T H E WORL D’S O NLY CHAM PAGNE MAGA Z I N E No. 1 0 £ 2 5 • € 3 0 • U S $ 3 5 • C a n $ 3 5 • A u s $ 3 5 Salon • Century Tasting • Spotlight New York • 200 Years of Laurent-Perrier • Côte des Blancs • Vertu E C O LO G I C A L T R E N D S I N C H A M PAG N E

Page 22 FINE Champagne Page 14 FINE Tasting 2 Page 72 FINE Celebration Page 82 FINE Century Tasting Page 64 FINE City Page 56 FINE Discovering Champagne

Page 36 FINE Champagne FINE Novelty F i n e C o n t e n t s 11 Fine Avellan Editorial 14 Fine Tasting Salon – The Eternal Youth 20 22 34 36 40 Page 48 FINE Moment 44 48 56 64 72 82 Fine Juhlin Good and Bad Taste? Fine Champagne Greener Future Fine Glass The Perfect Glass for Champagne Fine Novelty The New and Improved Charles Fine Robinson 1368 Varieties Fine Champagne’s Favourite Foods: Cheese Champagne&Food Fine Moment A Fine Moment with Jarno Trulli Fine Discovering Côte des Blancs Champagne Fine City Spotlight New York Fine Celebration Two Great Centuries of Laurent-Perrier Fine Century Champagnes of the Century Tasting Tasting 102 Fine Nuikki Do you still carry around a black tasting book and pen? 104 Fine Champagne Perrier-Jouët – Champagne and 120 Fine Champagne Chocolate Truffles Made with Treats Champagne 124 Fine Lifestyle Vertu – A Pearl Among Mobiles Anemones à la Belle Epoque Page 124 FINE Lifestyle Fi n e C o n t e n t s Page 104 3

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CHAMPAGNE MAGAZINE WRITERS Editor-in-Chief Pekka Nuikki pekka.nuikki@fine-magazines.com Editor Essi Avellan MW essi.avellan@fine-magazines.com Publisher Meri Kukkavaara meri@fine-magazines.com Copy Editor Craig Houston info@chlanguages.net Creative Director Teemu Timperi teemu.timperi@fine-magazines.com Graphic Designer Aija Sutinen aija.sutinen@fine-magazines.com Cover art & illustrations Minna Liukkonen Senior Adviser Charles A. Banks 10 Contributors Oumy Diaw, Andreas Larsson, John Kapon, Jan-Erik Paulson, Philip Tuck MW, Petri Nevalainen Photographers Michael Boudot, Pekka Nuikki Translator Eva Malkki Communications Director Markku Vartiainen markku.vartiainen@fine-magazines.com Sales Martine Mäkijärvi martine.makijarvi@fine-magazines.com Financial Manager Noora Mähönen noora.mahonen@fine-magazines.com Printing House Edita Prima Subscriptions and queries www.fine-magazines.com subs@fine-magazines.com +358 (0)10 289 1000 Publisher Oy Fine Publishing Ltd, 100 Pall Mall, St James London SW1Y 5HP, UK © Copyright: FINE Champagne Magazine Ltd ISSN: 1797-433X FINE Magazines does not keep nor return illustrations or other materials that have been sent in without request. The opinions of contributors or interviewees presented in this magazine do not necessarily correspond to the opinions of the publisher or editorial staff. We withhold the right to make any modifications in texts and pictures published in FINE Champagne Magazine. We reserve the right to refuse or suspend advertisements. Pekka Nuikki Editor-in-Chief Pekka Nuikki, founder and editor-in-chief of FINE Magazines, is an author and one of the leading experts on fine wines in Europe. He has published over twenty international wine and art books, among them In Vino Veritas, a book on investing in wines, Drinking History on fine wines and their vintages between 1870–1970, a book about the Château Mouton-Rothschild – Wine and Art 1924–2003 and most recently a book about the best German white wines. Mr Nuikki is also an award-winning photographer, who has exhibited his artwork all over the world and he has worked as creative director of advertising agency group. He is also the luckiest man in the world, having hit seven hole-in-ones. Essi Avellan MW Editor Essi Avellan is the first Master of Wine from Finland and second ever from the Nordic countries. She was awarded the Lily Bollinger Medal as the best taster and the Tim Derouet Memorial Award as the best overall student in the Master of Wine examination. In addition to writing champagne books and wine buying guides, Ms Avellan contributes to several newspapers and wine magazines internationally. She judges at several wine competitions, such as the Decanter World Wine Awards. Ms Avellan has been awarded the title of Dame Chevalier of the Ordre des Coteaux de Champagne. Juha Lihtonen Editorial Adviser Juha Lihtonen is the editor of FINE – The Wine Magazine and its American & Scandinavian editions and manyfold Finnish sommelier champion. He was selected as the best sommelier in the Nordic countries in 2003. Mr Lihtonen has worked as a wine educator, a wine host on a radio programme, as well as the wine buyer of a major cruise line. He has written books on combining wine and food. Richard Juhlin Contributor Richard Juhlin is a world-renowned champagne specialist famous for holding the world record for the number of champagnes tasted. Up until today, 6946 champagnes have passed his lips. He has also written several books on the subject: Champagneboken in 1995, 2000 Champagnes in 1999, The Great Tasting in 2000, 3000 Champagnes in 2002, 4000 Champagnes in 2004 and the Richard Juhlin Champagne Guide in 2008. In 2002, Juhlin received a “Merite de Agricole” from the French Ministry of Agriculture. Jancis Robinson MW Contributor One of the world’s most influential wine communicators, Jancis Robinson writes for JancisRobinson.com, The Financial Times, and a worldwide syndicated column. She is also editor of The Oxford Companion to Wine, co-author with Hugh Johnson of The World Atlas of Wine, and co-author of Wine Grapes – A complete guide to 1,368 vine varieties, including their origins and flavours. An award-winning TV presenter, she is invited all over the world to conduct wine events and act as a wine judge. In 1984 she was the first person outside the wine trade to pass the rigorous Master of Wine exams and in 2003 she was awarded an OBE by Her Majesty the Queen, on whose cellar she now advises. Peter Liem Contributor Originally from California, Peter Liem emigrated to Champagne in 2006 in order to get an insider’s view on his beloved wine region. In addition to being a staff writer and columnist for the Wine & Spirit magazine, Liem publishes the world’s best and most comprehensive champagne blog, champagneguide.net. He is recognised as a spokesperson for the grower champagnes. Amanda Regan Contributor With experience making wine in Champagne, Burgundy and Victoria, Amanda Regan has a Masters degree in Wine Technology, Management & Marketing, and a background in art and design. Ms Regan is an experienced wine judge, regularly tasting in major international wine competitions such as the IWC, IWSC, Decanter World Wine Awards, Vinalies Paris, Mondiale du Pinot Noir, Mondiale du Ros? and Mundus Vini. She has been awarded the dignified title of Dame-Chevalier de l’Ordre des Coteaux de Champagne, and the honour of Scholar of the Len Evans Tutorial.

T here is always a reason to pop open a bottle of champagne. In the festive season one need not even use imagination, as it simply craves bubbles. But there is a new date to add to the Champagne calendar and that is December 17th, as on that date last year it became exactly 350 years since the English Christopher Merret was documented to have added sugar to a still wine of Champagne to make it bubbly! No wonder the French don’t recognise the date, but we may still do as this was the onset of the style of Champagne we so much love! But the method was not the only thing to celebrate last year. The Grand Old Lady Laurent-Perrier celebrated her 200th anniversary with numerous festivities around the world. FINE Champagne joined the celebrations back in Champagne and invites you to discover the results of the vertical tasting of the house’s great prestige cuvée La Grand Siècle later on in the magazine. Essi Avellan New year, new opportunities. 2013 is expected to be a greener year in Champagne, with almost the entire production bottled in lighter bottles. In this issue, we get acquaninted with the ecological targets and initiatives in Champagne and discover some of the region’s ecological trendsetters. The beginning of 2013 will also witness the launch of new a FINE magazine, FINE Wine and Champagne, which is tailor-made for readers in Australia, New Zealand, Singapore and Hong Kong. We are delighted to be able to quench the thirst for wine knowledge in these exiting wine markets. A joyous toast to the New Year! Essi Avellan MW Editor Fi n e E d i t o r i a l Editorial 11

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SALON – THE – ETERNAL YOUTH 14 Richard Juhlin J Text: Richard Juhlin ohan Tidelius is a very wonderfully passionate and ”unSwedish” Swedish man, who was born in 1959. Starting with that very vintage, he has amassed one of the most impressive collections of Salon, the rare collector’s wine, in the world. As the generous man he is, the idea was always to share these Photography: Pekka Nuikki bottles with like-minded people and organise the world's most extensive tasting of this Le Mesnil gem. He searched for a long time and concluded that the most comprehensive Salon event to date had consisted of 18 vintages. When the 1956 vintage showed up, he knew that the record could be broken.

Fi n e Ta s t i n g 15 On a sunny, early spring day at the historic Operakällaren, in John's home city of Stockholm, we got started. The president of Salon, Didier Depond, did not hesitate to bring two bottles of Salon Collection from the ‘60s with him, which would prove to be a wise decision. In addition to Mr. Didier Depond and several Swedes, including yours truly, who provided John with a little help along the way, there were guests from as far away as Canada, France, Russia, Lithuania and neighbouring Finland present during this two-day adventure.

16 Richard Juhlin, Didier Depond and Johan Tidelius We started at my house with a "casual dinner" the evening before the tasting. It was so nice that John was able to stop the rest of us attacking the wine cellar and send everyone home sufficiently craving the next day's escapades. When we met in the magnificent dining room at Operakällaren the following afternoon you could almost touch the nervous and excited atmosphere in the room. After a few sips of 2002 Delamotte, which was acting as a calibration wine, our minds and palates were ready to get to grips with the champagne world's most contested and legendary beauty. Far too few have had the opportunity to taste Salon in full bloom. Many argue, with some justification, that they are either steely, undeveloped acid parcels or oxidative, fallen fruit bombs. It is certainly true that Salon will need many years to develop full maturity and that they are made in an old-fashioned, malic acid, patience-testing style; however, to say that they also sometimes mature too quickly and become over-matured is a misunderstanding. What happens is that the wines in the ‘interphase’ take on notes reminiscent of oxidation due to the ripening of the grapes at harvest, before the rich, buttery and nutty style is fully developed. The flavour spectrum, shades of straw, overripe apples and figs, is allowed a great deal of leeway. This is a strange but very obvious phenomenon when you have time to follow a vintage of Salon through its life journey. My oldest Salon comes from the rare and mediocre vintage of 1932, and it turned out to be both really wonderful and youthful. Wines from the forties and fifties are probably the best and 1928 Salon is at the top of my wish list of champagnes I have not yet tasted. We had several healthy sceptics within the test group, but everyone agreed about the need for mature experiences in order to be fully able to understand the very young specimens, and that time transforms these narrow and hard youngsters into complex mature beauties. The winner was 51 years old and still as lively as a lark. If you have a bottle of Salon in the cellar and you open it, it is not at all certain that you will recognise everything from my notes at Operakällaren as the bottle variation becomes bothering after about twenty years. Here, however, they are as they appeared during the Tidelius tasting. >

(Points for future potential in parenthesis) 1999 Salon 88 points (94) 1997 Salon 89 points (93) Early days and impossible to really know where this wine is going, but a qualified guess is that far too many will taste their bottles way too early and defend it by saying that the wine is relatively inviting and available for a Salon. You will already find the tangerine and pineapple notes. The minerality is stunningly rocky and the butteriness has just begun to wrap around the chalk. The nuttiness and the depth requires patience if you're going to experience these wines, and you better believe me because it will show some beautiful day in the future. One of the best champagnes from 1997. The wine is fantastically caressing and silky, with a spring-like seductive grace. The sublime scent breathes linden, lime and a hint of brioche. The taste is lighter and more directly accessible than usual, yet incredibly refined and crystal clear. 1996 Salon 93 points (97) 1995 Salon 95 points (95) Probably one of the greatest Salons ever made. It is very handsome and restrained on the nose, with clear tones of snow, static electricity and freshly laundered sheets. Polished and pretty, but with a muscular embracing body which wraps the rocky Mesnil minerals and bitter acids in a fraudulent cocoon. Perhaps the biggest surprise of the tasting, with a fully mature and charming style. Hardly typical of the house or the classical style, but full of Comtes-like pastry tones and hints of vanilla and saffron. A true Casanova. Fi n e Ta s t i n g Salon taS ta S ting 17

1990 Salon 94 points (97) 1988 Salon 92 points (92) A magnum you would serve to all detractors of the 1990 vintage! A pure package of gunpowder, with an incipient coffee aroma and an insanely youthful power. Many complained, however, that it appeared to be the youngest in the congregation. Usually, it tends to perform significantly better than this. Although we opened two bottles, the wine showed itself to be a bit too old this time. Normally a safe bet and delightful at all ages. 1985 Salon 91 points (92) 18 1983 Salon 88 points (88) This one has always been a bit difficult to grasp. Perhaps this is a wine whose phases will one day provide great experiences. Still too bushy and ‘broth fragrant’ for me, personally. Structurally impeccable and aromatic, there were classic forest mushroom notes, autumn leaves and walnuts. Nevertheless, it is not really a friend of mine. One of history's weakest and most rapidly oxidising vintages. But this time it felt younger than ever and the biting acid is beginning to be joined by nuttiness. The interfering and drab oxidative tones might be about to dry up? 1982 Salon 94 points (94) 1979 Salon 92 points (92) Recently, this wine has unfortunately lost some of its amazing butteriness and sweet vanilla draping. However, it is still grand and truffle-scented. Both Didier and I sat and wrinkled our noses together. Why was this bottle so excessively dry and salty? It was like someone had torn the flesh off and only the beautiful skeleton remained. Normally a winning candidate. 1976 Salon 96 points (96) 1973 Salon 88 points (88) A wine that cannot be misunderstood. Absolutely adorable, with its fat, sweet and warm generosity and fullness. Hardly a classic Salon, but what a pleasure. It has never been a favourite of mine, but this time it stood up well. Good, round, nutty and flirtatious, with the autumn woods in place. However, a little pulpy and unbalanced.

