynamics, however have veered away from using the preparations, along with any fertiliser or seeded cover crops – keen to avoid adding any outside inputs that aren’t “respectful of their terroir”, as Cristiana puts it. The winemaking continues this philosophy, with indigenous yeast, almost no new oak across the range (just 30% for the Archivio bottling), the wines unfined and unfiltered, largely avoiding temperature control where possible, and SO2 only added at bottling.  Although organic, they aren’t certified – something she feels strongly about. She explains how both dedicated, small growers and “big, industrial” producers can bear the same certification, while one’s farming is considered and artisanal, yet the other is borderline conventional. It “certifies our attitude and we stay lazy”, she tells me. “We stop struggling with our mind to find what is better for our terroir,” she says – something that she is anxious to avoid, keen to continue striving, pushing and working to do better, rather than tick a box and move on.  And that work is not merely intellectual. Having just finished harvest in Abruzzo before touching down in London, she was soon flying off to Oregon – squeezing in a second northern-hemisphere vintage at a property there. It’s a chance to learn, and few 50-year-olds seem to be quite as restless as this one. While Tiberio is a family venture, it’s not one that was passed through the generations – something for which Cristiana is grateful; she has been able to choose her site, choose the wines she’s making and define her own philosophy – one that is now resonating loud and clear around the world.  The Tiberio range  The regional wines  Trebbiano d’Abruzzo: Tiberio’s entry-level Trebbiano Abruzzese comes from three hectares of 75-year-old pergola-trained vines, those that were grafted 14 years after their oldest (dedicated to Fonte Canale). Only made with free-run juice, it’s fermented and aged in stainless steel.  Pecorino Colline Pescaresi: The vine material for their Pecorino was selected from a few old vines on the site, but comes from a 3.8-hectare plot planted in 2001 and guyot-trained. Only made with free-run juice, it’s fermented and aged in stainless steel. These are some of the oldest Pecorino vines in the region and the wine is unlike the modest Pecorino you may have previously tasted – ageing impressively.  Cerasuolo d’Abruzzo: This rosato is very special. It comes from nine hectares of Montepulciano, planted in 2001 and Guyot-trained. Made with free-run juice (with no maceration whatsoever) and only seeing stainless steel, it’s a perfumed and bright style of rosé that can and should age.  Montepulciano d’Abruzzo: This is the largest production cuvée, coming from 15 hectares of Montepulciano – both older pergola-trained vines (62-year-old) and younger Guyot (planted in 2001). As with the other entry-level wines, it only sees stainless steel, spending 15 days on skins.  Single-vineyard bottlings  Fonte Canale: Arguably Tiberio’s most sought-after wine, Fonte Canale is pure Trebbiano Abruzzese from 736 ungrafted, 95-year-old vines, spread across around two hectares of sandy soils. (They currently aren’t replanting the individual vines when they die, as don’t want to plant grafted stock, but are cautious of fragile young ungrafted vines attracting phylloxera.) It was first made in 2012, with these ungrafted vines needing time to recover from their previous neglect. The combination of site and variety produces wines with modest alcohols (often 12-12.5%) and naturally low pH (the 2018 is a mere 2.7pH!), giving a backbone of taut acidity (as Tiberio says – “not raw, but flavourful acid”). The site’s indigenous yeast produces a cool ferment (reaching maximum 23̊C) and a wine that doesn’t need racking post ferment, with little reduction. The malolactic is naturally blocked by the low pH and the wine only sees stainless steel – “to allow this wine to express its meaning”, Cristiana says. This stunning, vibrant white is a pure expression of a special site – one that ages beautifully, with its old vines almost overpowering vintage. If any further praise were needed for this wine, it has featured on the list at Massimo Bottura’s Osteria Francescana since its first release.  Colle Vota: First bottled separately in 2014, this vineyard is always the last to be picked. Planted in 2000 with massal selections from their old Montepulciano and guyot-trained, Tiberio finds the berries have thicker skins but release less during maceration (around 20 days). She also finds the tannins in the stems different here so is using a small portion of whole-bunch fermentation in the blend. Again with only free-run juice, the wine doesn’t see any oak whatsoever. Coming in a Burgundy-shaped bottle, this is the lighter of Tiberio’s two Montepulciano bottlings, but still with a firm tannic backbone, but with more delicate perfume.  