1971 Salon 93 points (93) 1969 Salon 94 points (94) A wine that behaves differently every time I try it. This time it was a classic, youthfully light, sleek and stylish 1971. Basically a magnificent wine that has just begun its journey downwards. Round, abundantly caramelised and full of mushrooms, truffles and chicken stock. I like it even better in a younger, purer style. When Didier took two perfect bottles from the cellar, we were set on an amazing experience. Instead, we got a bitter lesson. This wine was disgorged about six months before the tasting, checked and fitted with one gramme of sugar. Unfortunately, this feminine and delicate wine did not have the strength to resist the shock of oxidation at the disgorgement. I've been through this on a few occasions. Old and late disgorged wines that are still bright and fresh, not to mention sparkling with the floral notes present, but very unpleasant cooked madeira notes take over and kill the wine overall. What a shame. 1964 Salon Defect Unfortunately, an old bottle that did not pass the test of time. It can an also be magical though, especially in a magnum. 1961 Salon Collection 99 points (99) If I was near tears due to the disappointment of the 1966, the tears came for real in the next flight when this bottle, disgorged at the same time and with exactly the same low dosage, was so lovely that my emotions surged over. In fact, this wonderfully youthful wine is the bottle that reminded me most of the world's top wine – the 1928 Pol Roger Grauves. It was the same improbable contrast between the youthful and mature notes. The scent is so unreal, with its euphoric pheromone-reeking perfume enhanced by linden, geranium, lily of the valley, acacia, ginger, fresh tarragon, mint, lime zest and lemon of Sorrento. Crystal-clear brilliance, laser-sharp clarity and delicate precision. Affectionate with faint undertones of vanilla, brioche and toast. A flinty mineral finesse and whirling small pearl necklace bubbles that pirouette on the palate and burst like caviar grains in the mouth. What is lacking, in comparison to the 1928 Grauves, is a hazy oiliness that may come in twenty years or so. Imagine a 51-year old who can personalise melted snow, late winter and life's rebirth. 1956 Salon 89 points (89) 1959 Salon 94 points (94) A leaking bottle that looked really messy showed a wine that was highly enjoyable and fudgy, as well as caramelised with an animal weight and tonnes of varnish and leather. Completely without madeirisation. It seems that the destructive forces of time do not break a Salon at all. May be among the greatest you can drink, but unfortunately for John this bottle was at the beginning of its downhill struggle. The walnuts and depths of the forest were intact, but now they are mixed with plums, figs, dates and light brown apples. After such a massively intense tasting, a break was needed in order to get ready for the new pleasures which awaited. Stefano Cantenacci, supported by the phenomenal Jean-Paul Benezeth, tailored a menu to accompany the private world-class wines that the participants had themselves contributed. It is so damn fun to bring out the best one has to like-minded geeks! This was a dinner which taught me how much more elegant the 1982 Pichon-Longueville Comtesse de Lalande is than his neighbour, the 1982 Latour, and how vulgar Screaming Eagle appears when drunk after a great Burgundy. The ones that impressed me the most were a 1975 Deutz Aÿ Magnum and a 600 000-crown bottle of 1831 Château d’Yquem – even though we can hardly describe the vital old pensioner as affordable. It is said that there is already a Tideliusgata (Tidelius Street) in Stockholm. Nevertheless, I hope that John will have his own street named after him. > Fi n e Ta s t i n g 1966 Salon Collection Defect 19

COLUMN RichaRd Juhlin 20 Good and bad taste? O ften during our holidays my partner and I end up in beautiful regions where people are extremely proud of their sun-roasted, local wines. I still do have some interest in trying out the best a place has to offer, but I also know that unfortunately I am seldom anything but disappointed. This summer in Corsica, it was impossible to get a single glass of good red wine because mainland wines were banned and restaurants insisted on serving pungent Corsican red wine with our lovely food. Ragni and I had taken a flight to Santorini for ten relaxing days of holiday in the name of love. For once, we would not roam around but instead just take care of ourselves at the wonderful La Maltese estate villa, located at the top of a cliff with a sunset balcony suspended hundreds of feet over the cobalt-blue Aegean Sea. convert this skeptical Swede. One evening he said, rather interestingly, that all taste was subjective and only coloured by habit. I did not renounce this notion, but agreed only partially with him. He said, in all seriousness, that your preference for Greek or French wines is purely down to taste. Assyrtiko or Montrachet? The restaurant at Villa Maltese was so ambient and cozy that we had almost every meal there and quickly became good friends with Alexandros, the restaurant’s charismatic sommelier. Naturally, he wanted to show us every part of the Santorinian wine world and tried, with some unexpected success, to He obviously has a point in that you are ultimately shaped by your own upbringing and environment in terms of what you will like later in life. At the same time, I am struck by how afraid we are to highlight the objective quality in the case of scent and flavour.

Fi n e J u h l i n Have you ever thought that the word for our sense in the oral cavity, taste, is identical to the one we use to describe preferences? My theory is that we use subjectively charged words because we understand that the sense of taste is so diffuse and more subjective than our other senses. This is probably because we are so ignorant of our own perception of taste and lack the tools to communicate with each other with regards to how our taste sensations are experienced. It is always very convenient to refer to personal impressions when you do not have sufficient knowledge of how things actually are. Most of us unashamedly use emotive words like good and bad when it comes to things we see or hear, but when it comes to scent and taste it seems acceptable to insist that you like low quality products and refer to your personal inviolable taste. The majority of Nordic children prefer vanillin extracted from animal intestines instead of Tahitian vanilla. We then sit quietly with our arms crossed looking at the decay and, in true democratic spirit, believe that everybody has the right to think what they want. It goes without saying that you should be honest about one’s taste and accept it if you prefer the flavour of artificial raspberries instead of the real thing or cava rather than champagne – however sad that may be. My point is that everyone can obtain so much more pleasure if you train your senses of scent and taste to reach a level where you actually prefer commodities of better quality. I know I am sticking my neck out a bit, but I argue with certainty that there is good and bad taste! The food industry of the entire Western world has cleverly exploited our fear of speaking about poor commodities or poor taste. Out of purely economic interests, they have provided us with cheap products that are high in sugar and fat, while taste-lobotomising us in the process. The worst culprit is the U.S., where the willingness to try new sophisticated tastes is almost terminated by the food industry’s smoothing tactics. With this in mind, you can really ask yourself if it is particularly appropriate that the world’s leading wine critics have grown up marked by doctored, distorted, fatty, sweet and simple flavours. Isn’t there a great risk that the soft and sweet fruit bombs will be favoured over nuanced and elegant offerings for just those reasons? People who study art or music are also influenced by their own life and background when choosing between Rubens and Picasso or Miles Davis and Mozart, but regardless of style they will all agree that the quality level is incredibly high in all these cases. The same goes for wine. If you have tasted your way through all the main parts of the wine world, you will agree on the fact that Petrus, Hermitage, Krug and Rauenthaler Baiken are magnificent wines, no matter what style you prefer at any given time. The world of taste is divided into different quality levels. This is a fact we shouldn’t ignore but instead try to improve on in order to be able to appreciate the best flavours using our intrinsic ability – which, in turn, could lead to life-enriching pleasure. The greatest variability in the ultimate quality segment is found in the ultra-sophisticated top wines from Champagne. Imagine how different and yet so wonderfully enjoyable two blanc de blancs from a grower in Mesnil, a complex aristocratic cuvée from Comtes de Champagne or a Dom Ruinart can be. Who disputes the quality of the finest cuvées from Billecart-Salmon, Henriot and Pol Roger, and who can complain about the depth of Selosse, Bollinger or Krug, with its impression of morel-packed Bresse chicken? > 21

Greener 22 Ecological trends

Text: Essi Avellan MW Photos: Michael Boudot and Pekka Nuikki F or any wine region, nurturing the condition of the soil and the cleanness of the air is a concrete investment into its own future. Desirable outcomes include maintaining the landscape and countryside, as well as obtaining greener and cleaner wines. There is power in numbers, so the Champagne region has harnessed all of its growers and producers into completing an ambitious sustainable development programme. Individuals can take even more drastic steps, and the number of organic and biodynamic producers is growing sharply in Champagne. Champagne has historically not had a particularly green image as a wine region. Its otherwise shiny public image was dented in the 1970s when many vineyards began using urban waste from Paris as fertiliser. Although the waste was not a poor fertiliser in itself, it left permanent marks on the environment, which are still visible today. Turn the topsoil a little on those vineyards and you will find colourful plastic shards that are a token of bygone times. The use of waste as fertilizer was reduced in the 1980s but it was not banned until 1998. The region pulled its socks up in the early 2000s, when it conducted an extensive survey of its environmental impact and took decisive action to improve the situation. Champagne production was estimated to have a carbon footprint equivalent to that of a city with a population of 200 000. The umbrella organisation for the region’s producers and growers, CIVC (Comité Interprofessionnel du Vin de Champagne), launched an ambitious environmental plan in early 2001, which aims to cut carbon dioxide emissions by one quarter by 2020. Another objective is to quadruple resource efficiency, i.e. achieve what is known as “factor four”. CIVC has taken on the environmental challenge as a whole, encompassing energy and climate issues, looking after the soil and biodiversity, controlling pesticide and water use and reducing emissions. The tool for achieving these improvements is a selfdiagnostic intranet, which allows growers and estates to monitor their own operations. Engaging the village communities in the environmental efforts has been of primary importance, because one of the most effective drivers of change is neighbourly example. Certain pioneers in villages have been chosen to urge others to “green” their actions. Concrete progress towards the meeting of targets has been achieved thanks to 16 research and development programmes and more than 40 individual projects. One of the first outcomes of the R&D was a new bottle weighing 65 grammes less than before (835 instead of 900 grammes). It may not sound like much, but taking into account the quantity produced (330 million bottles per year), it can have a great impact. Fi n e C h a m pa g n e u r F ut e in Champagne 23

24 This is because glass makes up 90 per cent of the waste produced by the Champagne region, so reducing quantity is of primary importance. The aim is to change over 95 per cent of the production to the lighter bottle model as soon as next year, which will reduce CO2 emissions by 8000 tonnes, which is equivalent to the emissions of 4000 passenger vehicles. Other important actions include reducing water consumption and purifying waste waters. It takes 4.1 litres of water to produce every bottle of champagne, taking into account the consumption of both growing and production. There is potential for reducing this quantity, for example by recycling waste water. The objective is to have 100 per cent of liquid waste and waste water reprocessed or reused this year. Many houses, including Duval-Leroy, have started collecting rainwater. Greener champagne houses are growing in popularity, and luckily most cellars in Champagne are underground and therefore require no artificial cooling. Duval-Leroy’s modern cellars were recently reinsulated and equipped with 160 square metres of solar panels in order to reduce the need for outside energy. ORGANIC ChAMPAGNE Organic champagne is a challenging equation due to the region’s cool and humid climate. It is not impossible, however, if effort is put into the vineyards. There are only around forty certified organic producers, although the number is growing. In 2010, organic vineyards made up an area of 240 hectares, which is just 0.7 per cent of the region as a whole. The growth rate is reassuring, however, as in 2000 there were only 65 organic hectares. Small-scale producers such as Fleur y, Larmandier-Bernier and Lahaye are spearheading the trend, but they are followed by large champagne houses such as Louis Roederer and Canard-Duchêne, which have significant organic vineyard holdings. For example, all of the land owned by Pommer y, although limited in quantity, is organically cultivated due to the estate’s competent, environmentally aware cellar master, Thierr y Gasco. Louis Roederer is the only large house that has taken on the difficult challenge of biodynamic cultivation, although in typical Roederer style it has taken baby steps in the form of slowly growing biodynamic hectares. Today, it is the largest owner of organic and biodynamic vineyards in Champagne with all of 40 hectares, most of whose grapes are allocated to the luxury champagne Cristal.

“ChAMPAGNE LTD” IN FIGuRES Fi n e C h a m pa g n e 34 000 hectares 280 000 vineyards 15 000 growers 150 cooperatives 300 champagne houses 10,000 employees 322 million bottles (2008) 4.45 billion euros in net sales (2008) 25

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27 Fi n e C h a m pa g n e

Below are some of the most interesting organic or biodynamic champagnes from the point of view of sustainable development. POMMERy The long-term efforts, in sustainable development and ecology, of Pommery’s winemaking team culminated in 2008 with the launch of POP Earth. The lower environmental impact of this champagne was achieved thanks to the sum of many small factors. The recycled glass bottle is 35g lighter than an ordinary champagne bottle. Back in 2003, Pommery was the first producer in Champagne to start using a lighter bottle. The label is recycled paper printed with non-toxic ink. The bottles are not individually packed. It is heartening to see that organic status can go hand in hand with quality, as POP Earth is much better than the Brut Royal and more serious than the ordinary POP. 89p 28 Pommery POP Earth NV (sustainable) Colour: Pale lemon Nose: Soft and mild, tropical fruits, white flowers, peach Palate: Fruit-forward, finely integrated mousse Ending: Gentle, rich and adequately long In a nutshell: Easy but by no means boring Inside Pommery was the first information: winery to receive the ISO 14001 certificate When to drink: 2012–2016 Food pairing: Vegetable tempura Buy or not: Yes, a great buy Final verdict: An agreeable nonvintage with character Back in 2003, Pommery was the first producer in Champagne to start using a lighter bottle. ChâTEAu D’AVIzE The Russian petrochemicals magnate Boris Titov bought a small parcel of Champagne – the castle of Château d’Avize and its minuscule but top-quality vineyard – in 2010. With his son Pavel he manages Russia’s oldest and best sparkling wine estate, Abrau-Durso, where even before their establishment in Champagne they used the services of the reputed cellar master and organic wine specialist hervé Jestin. They immediately harnessed the small Château d’Avize estate to the cause of biodynamism, and the vineyards are currently awaiting certification. “Russian” and “biodynamic” are not two adjectives that one would instinctively pair up, and credit for the idea must go to Jestin. Formerly known as the long-term cellar master at Duval-Leroy, Jestin is now Champagne’s leading organic consultant, and he was quick to design a biodynamic single-vineyard champagne for Château d’Avize. The wine was first produced in 2011, and it will have its market launch in 2016 or so. While waiting for that event – and the cash flow it should produce – Jestin quickly launched the Foliage champagne, produced from grapes acquired from friends of his in the organic farming business, including Laval, Lahaye, Michel, Fleury, Bedel and Leclapart. 88p Foliage Extra Brut Bio NV (organic) Colour: Pale peachy-yellow Nose: Fresh, mild, gently toasty, youthful, floral Palate: Clean, fruit-forward, fluffy mousse Ending: Medium-long and fresh In a nutshell: Refreshing When to drink: 2012–2016 Food pairing: Sushi Buy or not: Yes, exellent value and great presentation Final verdict: Pleasant and full of clean, fresh fruitiness Formerly known as the long-term cellar master at DuvalLeroy, Jestin is now Champagne’s leading organic consultant.

Fi n e C h a m pa g n e 29 One important thing is to achieve a soil that is alive and rich with organic material. 91p Larmandier-Bernier Terre de Vertus NV (organic) Colour: Pale lemon yellow Nose: Youthfull, fruity, peach, sweet apple, earthy minerality Palate: Tight, compact, stylish Ending: Dry, mineral In a nutshell: Mineral bomb Inside 100% Chardonnay information: from Les Barillers and Les Faucherets When to drink: 2013–2018 Food pairing: Fried scallops Buy or not: Yes, plenty of character and a great gastronomic champagne Final verdict: Super stylish and puristic Côte de Blancs Chardonnay LARMANDIER-BERNIER Larmandier-Bernier is a textbook example of a grower-producer focusing on top quality and aiming to maximise the ecology of the process. having taken its first steps in biodynamic cultivation in 2000, Larmandier-Bernier now fully abides by the principle. The aim is to achieve natural balance in the vines. One important thing is to achieve a soil that is alive and rich with organic material. This is why grass is grown between the vine rows in every vineyard, and the earth is turned several times a year. It is worth seeing when Pierre Larmandier applies the biodynamic preparates to the vines by a helicopter. “There are so few suitable dates for spraying in the biodynamic calendar, that a helicopter makes sense”, says Pierre, whose vineyards are divided into fifty individual plots. Larmandier-Bernier’s 15 hectares are mostly located in Vertus, at the southern tip of the Côte des Blancs, and in the surrounding Premier Cru and Grand Cru villages. Larmandier-Bernier’s mineral and earthy style is combined with a marvellously ripe and pure fruitiness. The character is achieved by picking the grapes very late, with a typical potential alcohol level of 11 per cent at harvest. Fermentation is done using natural yeasts in tanks, oak barrels and oak vats. The dosage is low in all their wines.

The two-hectare estate run by Vincent Laval has been completely organic since 1971, and now follows the principles of biodynamic cultivation. 87p Cuvée Les Chênes Brut Nature 2005 (biodynamic) Colour: Bright, pale lemon Nose: Fruity, fireworks, flowers Palate: Tight, young, energetic Ending: Very dry, linear In a nutshell: Untamed When to drink: 2012–2018 Food pairing: Creamy chicken Buy or not: Buy it if you spot it Final verdict: Feisty and full of character 30 GEORGES LAVAL Georges Laval is a lesser-known grower-producer from the village of Cumières. Its lack of fame is probably due to the tiny production volumes, as the quality of the wines is top-notch. The two-hectare estate run by Vincent Laval has been completely organic since 1971, and now follows the principles of biodynamic cultivation. “Over the years I have bought and sold parcelles to form bigger vineyard units, which is essential if you want to protect your vineyard from herbicides and pesticides your neighbours might use”, Vincent Laval rationalises. The estate’s production methods are highly traditional and natural. Fermentation uses natural yeasts and the wines are not filtered or cold stabilised. Laval produces two single-vineyard champagnes from Cumières that are worth trying: Les Chênes Chardonnay and Les hautes-Chèvres Pinot Noir.

FLEuRy PèRE & FILS Jean-Pierre Fleury started working on the family estate in 1970. Being interested in alternative medicine, he started switching the whole estate to biodynamic farming. he was the first champagne producer to receive Demeter certification, in 1989 and the entire property was certified in 1992. Today, the estate’s management involves his three children, of whom Jean-Sébastian is responsible for winemaking. The charming Jean-Pierre is very much involved himself, too. Due to high demand, the house also buys biodynamically cultivated grapes from others. 90p Fleury Père & Fils Millésime 1996 (biodynamic) Colour: Deep golden with peachy hues Nose: Pronounced, herbacious, red fruit, vanilla, honey Palate: Round, muscular, pure Ending: Medium-long, very dry In a nutshell: Velvet smooth When to drink: 2012–2014 Food pairing: Cold cuts Buy or not: Yes, for immediate consumption Final verdict: Mature, round and ready to be enjoyed Fi n e C h a m pa g n e Fleury was the first champagne producer to receive Demeter certification, in 1989. 31

Michelin Guide Three Stars San Francisco Chronicle Four Stars The Restaurant at Meadowoood Worth a Special Journey The Restaurant at Meadowood Chef Christopher Kostow 70-79_CH5_champagne_weekend.indd 70-79_CH5_champagne_weekend.indd 70 70 11/10/10 11/10/10 12:58 12:58 PM PM 70-7 70-7

:58 :58 PM PM Relationships are core to life in Napa Valley. F or the last half century, Napa Valley the original gathering place for the Valley’s has provided the panorama for a burgeoning wine community, Meadowood unique way of life—directed by the has now become an international wine industry and acted out by a host of destination and boasts membership within local players. Wine is the thread weaving the the exclusive ranks of Relais & Chateaux. art of man with the Come for a visit. bounty of nature in Walk the fairways a complex pattern on which Auction of relationships— Napa Valley has relationships that go raised more than $90 to the core of the million since the Valley’s legendary ?rst gavel was raised. way of life and set Mingle with the the stage for a story vintners and growers like no other. as they enjoy their The community club through sport that is Napa Valley activities, recreation, contributes to local and the pursuit of enterprise through lifelong wellness. its vast experience Dine on the private and deep-seated terrace of your relationships. In adguestroom or spend dition to grape growthe evening enjoying Master Sommelier Gilles de Chambure ers and wine makers, a meal prepared it includes agriculturalists, great chefs, som- by Michelin Three-Star chef Christopher meliers, maître d’s, gallery owners, innkeep- Kostow in The Restaurant at Meadowood. ers and shop proprietors. All depend upon Spend a day exploring the wineries you’ve each other for their unique livelihood and longed to visit with Gilles de Chambure, lifestyle. Master Sommelier, whose sole role at For the past 46 years Meadowood Meadowood is to enhance guests’ knowledge has served as the heart and soul of the and enjoyment of wine. winegrowing community—as a center for A stay at Meadowood offers you entry social and family life and as a second home into an extraordinary way of life. Capture for travelers from around the world wishing the magic of Napa Valley and develop your to immerse themselves in the region, its own relationship with the people that de?ne wines, and its people. Founded in 1964 as this unparalleled experience. the sporting life at meadowood The forested hillsides of Meadowood’s two hundred ?fty-acre valley slope to the cool green of the estate’s nine-hole, walking golf course. Presiding over the tranquil fairways and the golf teaching facility is Resident Golf Professional Doug Pike. Meadowood’s Resident Tennis Professional, Doug King, is one of the country’s leading tennis teaching innovators. The founder of Acceleration Tennis, a revolutionary teaching system, King is leading the way in reinterpreting the traditional tennis model, working with players of all skill levels from beginner to professional. Between dining and wine experiences we invite you to stretch your legs with a game of golf or tennis. 900 Meadowood Lane, St. Helena, California 94574 Tel (707) 968-3153 www.meadowood.com 70-79_CH5_champagne_weekend.indd 70-79_CH5_champagne_weekend.indd 71 71 11/10/10 11/10/10 12:58 12:58 PM PM

FINE GLASS Things to Remember when Serving Champagne The subtle aromas and flavours of champagne grow to be very complex during the wine’s two fermentation periods and a long ageing on the lees. When champagnes are finally released to the market they are still angular and sharp, and require bottle ageing to mellow. In the bottle, their brisk acidity becomes rounded and a lot of the carbon dioxide in the drink is released. Most champagnes are opened at a very young – sometimes too young – age, which leaves out the most complex nuances from the taste. As the second fermentation takes place in a sealed bottle, the champagne develops carbon dioxide, and when the bottle is opened, the brusquely released CO2 can hide the drink’s subtler flavours – especially in younger champagnes. Excessive sparkling can be curbed through decanting, which gives the champagne’s own aroma more room. For many characterful prestige champagnes, serving in a white wine glass can also improve drinkability. 34 Philippe Jamesse

The perfect Glass for Champagne I Fi n e G l a s s t is impossible to fully enjoy champagne without a proper champagne glass. A good glass brings out the music in the champagne, so to speak. It is a concert hall whose excellent acoustics allow the audience to pick out even the slightest nuances in the music. This is exactly how the best glasses can open up champagne, bringing out its subtlest characteristics. We decided to start the Raise a Glass to Champagne series in order to identify the best champagne glasses. We will present glasses that can help you ensure the optimal enjoyment of different kinds of champagnes. Lehmann’s Grand Champagne glass, which FINE’s experts selected as the best general champagne glass earlier this year, was a self-evident first choice. Text: Juha Lihtonen Photo: Le Domaine Les Crayères 35 It would make sense that the region which pro- narrowing mouth of the glass gath- duces champagne should also produce the best ers together the aromas released by glass for it. It is unusual, though: there is no the champagne and directs the liquid other wine region in the world that, besides into the drinker’s mouth in a way which top-quality fine wines, manufactures glasses brings out various attributes, from sweetness that perfectly complement them. The Cham- to acidity and texture to overall mouthfeel. The pagne-based glassworks Verrerie de la Marne height of the bowl allows for beautiful ribbons and its leading designer Gérard Lehmann cre- of bubbles to form, making the drink even ated the Grand Champagne glass in collabora- more attractive. Examples of champagnes recommended for this glass: tion with the region’s most esteemed somme- “I wanted the glass to be sufficiently large lier, Philippe Jamesse, in 2009. Working in the and tall to allow for various different cham- finest hotel in Champagne, Les Crayères, and pagnes to show their character,” Jamesse says. its Michelin-starred restaurant since 2000, The Grand Champagne glass is a well- Jamesse began designing the ideal glass for rounded general glass, excellent for most types champagne after finding that no existing glass of champagne. Thanks to the large bowl, the could offer the perfect sensory enjoyment he characteristics of the champagne develop expected from the wine. “The physical produc- quickly after being poured. This makes the Krug Grande Cuvée NV tion of the glasses was quick compared to the glass especially suited to younger champagnes, Louis Roederer Cristal 2002 time I spent on the design. It took years and which need air and space to unfold. It is bene- many tests before I was sure of which charac- ficial for full-bodied and characterful cham- teristics must be emphasised in glass design.” pagnes – whether vintage or non-vintage – and Philipponnat Clos des Goisses 2000 particularly prestige champagnes. The versatil- Bollinger La Grande Année 1999 Jamesse’s champagne glass is visually attractive ity and greatness of the glass is also evident in and elegant, and its wide and voluminous bowl producers the fact that many top champagne pro ducers gives the champagne room to open up. The Charles Heidsieck Brut Réserve NV Billecart-Salmon Brut Rosé NV Laurent-Perrier Grand Siècle NV Dom Pérignon 2003 serve their products in it. Dom Ruinart Rosé 1998 Grand Champagne

36 The new and improved Charles Text: Amanda Regan W ith its unerring precision, Charles Heidsieck Brut Réserve is the emblematic cuvée of the house. Yet, since Charles Heidsieck was founded in 1855, the identity of Charles has remained somewhat hidden – classy but distant, mysteriously looking towards exciting new adventures. Who is he? Where is he? Exactly one year to the day since the owner change of Champagne Charles Heidsieck, now under the proprietorship of the EPI group, a new expression of Charles Heidsieck is ready to be discovered. FINE was present when its new identity was revealed in Le Mans in June 2012.