Archivio: Launched in 2017, Archivio comes from the property’s 60-year-old pergola-trained Montepulciano on clay-rich soils, where the wind helps thicken the skins. Tiberio finds that the fruit has thinner skins from the middle of the pergola system, so these bunches are harvested separately. With thinner skins, the ferment has more lees and more reduction, needing oxygenation, so this is the 30% that goes into new oak to give it the necessary air. The bolder and firmer of the two Montepulciano bottlings, it is bottled in a Bordeaux-style bottle to indicate its ageing capacity – a wine that Tiberio confesses can be “monolithic” in youth, but offers great potential.  And coming soon… Quarmarì: A new single-vineyard Pecorino from 2023, this wine takes its name from the family dog, who passed away a few years ago. The wine has – so far – only been tasted by Ian d’Agata, who wrote that it is “a wine so amazingly good and unique that it will shatter all you thought you knew about the grape and what it can deliver”. Given how good even the entry-level Pecorino is, we can’t wait to try this.  The vertical tasting Pecorino  2006 Pecorino Colline Pescaresi: It’s hard to believe this is close to two decades old – the wine vibrant, lively and juicy with lean lemon freshness to the palate. There’s a suppleness to the body, yet it’s taut and mineral, and more honeyed and herbal notes emerging with air.  2009 Pecorino Colline Pescaresi: The 2009 Pecorino is instantly open, giving sage, thyme and honey on the nose, alongside fresh white peach. On the palate, however, it shows its restraint – still fulsome but with a mineral backbone that makes it feel youthful.  2013 Pecorino Colline Pescaresi: Leesy and mineral, this is almost reminiscent of mature Chablis or Blanc de Blancs Champagne – with a honeyed, chamomile edge. The palate is waxy and long, with a herbal lift to the finish.  2015 Pecorino Colline Pescaresi: There remains a creaminess to the nose here – the wine tighter than the 2013, with a limey, lean purity and plenty of energy.  2019 Pecorino Colline Pescaresi: This is strikingly different after the 2015 – much riper and more exotic, with apricot, peach, mango and orange peel. Combined with the wine’s viscosity, there’s something Viognier-like, however there’s still brilliant, mineral energy here, with tight, citrus-edged acidity.  Cerasuolo d’Abruzzo  2022 Cerasuolo d’Abruzzo: It will be amazing to see this wine develop. The nose is restrained – you can feel the potential behind. Gradually wild strawberry and bright raspberry emerge, alongside delicate rose petal florals. It’s tightly wound with immense energy to the flinty palate, a minerality driving through its core into the long, mouthwatering blood-orange finish.  2020 Cerasuolo d’Abruzzo: Deeper-coloured than the 2018, the 2020 has a brighter nose – with raspberry sherbet, strawberry laces and a creamy richness. The acidity again is in the driving seat, the palate chalky and mineral with lemon freshness and a slight phenolic grip that frames the crunchy red fruit.  2018 Cerasuolo d’Abruzzo: A surprisingly deep pink (especially given this is made only with free-run juice), with a copper hue. This was a real highlight of the tasting. The nose combines a flinty minerality with a funky, savoury, almost cheesy note, alongside dried cherry and rose florals. The palate has a line of bright acidity and a mouthwatering lemon finish. Very serious rosé that deserves bottle age.  Fonte Canale  2021 Fonte Canale: From a very dry growing season, this is such a baby. The nose is mineral with notes of pear skin, white florals, lime pith and cordial, with riper apricot emerging. It’s vibrant and full of tight, lemony acid, driving on to the chalky finish. Precise and pointed, there’s crisp apple and herbal freshness, with a saline edge.  2020 Fonte Canale: At first with a touch of gunflint reduction, the smokiness gradually lifts to reveal a tight and lean expression of Trebbiano d’Abruzzese – all citrus and mineral, needing time and air to reveal itself fully.  2019 Fonte Canale: The nose here combines vibrant green apple, greengage and lemon with a sea-spray freshness. It’s still limey and tight on the palate, but with a soft, full weight too – with generous yet tangy, white-pear fruit on the mid-palate, before tightening up on the saline, mineral finish.  2018 Fonte Canale: Dried herbs mingle on the nose with more hedonistic fruit – peach and green mango,, with real weight to the fruit here. There’s still the bite of piercing lemon acidity, surrounded by fleshier peach fruit.  2017 Fonte Canale: This feels much more closed in comparison to the 2018, with pure citrus energy, tangy, pure and limey, but with a slight creaminess mingling with the tart fruit. It’s concentrated and full of promise, but not giving much away now.  2016 Fonte Canale: Waxy and bright, the 2016 is full of energy. Pure flint, Meyer lemon and grapefruit pith, with more delicate white florals all vie for attention, while the palate is all about pure crunchy apple, minerals and its vibrant acidity.   2015 Fonte Canale: The nose here is complex – with notes of honey, chamomile, tarragon, bruised apple and a praline richness. The palate, meanwhile, feels brilliantly youthful, with lime sherbet and chalky minerality driving long into the mouthwatering finish.  2014 Fonte Canale: This was closed at first, with subtle floral tones of apple blossom and honeysuckle dancing on a background of lemon and pear flesh. The palate has that familiar drive of acidity leading into the impressively long, saline finish.  2013 Fonte Canale: Fresh cashew mingles with lemon sherbet on the subtle nose of the 2013, a wine with lift and energy. The palate is lively and long, with the finish offering honey, herbal notes and sweet hay.  2012 Fonte Canale: The first ever vintage of Fonte Canale, it was a real treat to try this special wine. The nose combines rosemary and thyme with candied lemon peel, as well as more honeyed notes. The palate is lithe and vibrant still, with a stony purity and saline finish.   Colle Vota  2020 Colle Vota: This combines juicy dark fruit, sweet spice, baked plum and violet florals. Rich black and red cherry fills the palate, with an edge of dried herbs and the scent of nutmeg. The tannins are savoury and firm, with a chalky freshness and zesty edge to the acidity.  2019 Colle Vota: The 2019 offers floral lift, with brighter cherry and raspberry fruit. Less savoury than the 2020, the palate is tight and mineral, yet with a softness to the mouth-filling fruit, all cut by juicy acidity.  2018 Colle Vota: This is drastically different to the 2019, offering an aromatic profile of baked strawberry and tea leaf – almost lapsang souchong. The chalky minerality stands out here, with high, piercing acidity giving the wine backbone.  2014 Colle Vota: There’s a significant colour change moving from the 2018 to the 2014 Colle Vota, while the nose reinforces this shift with leather and damp undergrowth sitting alongside dried red fruit. The tannins have softened and are supple, while the acidity still refreshes and cuts through the fruit.  Archivio  2020 Archivio: Savoury and rich, this is a powerful, dark, compact Montepulciano d’Abruzzo that needs time. It is intense and structured, full of tight bramble fruit and drying tannins, but with an impressive line of acidity at its core.  2019 Archivio: This is much more open than the 2020, with a sweeter, more red-fruited profile, and more overt sweet spice. Dried herbs and incense complement the bramble fruit. There’s a firm chalky grip to the tannins, tightening up as the structure announces itself on the palate, yet with mouthwatering acid keeping things balanced.  2018 Archivio: The sweet, baked red fruit of the vintage seems to carry through both of the reds in 2018. There’s a softness to the fruit, yet still power behind. It’s full-bodied and firm, yet the most approachable of the trio of 2018, 2019 and 2020, with fresh, juicy acidity.  2017 Archivio: There’s a touch of maturity just starting to show here, with the first hint of sousbois and leathery richness, an almost tarry character, sitting alongside the sweet plum, baked blackberry and smoke. The tannic framework stands strong, even seven years on, needing additional bottle age to round out.  Explore all current Tiberio listings or read more about Italy 

Few names in Abruzzo have become as sought-after as Tiberio, best known for her single-vineyard Fonte Canale, Colle Vota and Archivio bottlings. We sat down with Cristiana Tiberio herself to talk about the project – and taste through a vertical of these extraordinary, category-defying wines

Sitting down with Cristiana Tiberio, cult Abruzzo winemaker, and tasting a vertical of Fonte Canale, Colle Vota, Archivio wines

Cristiana Tiberio – advancing Abruzzo

Advancing Abruzzo: Tiberio