Fi n e N ov e l t y 37 Charles was a timeless traveller, and his companions in the late 19th century were flaneurs making their way on the Grand Tour, from Paris to Venice, Long Island and the Far East, while drinking coupes of Champagne. He accompanied artists, writers and musicians, such as Baudelaire and Balzac, Wilde and Hemingway, Warhol and Gainsbourg, into the following century. Fresh from his voyages, Charles has returned in 2012 sporting the latest fashion. As the signal exploded to start the classic car race at Le Mans, drivers in traditional costumes of gloves, scarves and helmets ran across the tarmac to their vintage cars. The signal was echoed by corks exploding from the new, chic and eye-catching Charles Heidsieck bottles across the track. The conTemporary dandy The new Charles was presented at a stylish VIP booth at Le Mans by Thierry Roset, the newly appointed Chef de Caves of Charles Heidsieck. Roset was promoted after 23 years working with the two previous cellar masters, Daniel Thibault and Régis Camus, the latter of whom still oversees the winemaking of both Piper and Charles Heidsieck. Roset demonstrates to us how Charles is cheating time by revealing a more contemporary look than ever. He tells us that both the style and looks of Charles echo the original descriptions of the “dandy”: elegant, distinctive, unctuous, complex and generous.

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“The dandy creates his own unity by aesthetic means. But it is an aesthetic of negation. ’To live and die before a mirror’ – that, according to Baudelaire, was the dandy’s slogan. It is indeed a coherent slogan. The dandy is, by occupation, always in opposition. He can only exist by defiance… The dandy, therefore, is always compelled to astonish. Singularity is his vocation, excess his way to perfection.” Fi n e N ov e l t y Albert Camus Charles may appear dandy but below the surface there is real class and breed. The continuity of style in this new Charles Brut is confirmed with the assemblage that remains untouched: one third Chardonnay, one third Pinot Noir and one third Pinot Meunier. The blend has been reduced from 120 villages to a still outstanding but selected assembly of 60. Sixty per cent of the blend is based on the 2007 vintage, with the rest coming from Charles Heidsieck’s reserve wines – the house’s DNA ingredient. Charles’ charisma and depth come from substantial ageing in the chalk cellars, which have been further extended from a highly respectable eight years to ten years. This precise balance creates the complexity which is “typiquement Charles”. Charles Heidsieck is one of only five champagne houses to inhabit the famous, deep Gallo-Roman underground chalk cellars in Reims. To remind us of this, the shape of the new bottle is modelled on the exceptional form of one of the caves, Crayère number nine. Furthermore, the new labels found their inspiration from original designs discovered in the archives and have been reinterpreted into contemporary proportions, with the font and the name split over two lines. Rejuvenated by the new image, Charles Heidsieck is ready to take on another Grand Tour, in order to conquer the world: Champagne Charlie is back! > 39 95p Charles Heidsieck Brut Réserve NV Colour: Deep lemon with golden reflections Nose: Travelling from cooler reflections of lemon to tropical atmospheres and coffee notes Palate: Rich and racy but classic Ending: Beautifully coordinated The word: Suave Buy or not: The best deal ever When to drink: Ready when you are Food pairing: From breakfast through to midnight Or try this: The old Charles… Final verdict: Typiquement Charles

COLUMN JANCIS ROBINSON MW 1368 Varieties 40 S o far I’ve been lucky, crazy and industrious enough to be responsible for more than 20 books about wine, including The Oxford Companion to Wine and, with Hugh Johnson, The World Atlas of Wine. But none is quite as beautiful as Wine Grapes – A complete guide to 1,368 vine varieties, including their origins and flavours, which was published on both sides of the Atlantic at the end of October. Wine Grapes is a 1200-page, 3.2kg monster that has particularly blighted the lives of my co-authors, Julia Harding MW and Dr José Vouillamoz, for the last four years. On 26 September 2008 I received the following email from José who, at that stage, I knew only by reputation as a Swiss-based specialist in the application of DNA profiling to grapevines: ‘I have an important proposal for you: the cowriting of a book on the history and origins of the most important classic grape cultivars of the world (Cabernets, Syrah, Chardonnay, Merlot, Riesling, Pinot, etc). Indeed, many people have asked me over the years if I had a book with all the stories I usually present in my talks. And I always must say “no, but if you want an up-to-date reference, just buy the third edition of The Oxford Companion to Wine”. Given the numerous recent discoveries made on the most important grape cultivars by DNA profiling (by my colleagues or by myself ), I think it’s now time to write a book on this subject that is popular but with all necessary references. I am convinced that my expertise on the subject together with your most valuable skills in grape and wine writing and your considerable knowledge of the subject (OK, enough flattery...) would be a perfect match for a long-term reference book. I have already accumulated a lot of historical and genetic material about most of the

particularly popular sport a century ago and so these dusty old ampelographies had a decidedly late Victorian look. ‘I could plan the writing for 2009–2010.’ The result is that our book, with its collection of classic typefaces and curlicues, looks not unlike these beautiful old volumes – not least because we have been able to faithfully reproduce 80 stunning botanical paintings from the classic ampelography of all time, that were produced by Pierre Viala and Victor Vermorel during the first decade of the last century. (This was possible only thanks to an enormous amount of effort involving complicated searches in the British Library’s archives and the kindness of two lucky owners of the first edition, Swiss winemaker Josef-Marie Chanton and British Master of Wine Neil Tully.) ‘I will be in London on Sunday 9 November from about noon until 6pm and on Monday 17 November for the whole day (8am–8pm) during stop-overs before and after a trip to South Africa. If your November schedule is not yet fully booked, I thought it would be an opportunity for us to meet in London and talk about this book project and, last but not least, meet you in person.’ Poor José. He had no idea when I invited him and my long-suffering assistant Julia Harding to lunch at Rowley Leigh’s Café Anglais that Monday to discuss his proposal, how ambitiously I would expand it – to every single grape variety making wine commercially, which, after many pluses and minuses, finally came to almost 1400 of them. As he reflected very recently: “when I was saying yes to this brilliant idea, I was anxiously and mentally trying to estimate how many additional months of work it would represent. I seriously under-estimated.....” My literary agent Caradoc King presented our ambitious project to several publishers and eventually we went with Penguin, or rather their leading non-fiction imprint, Allen Lane. When they asked me for a steer on the design, I lent them various books whose design I admired – notably Inside Burgundy by Jasper Morris MW, which had been prepared for publishers Berry Bros by Carrie Segrave and her husband Chris Foulkes (who, incidentally, published my first book on grape varieties Vines, Grapes & Wines back in 1986). But I also showed them various old ampelographies in my possession. Ampelography is the science of the identification of vine varieties by studying what they, and particularly their leaves, look like. It was a But all has not gone smoothly with our beautiful tome full of alphabetically-listed grape varieties. When the publishers finally started to calculate how many pages their original, space-hungry design would need, they were horrified to find that A-K alone took up 800 pages. The designs had to be compacted (they are still pretty spacious, I think) and we authors had to fight very hard to keep the book in a single volume. The funny thing is that despite its extremely classic appearance, our book illustrates the very latest facts about the plants responsible for our favourite drink – many of them published for the first time. While Julia is the only person in the world with a top MW qualification and a professional background as a copy editor of the most persistent and pernickety sort, José is both a botanist and grape geneticist. He is able to analyse the DNA of plants and see precisely how they are related. The science of analysing microsatellites (types of DNA markers) now substantively complements the eye with its study of leaves and shoot tips, and hence we are able to spell out exactly what links, for instance, Syrah and Pinot, Savagnin Blanc and Grüner Veltliner, Merlot and Malbec. Our book is therefore home to 14 unique family trees painstakingly assembled by José and, as usual, minutely checked by Julia. Like those for Brianna and Prior, the Pinot one is so big that it needs a pullout section that runs over two whole pages. Pinot’s pedigree includes all manner of unexpected relatives among the 156 charted. Wine Grapes really is full of surprises. The result of our intense, demanding and at times apparently almost impossible task has been that I have learnt an enormous amount that was not known in the 1980s when I last tackled this subject in depth. Although this new book has been described by several commentators as an update of Vines, Grapes & Wines, it is in fact a completely new work, based on José’s original research into the world of vines and DNA, Julia’s original research into who has what planted (a daunting task when applied to the whole of the wine world – the latest Italian statistics date from 2000) and my vantage point as someone who has been fascinated by the revealing world of grapevine varieties for nearly 30 years. > WE HOPE YOU WILL FIND THE RESULTS INTRIGUING AND REWARDING. MORE DETAILS AT WWW.WINEGRAPES.ORG Fi n e R o b i n s o n classic grape cultivars which could be crossed with the detailed information found in your Guide to Wine Grapes.’ 41

E N J O Y C H A M P A G N E L A U R E N T- P E R R I E R R E S P O N S I B LY.

“All my life I have sought the simplicity of a single line.” ANTOINE wATTEAU

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Cheese Fi n e C h a m pa g n e & Fo o d Champagne’s Favourite Foods: 45 Three Kings for the Queen of Wines Te x t : R i st o K a r m av u o Champagne is not the most traditional choice to accompany cheese. This is more a question of habit than actual gastronomical reasons, however, because champagne goes very well with many cheeses. A particularly good champagne to have with cheese in general is a Chardonnay from the Côte des Blancs region, to add body to the flavour of the cheese and perfectly complement rich and creamy cheeses. Older vintage champagnes that may be found in your cellar are also an excellent choice, because their mature flavour palette is a good addition to the slightly nutty and caramel taste of many cheeses.

King of cheeses Époisses, a delicious pressed cheese with a red rind, is perhaps the most famous cheese from Burgundy. The most celebrated gastronomical authority in France, Anthelme Brillat-Savarin, named it the “king of cheeses”. Époisses is made from unpasteurised cow’s milk, and after the cheese has set it is rinsed regularly to enhance rind formation. The final rinse is done with alcohol, usually the local pomace brandy, Marc de Bourgogne. Eaten fresh (Époisses Frais), the cheese is fairly firm and creamy, and its taste is relatively tangy and milky. Époisses Frais is actually better served before the meal, and then best combined with a refreshing blanc de blancs. 46 Matured Époisses has a red-orange rind and its ripeness is evident from slightly sunken edges – as if the rind were about to collapse and let the insides run onto the plate. When ripe, the cheese has a somewhat pungent aroma, but the flavour is creamy and rich with a sweet-acrid note from the rind. The rind does not have to be eaten if the cheese is a bit overripe or if it seems too strong. Ripe Époisses is perfect when paired with a relatively aged vintage champagne, whose toasty and mature aromas go well with the full-bodied cheese. Époisses Favourite of the Sun King Gouda has been an important export product since the thirteenth century, and it was among the favourites of Louis XIV of France, among others. At the time, Gouda was still a small-scale local cheese made in the locality of its eponymous town. Nowadays, most Goudas are industrially produced, characterless everyday cheeses, favoured on sandwiches – especially in Sweden. Proper, handcrafted Gouda can be bought in quality cheese shops, however, and is recognisable if by nothing else, then by its much higher price per kilogramme. Gouda is made from cow’s milk and fashioned into fairly large wheels of 5 to 10 kilogrammes. Cheese connoisseurs especially value aged Gouda, which is recognised by its black paraffin wax coating. Aged Gouda is sold as “Old” or “Extra Old”, but it must have spent at least 18 months in a cellar. Aged Gouda is dark yellow, even brownish in colour, and its protein crystals are clearly discernible, making the cheese somewhat grainy in texture. It is very hard and brittle, making it easy to break pieces off with a small knife. Aged Gouda has a caramel, even toffee sweetness, combined with complex aromas and a light saltiness. This cheese is best paired with an aged blanc de blancs champagne, whose creamy Chardonnay body has been teased out by the passing years. Époisses A nother good reason to pair champagne with cheese is the order of dining. A good cheese is an essential part of dinner, to balance out the different tastes at the end. Similarly, a glass of champagne will refresh the palate after other wines and, acidic as it is, produce a lightening effect.

By exclusive right from the king The characteristic freshly salty and tangy flavour of Roquefort comes from its unique combination of sheep’s milk and a specific mould strain, of which many imitations have been made. The original mould strain in the cheese originates from natural caves in the Cambalou mountain, where the cheeses are still aged. Roquefort was the first French cheese to receive a protected designation of origin, which it got in 1925. The cheese may only be produced from the unpasteurised milk of specific sheep breeds. Cutting and packing of the cheese must take place in the Roquefort-sur-Soulzon area. The strong and refined Roquefort is at its best by itself, although it is used a lot in cooking. A delicious snack to accompany champagne can be created by sticking two walnut halves together with Roquefort. Strong blue cheeses are best coupled with a more robust champagne, so a good choice would be a blanc de noirs. If you are feeling more adventurous, try a medium sweet champagne. > Fi n e C h a m pa g n e & Fo o d Roquefort, which comes from the Rouergue region in southern France, is undoubtedly one of the most famous cheeses in the world. It is first mentioned under that name in written records in 1070, but it is likely to have been manufactured well before that time. Roquefort producers received an exclusive right to make this type of cheese in the fifteenth century from Charles XI, and Charles XII later made the production of fake Roquefort a punishable offence. A typical wheel of Roquefort weighs two to three kilogrammes and is cylindrical in shape. Époisses Roquefort 47 Roquefort

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FINE MoMENt with Jarno Trulli Text: Essi Avellan MW Photos: Pekka Nuikki and Jarno Laine A thrilling day, hosted in Helsinki by FINE Champagne, shed some light on a well-liked Formula 1 master and put Jarno Trulli behind the wheel of a Ferrari for the first time. A mid the hustle and bustle of Arrivals at Helsinki-Vantaa Airport, I await the appearance of Formula 1 star Jarno Trulli. I consider the fact that someone’s loss can be someone else’s gain: Trulli was replaced on the Caterham F1 team just before the beginning of the season, and FINE Champagne is now able to have him as its guest on this May weekend. Devoid of his driving duties, Trulli finally has time to perform ambassadorial tasks for his Italian winery and Swiss luxury hotel. Trulli steps through the gate with his entourage, looking jovial yet professional, and slightly late, as any selfrespecting Italian should be. “It’s probably best if you drive,” I say to him after we have exchanged greetings, and hand him the keys to a Ferrari 550 Maranello. Fi n e M o m e n t a 49

NomeN est omeN 50 Trulli’s manager Lucio Cavuto, winemaker Angelo Molisani from Trulli’s Podere Castorani estate, and director Orlando di Fruscia from Hotel Mayerhof in Davos have to settle for a more ordinary vehicle. I have obtained the fireengine red 1997 Ferrari specially to make our guest of honour feel comfortable. Entering the car, the expensive smell of old leather upholstery hits my nose. I’m surprised when Trulli asks for instructions before starting the car. Isn’t the skill of driving a Ferrari passed down in Italian mothers’ milk? There is no end to my amazement when he reveals that this is actually the first time he has ever driven a Ferrari! “It’s really strange that I should drive a Ferrari for the first time in Finland,” says Trulli. “But I’m actually not that interested in street cars. For me they are just a way of getting from A to B.” Lucio Cavuto, Angelo Molisani, Jarno Trulli and Orlando di Fruscia enjoying Finnish archipelago The car’s 12-cylinder engine purrs as the star driver turns the ignition. The seat is a perfect fit for the slightly built man. Once, having negotiated the airport traffic, he gets to test the Ferrari’s handling characteristics, he grants me the explanation I am after: “It’s really strange that I should drive a Ferrari for the first time in Finland,” says Trulli, who was born in 1974 in Pescara, Italy. “But I’m actually not that interested in street cars. For me they are just a way of getting from A to B.” I, on the other hand, greatly enjoy my journey in the top driver’s capable hands, as he weaves through the city-centre traffic. We do not put Ferrari’s claims of acceleration from 0 to 60 in four seconds to the test at the traffic lights, however. Trulli clearly has no need to prove himself outside of the race track. Despite spending hundreds upon hundreds of hours in cars, he only really likes racing, but when I ask who it is that drives in their family – he or his wife – he answers as expected: “Me, of course!” So there is at least something of the Italian in this otherwise atypically sedate, down-to-earth and self-effacing driver. As we approach the Kulosaari Casino, Jarno repeatedly expresses his admiration for the lush Finnish nature, which is at its best on this unusually hot spring day. “Previously, I’ve only visited in winter.” He has deeper links with Finland, however: his parents named him after the legendary Finnish motorcycle racer Jarno Saarinen, who was killed at the Monza track a year prior to Trulli’s birth. The name Jarno became very popular after Saarinen’s death, and lately some have also named their boys after Trulli. “The tragic death of Ayrton Senna in San Marino in 1994 had a similar effect,” Trulli recalls.

Fi n e M o m e n t 51 Jarno Trulli offers a gentleman’s hand to editor Essi Avellan MW Thanks to his father’s enthusiasm for karting, Trulli raced as a small child, and 12 years of karting experience formed a solid basis for his driving skills. After a successful career in Formula 3, the Minardi team opened the door for Trulli to enter Formula 1 in 1997. Having raced later for Prost, Jordan, Renault, Toyota and Lotus, he has earned a reputation among his fellow drivers and fans as a skilled and agreeable, if unlucky, driver, who has suffered from bad timing in terms of finding a sufficiently high-performance, reliable car. Trulli’s manager and childhood friend Lucio Cavuto, who negotiates his team placements, faces a tough challenge, because the driver’s desire to win has by no means relented. “I want to drive for a few more years, but only in a car that has a chance of winning. It’s not about money but about performance, and I will continue turning down offers until I find a good enough car.”

52 JARNO TRuLLI’S FAVOuRITE CHAMPAgNE must be g.H. Mumm Cordon Rouge in the special F1 jeroboam format. g.H. Mumm has been the official podium champagne for F1 since 2000, and the house has just renewed its deal to ensure it continues to be seen on the lips of the F1 champions. For more insight into the long and interesting history of champagne at Formula 1, see issue 4 of FINE Champagne.

toastiNg his first wiN We turn into the yard of the seaside casino at Kulosaari and Jarno offers me a gentlemanly hand out of the car. We will continue our journey to our dinner destination by sea, to make the most of the perfect weather and the Finnish landscape. The perfect replacement for the Ferrari is the former plaything of one-time Ferrari driver Kimi Räikkönen, a Princess V42 yacht. Having boarded the stylish vessel, we drink a toast to Trulli’s first F1 victory at the 2004 Monaco grand Prix with Perrier-Jouët Belle Epoque of the same vintage. We are also “Although I own a winery, I don’t drink much wine. I don’t really like alcohol, and one glass of wine is enough for me. But champagne is, of course, an inseparable part of the race podium. Spraying champagne means you’ve done your job well and succeeded!” pleased to be able to offer Jarno his first taste of a champagne from his birth year, in the form of the 1974 Prince A. de Bourbon Parme. Jarno is happy enough to taste the champagnes, but much greater enthusiasm is displayed by his young winemaker colleague, Angelo Molisani, who lingers over the mature champagne. Jarno confesses: “Although I own a winery, I don’t drink much wine. I don’t really like alcohol, and one glass of wine is enough for me. But champagne is, of course, an inseparable part of the race podium. Spraying champagne means you’ve done your job well and succeeded!” wiNe is the future As the Princess ploughs through the waves towards Villa Ruusuniemi in Vuosaari, we chat with Jarno’s key personnel about the future that the driver has purposefully and sensibly been building for himself over the last few years. The wine estate in his home region of Marche is mostly managed by his father, but Trulli, who nowadays lives in St. Moritz, Switzerland, has also recently bough a hotel in Davos, the destination of choice for the well-to-do. Restaurant Jarno at Hotel Meierhof offers genuine Italian food, as well as a wide selection of the driver’s own wines. Trulli’s lively conversation on dining and restaurant management clearly indicates that gastronomy is an issue close to his heart. It is also evident that the star has surrounded himself with the people he trusts the most – his family and long-time friends. They all get to share in the lifestyle and possibilities brought by Jarno’s success. The hiatus in his Formula 1 career has given Jarno more time to devote to his family, especially his two young sons. Neither of them is – as yet – particularly interested in cars. As our boat moors at the Ruusuniemi dock, Trulli says that his greatest strength is determination. “It has kept me in Formula 1 for fifteen years. Thinking about it, I’ve come quite far from where I started in Pescara!” With regard to weaknesses, he winks: “No comment,” and strides off to greet FINE Champagne’s other guests for the evening. > Fi n e M o m e n t The FINE Champagne group celebrating at Villa Ruusuniemi 53

THRILLS & CHILLS Power on Ice 2013 In FInland Is the hIghlIght oF the Bentley extreme drIvIng calendar. here, you can lose yourselF In the sensuous Ballet oF a car drIFtIng on Ice or Push yourselF to the lImIt In a real test oF drIver and machIne Ice Driving 472 x 297.indd 80 17/12/12 14:11:16 Ice D

:11:16 Four time World Rally Champion, Juha Kankkunen. at Bentley, they know that connoisseurs of fine cars also expect the ultimate driving experience. so while Bentley’s engineers push the engineering boundaries of performance and refinement, the driving team creates ways for owners to explore their cars’ full potential. and where better to push performance and control to their limits, than at the very edge of the arctic, on frozen Finnish lakes? like all things Bentley, Power on Ice is unique. each winter a small number of Bentley aficionados from all over the world converge on a point 7,342km north of the equator: the exclusive winter playground of ruka. the expedition does not venture into these extreme latitudes and temperatures simply for the saunas and scenery. they come for the sinuous ice tracks, designed by four-time world rally champion, Juha Kankkunen and carved into the surface of ruka’s frozen lakes. there, the group embraces the extraordinary art of ice driving and enjoys the camaraderie that Ice Driving 472 x 297.indd 81 comes from sharing an extreme experience, as well as wonderful luxury and well-earned relaxation with friends. driving on ice is all about balance and perfect throttle control, using the massive power to move the car in exactly the direction you want. Juha Kankkunen knows the cars like few others. In 2011, he broke the world ice speed record on the frozen Baltic sea, achieving 330.695km/h in a Bentley continental supersports. “you need to be balanced with the car and not try too hard!” he says. “there’s nothing to beat driving a Bentley at these speeds; the conditions may be perilous but the car responds so well to the slightest adjustment, which gives you the confidence to push even harder.” For 2013, Power on Ice promises everything that regular guests know and love – only more so. Indulgent accommodation in the stylish chalet ruka Peak or private luxury apartments, fine dining, great company and some additional fun with snowmobiles and dog sleds. at the request of some of the guests from 2012, the team has also added private flights between helsinki and Kuusamo to ensure connection times are more convenient. why do Power on Ice attendees speak so warmly of their experiences? yes, there is the scandinavian hospitality. there is the backdrop, too: a magical unspoilt wilderness, merely kilometres from the arctic circle and close to russia’s thickly forested border. a frozen world of deep snow, crystal clear air and white expanses home to bear, eagle, elk and reindeer. under the looming sky of a winter’s evening, the icy landscape can look like something from a fairytale – as though you might have stepped through a wardrobe into narnia. yet, these ice driving initiates make their pilgrimage for reasons far more profound. the exhilaration of handling a thoroughbred car on the most demanding surface is something you have to experience for yourself. after two days on the ice, you have learned to flick the car’s wheel at the precise moment in the turn; to apply power and brakes in perfect timing. what seemed unnatural yesterday is now a confident skill, not soon to be forgotten. you have drifted at speed, enjoyed the insights of working with professionals and shared the company of true driving enthusiasts. you have mastered speed in the most awesome environment of all, with the finest car you could have chosen. when you return home from Power on Ice 2013, you return with memories few others can share To register your interest for Bentley Power on Ice in February 2013, visit www.bentleydriving.com, or call the Bentley Driving team on +44 (0) 1675 445 945 or +1 866 369 4450. 17/12/12 14:11:20

56 Champagne Champagne Discovering Champagne • Part 4 FINE Champagne is currently publishing extracts from Essi Avellan’s champagne book, Matka Champagneen (‘Discovering Champagne’). In her book, Avellan visits 50 of the most interesting producers in the wine region. Furnished with maps, the book is also an opportunity for champagne lovers to discover the epicurean’s dream location for themselves. Avellan opens doors to the region’s best restaurants, hotels and wine stores. In this issue, we feature her top tips for Côte des Blancs.

Fi n e D i s c ov e r i n g C h a m pa g n e Côte des BlanC Blan Cs 57 The Birthplace of the Greatest Chardonnays Text: Essi Avellan MW Photos: Michael Boudot Just hearing the names of the Grand Cru champagne villages of the Côte des Blancs – Cramant, Avize, le Mesnil sur Oger – quickens the senses of any champagne connoisseur. The numerous serene and tranquil small towns are home to a host of small-scale producers specialising in blanc de blancs champagnes. There are also many wonderful places to stay and in which to dine.