It’s easy to make assumptions about William Kelley. In some ways, he seems like a caricature of the stereotypical wine writer: an excruciatingly RP English drawl, a doctorate in 19th century history from Oxford, a childhood divided between London’s Belsize Park and more rural Suffolk, and a cellar of seemingly endless depths (or so his Instagram suggests). And yet, there’s much more to the Wine Advocate’s Editor-in-Chief than meets the eye. Kelley sprung from anonymity rapidly. His mentor was Hugo Dunn-Meynell, a family friend who had been a protégé of André Simon and managed the Wine & Food Society for 15 years; organising Dunn-Meynell’s cellar formed Kelley’s early vinous education. He joined Oxford’s famous Wine Circle, acting as President for three years during his studies, which concluded with a PhD. “Education in the humanities is the only form of institutionalised punishment where you get extra time for good behaviour,” Kelley says with a chuckle. Academia wasn’t for him, but, as he tells me, with a casual shrug: “I kept getting scholarships and things, so I kept on doing it.” Wine, meanwhile, played an ever-growing role in his life – from pillaging his college’s cellars, helping the staff decant old vintage Ports, increasing involvement in the Wine Circle, and trips to visit producers. Kelley penned his first feature for Noble Rot in 2015, a spotlight on the late, elusive Henri Bonneau. He was published in Decanter the following year, where he soon secured the North American beat. He covered Burgundy’s 2015 and 2016 vintages for the magazine, before joining the Wine Advocate team in 2017 – just two years after he’d first started writing about wine. In March of this year (2024), he took over as Editor-in-Chief – arguably the biggest job in wine writing. That’s quite the trajectory for someone who fell into the job. “I always wanted to make wine,” Kelley says. “Writing about it sounded like a good idea to make some money, you know? I found the meaning afterwards.” And that meaning is what makes Kelley so interesting, both as a writer and an editor – one that is quietly leading a revolution at the Wine Advocate. I always wanted to make wine,” Kelley says. “Writing about it sounded like a good idea to make some money, you know?  “What we do can be amazingly useful in disrupting hierarchies and forcing critical reflection,” Kelley tells me. “I don’t think we do enough of those things currently – but this is something we’re going to do more of.” In his mind, the Wine Advocate’s purpose is “to keep everybody honest”. The publication was purchased by the Michelin Guide in 2019 (having held 40% since 2017), and Kelley’s been talking to the Michelin team – about how they choose which restaurants get reviewed, and the criteria on which they’re judged, looking for possible synergies. The difference between two and three stars, for example, is more subjective than whether or not an establishment makes it into the guide – and it’s similar with wine. Although there will always be an element of subjectivity, especially when it comes to the two- or three-star equivalents, Kelley is trying to bring more consistency to the way wines are scored. He’s brought in technical training for the entire reviewing team – looking at perceptive thresholds for faults such as brettanomyces and mouse, while also ensuring that they’re all using the same lexicon – that one person’s cinnamon isn’t another’s clove. He cites the world of perfume, where training is intensively scientific and perfumers have to pinpoint hundreds, if not thousands, of specific scents – strikingly different to the world of wine, where tasting is often just “free association”. The team even sends samples off to a laboratory for analysis. This is all part of how Kelley hopes to tackle the inflation, and compression, of scores (“a huge problem” he confesses) – which in turn is devaluing both ratings and the role of those that give them. Kelley is unusual in the critical sphere, for both making wine and reviewing it. He’s received criticism for this duality, although openly declares any interests in reviews (such as for Domaine Felettig, an estate from which he buys fruit). His experience in the vineyard and winery, however, gives him a unique perspective and allows him to engage with producers on a deeper level – something he wants to see more of across the team. What we do can be amazingly useful in disrupting hierarchies and forcing critical reflection When I ask how the publication determines what gets reviewed, Kelley explains how, for a long time, writers at the Wine Advocate had KPIs for the number of reviews published – trying to tackle as much as possible of the increasingly diverse world of fine wine in a bid for relevance. But he’s clear that needs to change: “We need to embrace the idea of reviewing fewer wines