Côte des Blancs pierre gimonnet G 58 imonnet is definitely among the top destinations in the Côte des Blancs and worth a visit due to the fact that its extensive vineyards offer a lesson in the various terroirs of the region. Didier Gimonnet, who has long managed the house, is an excellent guide to champagne production and styles. The fact that you don’t have to book a time for a visit is a bonus. If you have any time to spare in the area, come here. For a grower-producer, Pierre Gimonnet has admirably extensive vineyard holdings. Of the 28 hectares owned by the house, 12 are located in Côte des Blancs Grand Cru villages, from Cramant to Oger and Chouilly. The house also owns two hectares in the Premier Cru village of Vertus and a huge 14 hectares in its hometown of Cuis. Didier Gimonnet was also unable to resist the opportunity of buying 0.5 hectares of Chardonnay and Pinot Noir in Aÿ and Mareuil-sur-Aÿ in 2002, breaking the house’s tradition of growing 100 per cent Chardonnay. These latter grapes are used to produce the house’s “oddity”, Paradox, which also includes Chardonnay from Cuis. Fruit from Cuis forms the heart of the winery: although Gimonnet has more than enough Grand Cru vineyards, all of the wines produced include grapes from Cuis, which automatically changes their status to Premier Cru. Gimonnet also has superb vineyards with 80-year-old vines, but these are only ever presented in blends. Of the Côte des Blancs villages, Cuis is known as the producer of the most acidic and light wines. On its own it does not generate great wines, but Gimonnet likes its balancing and refreshing effect in blends. Based on these principles, Didier Gimonnet has developed a selection of refined, crisp and highly purist wines. Gimonnet currently produces seven champagnes, of which six are Chardonnays and six are vintage wines. Standard champagne makes up an exceptionally small proportion of the production, at 65 per cent, with the rest being made up of vintage champagnes produced according to diverse philosophies. For the reserve wines needed for the standard champagne, Gimonnet stores some of the previous year’s blends in 75 cl bottles. At the bottling stage he adds 4 g/l of sugar, which causes slight bottle fermentation. The resulting lees keep the wine particularly youthful. The method was created by accident due to a lack of space, but thanks the successful results it produced, Gimonnet adopted it permanently. The traditional vintage champagne of the Gimonnet series, Fleuron, is a blend of fruit from Cramant, Chouilly and Cuis. Gastro- nome is a vintage champagne intended especially for restaurant use, whose 4.5 atmospheres of pressure instead of the usual six makes it very soft and airy. Oenophile is a fabulous champagne that is aged longer and sold as extra brut. Paradox, made from 50 per cent black grapes, is the wildcard in the collection. Of its two vintages so far, I have tasted the 2003 and was not convinced by it. i Champagne pierre gimonnet rm www.champagne-gimonnet.com 1, rue de la République, 51530 Cuis tel. +33 (0)3 26 59 78 70 production, bottles/year: 250 000 Cellar master: Didier Gimonnet gimonnet is open to visitors without appointments Monday to Friday, 8:30 am—12 pm and 2 pm—6 pm. Booking a time is recommended, though, especially if you want to meet the host, Didier Gimmonnet. The informative tasting covers several of the house cuvées. The tasting is free for individuals but subject to a small fee for groups. There are no cellar tours, but there are champagnes for sale. Champagne VeuVe Fourny & Fils nm www.champagne-veuve-fourny.com 5, rue du Mesnil, 51130 Vertus tel. +33 (0)3 26 52 16 30 production, bottles/year: 150 000 Cellar master: Emmanuel Fourny guests are welcome at Veuve Fourny, but making an appointment is recommended. Beyond an ordinary tasting, it is possible to arrange a more in-depth and educational visit. The cellars are open Monday to Friday 9 am—12 pm and 2 pm—6 pm, Saturday 10 am—12 pm and 3 pm—5 pm.

Côte des Blancs I f in addition to tasting high-quality champagnes you’d like to form a deeper understanding of the region, Veuve Fourny is an excellent place to visit. Brothers Emmanuel and Charles-Henry Fourny, who operate exclusively in the Premier Cru village of Vertus, found a shared interest in emphasising the terroir when they joined the management of the family champagne business in the mid-1990s. The brothers’ first project was the Cuvée du Clos Fg Notre Dame single-vineyard champagne, which was made from the very first parcel bought by the family in the 1930s, located right by the cellar. The use of oak barrels, which they started for Les Clos du Notre Dame, has now spread to incorporate most of the house’s range. Currently, 70 per cent of their wines are vinified in steel tanks, while the rest start off in oak barrels of Emmanuel and Charles Fourny strongly believe in terroir champagnes. various ages. Emmanuel, who is enchanted with the mineral-intensifying and texture-enhancing effect of oak, tirelessly tests different manufacturers’ options for oak qualities and levels of curing. The house’s vintage champagne is completely unoaked, whereas the Cuvée R is completely oakaged, buttery and has a clear taste of new wood. Personally, I am not a fan of distinct oak notes in wine, but those who are will probably like its breadth and strength. The blended Rosé Brut is also strongly oaky, with crispy, fresh and sweet red berries and a creamy mouthfeel. As a monocru producer, Veuve Fourny cannot look for blend components outside Vertus, so Emmanuel has experimented extensively with the vinification of small grape batches in order to have as many complementary wines as possible for use in blends. The estate’s 60 parcels are roughly divided into three categories based on their orientation, soil quality and topsoil depth. Additional differences are achieved through the use of oak and lactic acid fermentation. The house owns nine hectares of vineyards and also buys grapes from a further seven hectares owned by “family and friends”, in whose cultivation methods the brothers have much of a say. The Fournys have understood the significance of the age of the vines in champagne production, and the average age of their vineyards exceeds 40 years. They mix and match biodynamic, organic and sustainable development (la lutté raisonnée) methods as necessary. This year has brought many novelties from Veuve Fourny. The vinous Rosé les Rougesmonts NV, produced through the maceration (saignée method) of grapes from a steep 0.22-hectare parcel, may be what is needed to restore the historic reputation of Vertus as a producer of high-quality Pinot Noirs. The 1800 rare bottles are available to oenophiles directly from the cellar for the shockingly low price of 18 euros. In late 2009, the brothers were able to acquire a high-quality Pinot Noir vineyard with old vines, and they are now planning their third single-vineyard champagne. In late 2010, Veuve Fourny also launched a bibliographic collection of old vintages. The wines will be recorked to order, giving consumers the opportunity to buy cellar-fresh, mature vintages. Fi n e D i s c ov e r i n g C h a m pa g n e veuve fourny & fils 59

Sights, – Côte des Blancs A walk through the vineyards of the Côte des Blancs. “I especially enjoy wandering on the small road that passes through vineyards connecting the villages of Cuis and Grauves. The views are fabulous and I often also stop to admire the church at Cuis, which is one of the prettiest in Champagne.” Didier gimonnet, Champagne pierre gimonneta “At the top of Le Mont Aimé in Bergères-les-Vertus there are some fine historic castle ruins with several kilometres of caves. The view from the hilltop over the Côte des Blancs vineyards is also lovely. The park-like grounds are perfect for picnics.” yannick Collin, Cellar master at Champagne De saint gall “The charming Romanesque church in the village of Chavot, amid champagne vineyards on the hills of Épernay, is my favourite in Champagne.” There is a beautiful view of the peak of Mont Aimé from the hills of the Côte des Blancs. hervé Deschamps, Cellar master at Champagne perrier-Jouët le musée De la Vigne et Du Vin 7, rue d’Oger, 51190 Le Mesnil-sur-Oger tel. +33 (0)3 26 57 50 15 Open daily except for some public holidays. Tours are usually offered at 10 am and 3 pm. A two-hour guided tour, including a tasting of three champagnes, costs €7.50 “I recommend visiting the best wine museum in Champagne, Le Musée de la Vigne et du Vin 60 in Le Mesnil-sur-Oger, which is maintained by Champagne Launois. They have artefacts and winemaking equipment from the seventeenth century onwards!” laurent Fresnet, Cellar master at Champagne henriot Avize is one of the many pretty villages in the Côte des Blancs. Restaurants ”The church in the village of Vertus is beautiful and in front of it is a small pond which provides the perfect setting for a charming champagne picnic.” pierre and sophie larmandier, Champagne larmandier-Bernier “The best view over the legendary walled vineyard of Clos du Mesnil in Le Mesnil-sur-Oger can be seen from a small courtyard right behind Restaurant Le Mesnil. Le Mesnil is one of the best restaurants in the Côte des Blancs, which makes it also worth a visit.” gilles marguet, oenologist and managing Director of Champagne le mesnil restaurant le mesnil 2, rue Pasteur, 51190 Le Mesnil-sur-Oger tel. +33 (0)3 26 57 95 57 www.restaurantlemesnil.com Closed Sundays and Monday and Tuesday evenings Restaurant Le Mesnil, named after its home village, has changed owners and therefore, unfortunately, also styles in recent times. Armelle and Ludovic Laurence, who have run the establishment for around a year, have identified a successful concept, however, combining high-quality yet relatively uncomplicated food with a pleasantly modern interior and friendly service. Le Mesnil is my favourite lunch stop when conducting a tour of Côte des Blancs. At Clos du Mesnil, Olivier Krug describes the history of the vineyard, dating back to 1698.

Fi n e D i s c ov e r i n g C h a m pa g n e 61 Salon is a champagne from Le Mesnil-sur-Oger with a reputation of near-mythical proportions.

Hotels – Côte des Blancs B&B le Clos margot 39, avenue Général Leclerc, 51130 Vertus tel. +33 (0)3 26 52 14 74 www.closmargot.fr Open year-round The La Libertine room of Les Clos Margot is exceptional in every way. 62 hôtel la Briqueterie 4, route de Sézanne tel. +33 (0)3 26 59 99 99 www.labriqueterie.fr Open year-round La Briqueterie, located in an old brick factory set amid vineyards right by the town of Épernay, offers a complete rural idyll. One of the most luxurious hotels in Champagne, this is an ideal place for anyone looking for a peaceful environment. Being close to the various parts of Champagne, it is a good base for wine tourists. There is also a Michelin-starred restaurant under the same roof. The bold floral décor of the hotel and restaurant is attractive and welcoming. There are 42 rooms decorated in varying colour schemes. Prices start at €180 per night. La Briqueterie also has a luxurious spa with saunas and an indoor pool. B&B Château les aulnois 61, rue du Général de Gaulle, 51530 Pierry tel. +33 (0)3 26 54 27 2 www.château-les-aulnois.fr Someone recently suggested that I visit the luxury Châmbres d’Hôtes in the village of Pierry near Épernay, which opened in 2009. Elizabeth Vollereaux, who was born in the village, has restored the 1750s castle with incredible care and good taste. The gardens are just as splendid as you’d expect from a château. You will enter a genuine ancient castle milieu. Each of the five rooms has its own character and is named after the former ladies of the castle (Claire, Jeanne Charlotte, Simonne, Louise Rose and Marguerite). Room prices range from €150 to €280. Weekend packages are offered. Breakfast is included. A skilled chef, Elizabeth Vollereaux also serves traditional home-cooked regional dinners for groups of six or more for a price of €95 per person (by advance booking). I actually came across Le Clos Margot by accident while visiting Champagne Doyard. The recently opened Chambres d’Hôtes is rather surprising and unusual, as the great character and owner of Champagne Doyard, Yannick Doyard, follows the nineteenth-century philosophy of the Libertines, which is devoid of any moral restraint, advocated by, among others, the Marquis de Sade. Of the six rooms in the guesthouse, five are “ordinary”, rather ascetic but elegant (downright monastic, if you ask Yannick Doyard). But the final room, Libertine, is the complete opposite, with red velvet curtains, risqué murals and a bathtub in the middle of the room. For a romantic weekend, the Libertine room is the ultimate choice! Room prices range from €92 to €137. hostellerie Du mont aimé 4—6, rue de Vertus, 51130 Bergères-les-Vertus tel. +33 (0)3 26 52 21 31 www.hostellerie-mont-aime.com Closed Sunday evenings and over the end-of-year holidays The 46-room hotel connected to Restaurant Le Mont Aimé is an affordable place to stay in the Côte des Blancs. There are various options within spacious and comfortable rooms. Double rooms range from €90 to €140, while single visitors can spend the night for €70-90. A whole apartment can be rented for €150 per night. The hotel’s swimming pool is a real luxury on a hot summer’s day, as pools in Champagne are few and far between.

Key to symbols Winery presentations Contact details and information concerning visiting arrangements and opening hours are supplied to make it easier to organise a visit. These details may change, however, so I recommend checking in advance with the estate, either on its website or by email. I also offer production volume figures and the name of the cellar master. Favourite Champagne The second part of each presentation is reserved for my favourite champagne, i.e. the wine that shows the producer at its best or that provides the best introduction about the house. I did my best to formulate a comprehensive catalogue of champagnes of different styles and prices, ranging from 15 to more than 200 euros. I write about my chosen champagne in greater detail. For each wine, I give the producer’s recommended retail price and, if applicable, the price directly from the cellar. Fi n e D i s c ov e r i n g C h a m pa g n e I have rated each wine estate in two ways. Firstly, the glass rating refers to the general quality of the house’s champagnes: I have awarded between one and five glasses. Second, I have given a star rating (one to five stars) to the organisation, setting and content of the visit to the estate, as well as the personnel and their language skills. These ratings are provided at the top right-hand corner of each estate’s presentation page. No rating is available for the estates that do not accept guests. At this point I want to draw attention to the fact that each visit is unique. My evaluations are based on my own limited visits to the estates, so there may be surprises – both positive and negative. I give the essential details of each house, listing reasons for visiting it and tasting its champagnes on location. I also provide some background information on the estates and their protagonists, and provide an overview of the product selection. 63 top producer top visit excellent visit good visit average visit excellent producer quality producer average producer Below-average producer I have awarded a star rating to restaurants as follows: top-class restaurant excellent restaurant quality restaurant Basic visit The price level of each restaurant is classified as follows: expensive restaurant, menu over 50 euros mid-priced restaurant, menu 25–50 euros inexpensive restaurant, menu under 25 euros average restaurant Basic restaurant I have awarded a star rating to hotels as follows: luxury hotel high-class hotel quality hotel average hotel The price level of the hotels (overnight stay including breakfast) is classified as follows: expensive hotel, rooms over 180 euros mid-priced hotel, rooms 90–180 euros inexpensive hotel, rooms under 90 euros Basic hotel Vintage tables Vintages are also given a star rating, as follows: top vintage excellent vintage average vintage ordinary vintage poor vintage R recommended retail price C Cellar price

E CH M PAG N A SPOTLIGHT 64 Hudson and Central Park view

Fi n e C i t y SPOTLIGHT 65 Text: Oumy Diaw Champagne has found a home in New York and the sommeliers show their love by taking risks by the glass, because New York requires the ultimate. Oumy Diaw introduces her favourite champagne spots in New York City.

D espite striking challenges, the City always rises from its ashes and becomes stronger and more attractive than ever. The food and wine scene is no different. It is driven by aspiration of perfection and the next new thing. Every week, new restaurants open and close with no sense of defeat. Celebrity chefs, young up and coming entrepreneurs, wine bars, farm-to-table dining, trendy hotels and clubs – all of them go through an internal scrutiny so that they can deliver the best to a jaded community which is hungry for excitement and nouveauté. My first time in New York was in 1999 while in college. It was like a wake-up call, especially having lived in Bordeaux and Paris since 1995. Despite the relentless competitiveness of living in New York City, what amazes me on a daily basis is the care for people and both the passion and generosity New Yorkers have, and the service towards patrons and customers demonstrates this very point. Being a sommelier specialised in champagne myself, I am eager to witness the fabulous job wine directors do when it comes to the magic wine. There are several places I consider to be my favourite New York spots due to their champagne selection, ambiance and exquisite food. A number of hotels are included below, which I believe can inspire you to indulge in champagne. > Oumy Diaw, founder of The Champagne SommelierTM Company and the first official Champagne SommelierTM in the world. Oumy Diaw has been based in NYC since 2004. 66 Le Bernardin’s dining room LE BERNARDIN Perfection on Earth! Celebrity chef Eric Ripert’s cuisine, which is centered around delicate fish and seafood dishes, is the finest in NYC for pairing with champagne, and his sommelier, Aldo Sohm, will certainly not disappoint. With an extensive champagne selection available by the glass, as well as unique and young vintages and collectibles, the wine goes beyond the expectations of classic pairing. The service is flawless, a real performance. Remodelled a year ago by Bentel & Bentel, Ran Ortner’s striking painting “Deep Water No. 1” dominates the space, allowing the restaurant to offer a whole new dimension of fine dining. You might also come across co-owner Maguy LeCoze’s sharp eye, as she controls every detail l’air de rien. If you are unlucky to get a table in the main dining room, the lounge is operated on a first-come, first-served basis, although it has an exquisite bar menu. What are we drinking? Sometimes we opt for a Comtes de Champagne 2002, but then they also have Agrapart Blanc de Blancs Terroirs Extra Brut and Alfred Gratien Rosé – the options seem limitless. What should we be eating? Everything! Come back if you have to, for lunch or dinner, just so you can taste every single dish on the menu. www.le-bernardin.com 155 west 51st street +1 212-54-1515

This is probably the hardest restaurant at the Time Warner tower to secure a booking for, and we know why: this establishment belongs to another celebrity chef in the form of Thomas Keller, who also owns the acclaimed The French Laundry in Yountville, California. God knows that Per Se has no reason to be jealous of its west coast sister. Therefore, if your visit to the USA doesn’t allow you to travel from coast to coast then put the NYC 3 stars Michelin on your list. Per Se offers pristine service and a wine programme which is managed by one of the greatest sommeliers in the country, Michel Couvreux, who has more than 15 Michelin Stars on his belt, having taken his first steps at Arpège, Paris. Overlooking Central Park and Columbus Circle, the discreet lounge, which is located just prior to the 16-seat dining room, simply invites and encourages its guests to sample a glass of champagne – expect some Bollinger Grande Année by the glass, depending on the vintage du moment, or wait for your table with a José Dhont Blanc de Blancs. Per Se’s banofee JEAN-GEORGES This place is a passage obligé when visiting New York. Just the sound of his name inspires and adds an exquisite touch to French, American and Asian dishes. Whether it is lunch, brunch,or din67 ner at Jean-Georges, or, indeed, a wonderful late supper at the recently renovated Nougatine, this Alsatian celebrity chef crafts innovative fusion cuisine. In the evening, you are bedazzled by the spotlights of Trump Hotel, where the Relais & Château is located. Staying faithful to Donald Trump’s extravagance, the hotel’s flashy gold lights welcome you as you step in, like a celebrity ready for paparazzi shots on the red carpet. However, if this is not your scene, then there is always the Terrace restaurant, which offers a stunning view of Central Park during the day. The must-have signature dish? The yellowfin tuna ribbons bathing in an avocado with spicy radish and ginger marinade is delightful. By the glass? Billecart-Salmon Rosé is a recurrent and they often stock the recent vintages of Louis Roederer Cristal, as well as, more recently, Winston Churchill 1999. Whether you are geeky or just there for the bling, the champagne list is pretty complete and amiable to even the most discerning of palates. Two tasting menus offer a choice of full vegetarian or not, and they are both mastered by new chef Eli Kaimeh. He is following in the footsteps of Jonathan Benno, who opened a separate venture and fantastic Lincoln restaurant, where sommelier Aaron Von Rock serves beautiful champagne. www.perseny.com 10 Columbus Circle, 4th floor +1 212-823-9335 www.lincolnristorante.com 142 West 65th street, +1 212-359-6500 www.jean-georges.com One Central Park West +1 212-299-3900 Jean-Georges Vongerichten Jean Georges’ fusion Fi n e S p o t l i g h t PER SE

DEL POSTO Even though it has a cosmopolitan and multicultural background, New York’s Italian culture is more established than most. Whether it is fashion, art or wine, there is no neighbourhood in Manhattan where you can’t spot an Italian Pizzeria, Salumeria or classic Italian restaurant. We tend to believe that New York has the best Italian food outside Italy, and Del Posto is one of the finest representations of this claim. Coowned by celebrity chef Mario Batali and the Bastianich family, Del Posto is a jewel that is on a par with haute French cuisine. While their wine list is, understandably, dominated by Italian offerings which span all the regions, I found their champagne list hard to beat in terms of selection and value. It is just heaven for champagne collectors and connoisseurs: the 148 cuvées, with vintages ranging from 1964 to 2006, are organised by brand, which allows Grandes Marques (the best of their wines) to mingle with highly allocated small producers. The plus side? The disgorgement dates (when available) of many flacons are all noted on the wine list. 68 www.delpostonyc.com 85 Tenth Avenue +1 212-497-8900 Del Posto THE MARK HOTEL The Mark hotel bar Designed by Jacques Grange, this boutique hotel is an Upper East Side landmark located on Madison Avenue and is close to Central Park on Fifth Avenue and museums like the Guggenheim. Have lunch under the veranda of The Mark Restaurant by Jean-Georges, or champagne at the bar and schmooze with wealthy New Yorkers, art dealers or Europeans in town on a quick business venture. New York is full of skyscraper hotels, but The Mark has a different cachet: exquisite elegance, managed mostly by a French staff, so expect a “bonjour” from the Concierge and a “bicyclette” for your picnic in the park. Head to your room, where you can enjoy a large private bar, complete with a black granite counter top with sub-zero refrigeration and freezer drawers. The extra touch? The elegant John Jenkins & Sons crystal glassware, tailor-made for Jean- Georges, which you can use to sample a nice selection of champagne half-bottles; magnums of René Geoffroy Rosé de Saignée or Winston Churchill 1999 are also available if you feel like sharing with new friends. www.themarkhotel.com 25 East 77th street +1 212-744-4300 “Bicyclette picnic”

Fi n e C i t y SPOTLIGHT The Asiate Restaurant at the Mandarin Oriental THE MANDARIN ORIENTAL Sumptuous rooms, the Asiate Restaurant, located on the 35th floor, a trendy bar and one of the most breathtaking views of Central Park and the Manhattan skyline: these are the reasons why a visit to the Madarin calls for champagne. Bubbly is frequently ordered, and fine sommelier Annie Turso, with her top-notch service, supervises an exquisite wine programme. Beautiful vintage selections of known and lesser-known champagne producers are available around the clock, as is an extensive selection of both rosé and fantastic vintage prestige cuvées. Whether you are looking for a Zen-like ambiance, a spa moment, or simply a short and luxurious stay in NYC, everything you need is nearby – from shopping at the Time Warner Center to live jazz performances at the Lincoln Center. www.mandarinoriental.com/newyork 80 Columbus Circle at 60th Street + 1 212-805-8820 A Mandarin Oriental suite 69

SPOTLIGHT THE CROSBY BAR AT CROSBY STREET HOTEL Who said that trendy cannot also be champagne geeky? Located in the first NYC Firmdale hotel, which opened in 2009, The Crosby Bar invites champagne connoisseurs and trendy people to mingle for fun. This hotel has it all: 36 champagne references among a wide range of wines from around the world, all of which can be enjoyed amid a setting of chic décor and great sunlight. Champagne by the glass starts at $14, which represents amazing value for money. Expect some fun cuveés of Beaumont les Crayères NV or Delamotte Rosé among the classics, as well as an excellent selection of both rosé and recent vintages. Spot some Magnum Bollinger Grande Année 1999 being imbibed by socialites and 70 models, or indulge yourself with a Jeroboam of Grand Vintage 2003 for only $300. This establishment is hard to beat – especially given they serve food all day long. www.firmdalehotels.com/new-york/crosby-street-hotel 79 Crosby Street +1 212-226-6400 The Crosby Bar THE CHAMPAGNE BAR AT THE PLAZA HOTEL This is an iconic and historical hotel, which boasts spectacular views and lavish banquets. Open to the public, The Champagne Bar comes with white-glove service, and its elegant furniture, which seems to encourage secret conversations and romance, makes it my favourite place in town. Grandes Marques dominate the selection, although the hotel’s bottle service offers a little more diversity in the form of Egly-Ouriet. Furthermore, you can admire the fabulous Coupole architecture during tea (and champagne) at the Palm Court, while, more recently, a new underground shopping mall has been built to satisfy all your material desires. The Plaza Champagne Bar www.theplazany.com 1 West 59th Street +1 212-986-9260

une Famille, un Clos, un Premier Cru Une trilogie fondée sur les liens familiaux et la passion d'un terroir 5, rue du Mesnil • 51130 Vertus Tél. : +33 (0)3 26 52 16 30 • Fax : +33 (0)3 26 52 20 13 info@champagne-veuve-fourny.com • www.champagne-veuve-fourny.com L'abus d'alcool est dangereux pour la santé, à consommer avec modération.

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Fi n e C e l e b r at i o n 73 A Text: Essi Avellan MW Photos: Michel Jolyot t the dawn of its third century of champagne making, Laurent-Perrier is facing a new era due to the fact its long-term leader Bernard de Nonancourt passed away in late 2010. His daughters, Alexandra and Stephanie, are now in charge of the future of the House. Today, at Laurent-Perrier in Tour-sur-Marne, FINE Champagne is both celebrating the House’s bicentenary and paying homage to Mr de Nonancourt. We dive into the history of this esteemed champagne house thanks to a great vertical tasting of one of Bernard’s greatest creations, the cuvée Grand Siècle.

LAurENT-PErrIEr – DEux GrANDS SIèCLES In 1812, the Laurent family stopped being coopers in the Montagne de reims and instead turned its attention to making champagne in Tours-sur-Marne. Decades later, their son Eugène Laurent married Mathilde Émile Perrier, who found herself 74 widowed at a young age in 1887. She ran the business successfully but had no children and her eventual death brought the house to Marie-Louise de Nonancourt, the sister of Victor and Henri Lanson. There was no room for Marie-Louise at the Lanson family enterprise, so she took the courageous step of buying a champagne business in 1938 despite raising four children alone after her husband’s death. The business survived the Second World War under her leadership, after which Bernard de Nonancourt, Marie-Louise’s second son, took up the running of the business and proceeded to build it up to be one of the biggest and best-known champagne houses. A great Champagne figurehead and believer in the region’s terroir and style of wine, Bernard de Nonancourt made Laurent-Perrier what it is today. As well as envisioning its style to be one of freshness and elegance, he also created its celebrated prestige cuvée Grand Siècle, which at the time of its launch in 1959 was one of the first luxury cuvées after Dom Pérignon, Cristal and Comtes de Champagne. Bernard de Nonancourt worked actively for the company until the very end, which came on October 29th 2010. The entire company and Bernard’s daughters, now running the company, went into mourning, which was only halted by the preparations for the house’s 200th Anniversary A great Champagne figurehead and believer in the region’s terroir and style of wine, Bernard de Nonancourt made Laurent-Perrier what it is today. – which were to take place in 2012. The first celebrations, and an homage to Bernard, took place within a closed circle of family, employees and business partners in June. Only in September did the house open its doors to the rest of us, and FINE Champagne was present at both the celebration and the opening of its new Grand Siècle cellar.

he ambiance at Laurent-Perrier’s stylish tasting room is emo- Back tional. A small group of international wine journalists are ac- tasting in the room, companied by Bernard de Nonancourt’s daughters Alexandra and we commence Stephanie and the house’s cellar master, Michel Fauconnet. The a vertical tast- purpose is to celebrate the 200th Anniversary of the house but the ing of 11 select- festive feeling has a sad undertone. rather than celebrating, I feel ed we are all paying homage to Bernard de Nonancourt, the House’s cuvées of this great Champagne visionary, who was 90 when he passed away. special historical wine. All the cuvées, mainly tasted in magnum, have been disgorged just 15 minutes ago and are shown to us bare-naked, without any sweetening dosage. This inevitably makes some of the young cuvées crave dosage but it makes them perfectly comparable with each other, as we do not have to worry about the effect of the dosage or post-disgorgement time. THE GrAND TASTING Cuvée after cuvée we dive into the depths of Grand Siècle. Even though Laurent-Perrier chooses not to communicate the three vinWe descend into the brand new cellar area, designed by Jean- tages used for each multi-vintage cuvée, Michel Fauconnet lets us Michel Willmotte, which still smells of fresh concrete and wet in on the secret by explaining the characteristics of each year that paint. The vat room, consisting of small polished inox tanks has been included. Soon, the stylistic consistency of freshness, el- and old enamelled concrete tanks, is stylishly minimalistic and egance and subdued complexity is identified. Still, each cuvée is functional but remarkably atmospheric. We then advance to the different, with an occasional stunner amongst the very fine line-up more historic parts of the cellars and wander our way to the of champagnes. Monks’ Gallery, an area reserved for the library of bottles, magnums and jeroboams of old vintages. We learn that there is still One can really sense the emotion when Michel Fauconnet or- a stock of every cuvée of Grand Siècle, from the very first one (a ders the last magnum, the very first cuvée of Grand Siècle blend of 1955, 1953 and 1952 vintages) onwards, standing neck ever made, to be poured. Even thought they still have a decent down with yeast sediments still in the bottle. supply of magnums left, this wine, which was first launched Fi n e C e l e b r at i o n T 75