in more depth and following them more closely, because that reflects how people consume today,” he says. Part of that, for him, involves getting into vineyards and wineries to see how people are working, and spending enough time to fully understand it. He wants to put an end to gathering samples in anonymous tasting spaces; for him, the supposed neutrality of that experience is limiting. “How do you invest in the stock market if you know nothing about a company’s performance?” he says. “How do you define authenticity? For me, it’s about taking risks. It’s about exposure to negative consequences in pursuit of a goal, a conviction,” Kelley tells me – and it’s authenticity that he wants the Wine Advocate to be championing. “We’re in a period when winemaking conditions are more extreme, where traditional hierarchies of sites are being upended, and for the industry to digest all of that, we can be immensely useful voices.” He's clear that wine remains old-fashioned in many ways with an “aura of tradition” that consumers like, whether the family pedigree of certain estates (“We don’t want seventh-generation politicians, but suddenly we like nothing better than to buy a seventh-generation wine.”) or antiquated classifications (“Having a great classification is very nice – but it shouldn’t be a licence to print money. It should be an obligation to do better.”). The Wine Advocate, however, has the ability to champion young producers, shine a light on new names and question the current state of the industry. It can – in short – disrupt the status quo. One of the challenges with wine is that critics and writers are often dependent on producers for access, especially when it comes to the rarest and most sought-after wines. Truly impartial judgement is difficult when a low score or negative review risks not being invited back. (Kelley himself has been banned from estates – and sometimes later un-banned.) The industry is riddled with such conflicts of interest. But, for Kelley: “It’s not actually about avoiding [conflicts of interest], because you can’t… our business is about managing them; it’s about being very transparent.” We’re in a period when winemaking conditions are more extreme, where traditional hierarchies of sites are being upended While there are of course strict rules in place regarding hospitality and producers, the Wine Advocate’s expenses policy is generous enough, Kelley assures me, to allow writers to “engage with [producers] as an equal” – and ensure there’s no pay-to-play. Wine criticism isn’t renowned for its generous salaries, yet Kelley notes how important it is for reviewers “to be paid enough to buy the wines and have an independent relationship with [them]”. He highlights how it’s the bottles that he might have misjudged that have shaped him most professionally – lingering long in the memory as he tries to unravel how and why he might have misread a wine. Inevitably, Kelley is having to take a step back from reviewing to allow him to steer the ship. He’s expanding the team and plans to keep writing about Burgundy for now, but is keen to avoid “sitting on” any particular region (“I want to actually try to create new voices,” he says). When we talk, he hasn’t even hit six months in his role as Editor-in-Chief, and there is clearly more he wants to tackle, bringing further nuance to the way the Wine Advocate rates and reports on wines and producers. Wine writing was never the goal, however, and as he approaches a decade in his accidental career, his feet are getting itchy. He’s juggling his small project in the US (Beau Rivage) and his Burgundy label (largely négociant with two tiny parcels of his own, Beaune Premier Cru Les Chouacheaux and Côte de Beaune) alongside the job – and that’s where he wants to be. Once he’s finished his work reforming the Wine Advocate, he’ll be found among the vines in Burgundy. Wine is – and always will be – his life. “If it’s not an obsession, you’re not doing it right,” he says. It is this almost manic focus – a combination of true passion and intellectual curiosity – that is likely to define his work, both at the Wine Advocate and beyond.  Explore more Editorial

Earlier this year, William Kelley was named Editor-in-Chief of the Wine Advocate, taking over from his colleague Joe Czerwinski. We sat down with him to find out more about how he stumbled into writing, the role of critics today and why – for him – wine is much more than just a job    

The Wine Advocate’s new Editor-in-Chief, William Kelley, on stumbling into wine writing, the role of critics and why wine is much more than a job

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