Lunch at Château de Louvois 76 in 1959, is a rare treat for the cellar master and the Nonan- Towards the end of the lunch we get another surprise, as we court sisters, too. Even though the quality of the preceding cu- are introduced to the celebration cuvée of the bicentenary. vées has been superb, the last bottle just silences us with its Les reserves Grand Siècle is a late-disgorged magnum of Grand freshness, harmony and completeness. It rates as of the finest Siècle (cuvée of 1995/1993/1990), which is available only in limited champagnes I have ever tasted – not to mention the occasion at magnums and jeroboams. which it was served. A perfect moment. Enjoying this old, but at the same time youthful, Grand Siècle feels We gather ourselves to praise the last cuvée and enjoy the rest of like the perfect ending to our celebration. It is an honour to pay the glass, declining to spit any out. Suddenly, the ambiance feels homage to its glorious past, but the House is now looking forward much more cheerful and we make our way, babbling and cheering, to a new era; 200 years young, but with the experience of many life- to the lunch venue, the Château de Louvois. times behind it. > A LuNCH OF SurPrISES Laurent-Perrier acquired the noble house of Marquis de Louvois in 1989. We make ourselves at home in the cosy yet luxurious sitting room, and enjoy the current Grande Siècle cuvée vintages (1999/1997/1996) as an aperitif. One can really sense the emotion when Michel Fauconnet orders the last magnum, the very first cuvée of Grand Siècle ever made, to be poured. The lunch that follows is a masterpiece in the matching of champagne and food. The ancient way of serving “à la française”, reminiscent in many ways of silver service, is the perfectly appropriate way to celebrate this bicentenary. Cellar master Michel Fauconnet with de Nonancourt sisters Alexandra and Stephanie

Grand Siècle NV (1997/ 1996/1995) non-dosé Mgm Colour: Medium-deep lemon-gold Nose: Fine toast, floral elegant style Palate: Highly youthful, tight, linear, even lean Ending: Dry, zesty In a nutshell: Holding itself back When to drink: 2013–2025 Food pairing: Grated oysters Inside information: The 1996 gives this a very distinct, powerful and searingly acidic nature. Give this more time than you normally would. Or try this: The 1999/1997/1996 cuvée, which is now available on the market Final verdict: Searing today without much of the 1995 richness surfacing 97p Grand Siècle NV (1990/1988/1985) Magnum Colour: Deep lemon-gold Nose: Beautifully fragrant, developing, coffee, vanilla Palate: Full, muscular, round Ending: Rich and long In a nutshell: Masculine for Grand Siécle When to drink: 2013–2020 Food pairing: On its own, preferably from a magnum Inside information: The 1988 brings freshness and finesse to this very impressive cuvée Or try this: Hard to match, but Grand Siècle Exceptionnellement Millesime 1990 or 1985 will do the trick Final verdict: Stunning, put three top vintages together and sheer perfection will result 92p Grand Siècle NV (1996/1995/1993) non-dosé Magnum Colour: Medium-deep lemon Nose: Overt, perfumy, honeyed, ripe fruit, fresh mushroom Palate: So tight, straight, massive acidity Ending: Drying, almost aggressive In a nutshell: Power machine When to drink: 2013–2025 Food pairing: Scallops or sushi Inside information: The 1996 really overpowers this cuvée. A great champagne but atypical for Grand Siècle Or try this: Any 1996 Final verdict: Turbo-boosted and craves time to open up 92p Grand Siècle NV (1988/1985/1982) non-dosé Magnum Colour: Deep lemon Nose: Mild, soft, vanilla, supple Palate: Restrained, shows evolution, oily-smooth Ending: Less rich, drying In a nutshell: Feels old When to drink: 2013–2018 Food pairing: Hard mature cheeses Inside information: The high-yielding 1982 interrupts the harmony Or try this: Grand Siècle Lumière du Millenaire 1990 Final verdict: Does not sing like the previous wine Fi n e C e l e b r at i o n 92p 77

89p Grand Siècle NV (1985/1982/1980) non-dosé Magnum Colour: Deep golden Nose: Pungent, floral, strange, lifted Palate: Drying, acidic Ending: Lacking life and charm In a nutshell: Austere When to drink: 2013–2016 Food pairing: Cold cuts Inside information: Apparently, the 1980 is just putting the 1985 down Or try this: The same but with a dosage Final verdict: Tiring and in a bad phase 95p 78 Grand Siècle NV (1976/1975/1973) non-dosé Colour: Deep golden Nose: Soft, open, sweet, coffee, pastry, nectar Palate: Lively, so fresh Ending: Long, linear, feisty In a nutshell: Vigour When to drink: 2013–2018 Food pairing: Lobster thermidor Inside information: The rich 1976 marries suprisingly well with the 1975, that brings such a beautiful freshness and vivacity to the cuvée Or try this: A Krug from the same era Final verdict: A fine, seamless blend 91p Grand Siècle NV (1982/1979/1978) Colour: Deep golden Nose: Overt but mild, ripe fruity, mushroom, undergrowth Palate: Full, fleshy, mature Ending: Long, concentrated In a nutshell: Autumnal When to drink: 2013–2016 Food pairing: Mushroom risotto Inside information: This cuvée does not do justice to the elegance of 1979 Or try this: Cuvée 1979/1978/ 1976 Final verdict: Not one of the finest GSs. 93p Grand Siècle NV (1973/1970/1969) Colour: Deep golden Nose: Overt, soft and floral with sweet vanilla undertones Palate: Drying, lightly bitter, less refined with but a lot of volume Ending: Dry, austere In a nutshell: Rocked out of balance When to drink: 2013–2018 Food pairing: Époisses cheese Inside information: Apparently, the 1980 is just putting the 1985 down Or try this: The same but with a dosage Final verdict: Crying out for sugar 98p Grand Siècle NV (1955/1953/1952) non-dosé Magnum Colour: Bright, deep-lemon Nose: So fine, elegant, layered, coffee, white fruit, honey, cream Palate: Lacey, youthful, harmonious, complete Ending: Long and fresh In a nutshell: Sheer perfection When to drink: 2013–2020 Food pairing: On its own, such a rare treat that it needs to be admired on its own Inside information: The very first Grand Siècle cuvée Or try this: Hard to match Final verdict: A sip of history that is able to make one speechless 95p Grand Siècle NV (1979, 1978, 1976) non-dosé Colour: Deep golden-orange hues Nose: Coffee, floral, vanilla, creamy-milky Palate: Full, soft, calm Ending: Lively with power In a nutshell: Charisma When to drink: 2013–2018 Food pairing: Veal entrecôte Inside information: The ripeness and fullness of the 1976s can be felt Or try this: Krug NV from the 1970s Final verdict: Impressive, showing such a character 92p Grand Siècle NV (1970/1969/1966) non-dosé Magnum Colour: Deep golden Nose: Rich, pungent, coffee, mushroom Palate: Full, losing fruit, fleshy but not so much freshness Ending: Short, weighty In a nutshell: Lacking structure and substance When to drink: 2013–2016 Food pairing: Eggs & Truffles Or try this: Krug 1966 Final verdict: Declining and has not taken the test of time as well as those fine vintages promised

Les Reserves Grand Siècle NV (1995/1993/1990) Magnum Colour: Medium-deep golden Nose: Fine-tuned, reserved, gentle toast, white flowers Palate: Linear, fresh, deep Ending: Long, refined In a nutshell: Tightly-knit, seamless When to drink: 2013–2025 Food pairing: Fried scallops Inside information: Made in magnums and jeroboams only Or try this: The same cuvée as the original disgorgement Final verdict: Give this at least two more years, it shows too reserved and timid at the moment Fi n e C e l e b r at i o n 93p 79

C M J CM MJ CJ CMJ Du Savoir-faire surgit l ’élégance N L'A

CHAMPAGNE COUSU MAIN DEPUIS 1921 L'ABUS D'ALCOOL EST DANGEREUX POUR LA SANTÉ. SACHEZ CONSOMMER ET APPRÉCIER AVEC MODÉRATION.

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D 1900–1999 Fi n e C e n t u r y Ta s t i n g uring the 20th century the world around us both grew and shrank. Cars, aeroplanes, visual communication and the Internet broadened our view of the world, but also made it smaller by bringing everything close and within reach. Even the moon was suddenly close enough to visit. For people, the world grew concretely smaller thanks to urbanisation. The space that used to hold farmhouses and fields suddenly pulsed with high-rises and their hundreds of residents. In the cities, work and leisure became clearly separated. To balance a heavy day at work people sought entertainment among movies, sport and television. Entertainment became an industry and mass culture was born, with wine becoming an important part of the phenomenon. The wine industry was not spared notable changes. The winemaker’s senses and experience had to give way to science, which tried to fight nature’s whims and imperfections. Modern winemakers were able to achieve almost total control of every stage of winemaking – from harvesting and fermentation to bottling. Advances in technology ensured that this trend continued throughout the entire 20th century, with more countries producing more wine. And better wine. Or was it? 83 Text: Pekka Nuikki, Essi Avellan MW, Peter Liem W Photos: Pekka Nuikki e wanted to find out about this matter and therefore organised a tasting, the kind of which had never been experienced before. Our aim was to taste and experience the whole century, all at once. We selected, searched and purchased the best wine, in our opinion, from each year of the 20th century, as well as several ‘extras’. The work carried was quite extensive, not least since the century includes some years when the wine production throughout the world was almost non-existent. To make things even more difficult for ourselves, we made the decision that each wine brand could only be represented once throughout the whole century. It took us two years to find a presumably drinkable wine from each year of the century. When everything finally was ready, we invited a group of our wine friends to experience a whole century in three days. The experience was dumbfounding and very rewarding. We were also very lucky with our wines; only four wines out of the 156 enjoyed were not in a drinkable condition. This is quite a performance considering that the average age of the wines was over fifty, and the biggest technological leaps in wine production were only experienced at the end of this fascinating century. We present here the champagnes of the century that were present and tasted in the Century Tasting.

100 Vintages 97p 1907 Heidsieck & Co Monopole Goût Américain 84 94p 1926 Philipponnat Royale Réserve 95p 1949 Dom Pérignon 92p 1913 G.H. Mumm Cordon Rouge 95p 1928 Pol Roger Vintage Champagne 92p 1962 Krug Vintage Champagne 92p 1919 Ruinart Vintage Champagne 90p 1932 Veuve Clicquot Vintage Champagne 96p 1964 Salon Vintage Champagne

100 96p 94p 93p Fi n e C e n t u r y Ta s t i n g Vintages 85 1976 Philipponnat Clos des Goisses Magnum 93p 1989 Louis Roederer Cristal Rosé 1976 Krug Vintage Champagne 94p 1996 Krug Clos du Mesnil 1979 Louis Roederer Cristal 92p 1998 Bollinger Vieilles Vignes Françaises

1907 86 Taster’s comment: I can’t imagine better a presentation of the champagne Heidsieck 1907 than being served on the sea it was discovered under! I still see this golden liquid being poured from the decanter on that chilly May afternoon. The champagne itself was extraordinary, still with slight fizz and elegant spiciness wrapped into complete fruits. Not so sweet at all with a very long finish! Taster’s comment: Amazing champagne which has everything a great wine should. My mother was born in the town of Jönköping, which was also the name of the shipwreck carrying this bottle. A strangely moving experience.

On the morning of 3 November 1916, the German submarine U-22 stopped a small Swedish schooner, Jönköping, off the Finnish coast. In the cargo hold of this unlucky ship were 3000 bottles of champagne, 10 000 gallons of cognac, and 17 barrels of burgundy wine that had been ordered by the court of Tsar Nikolai II. The commander of the U-22 decided to sink the schooner but save the lives of its crew. The ship sank into the depths of the North Sea in less than an hour. On the morning of 15 April 1998, in an auction hall in London, the tap of a gavel ended a long-running tender competition – a world record had been born. More was paid for a champagne bottle that had lain in the cargo hold of Jönköping for 82 years than for any other champagne bottle before that. Jönköping was built at the Sjötorp shipyard in 1896. It was 20.5 metres long and 6.67 metres wide, and was equipped with an 18 horsepower oil engine. The ship was loaded in Gävle on 26 October 1916, and was ready to make its way to Rauma, Finland, for the tenth time that year. After a few hours of travel, however, poor weather interrupted the journey, and Jönköping had to anchor down and stay put for a few days. The unsuccessful attempt of the ship to return to Gävle on time created a rumour that a German submarine had sunk it – a rumour that ironically later proved to be prophetic. By 2 November, the weather improved noticeably, and the captain, along with his crew, decided to continue the journey toward Rauma. At the same time, a German submarine, U-22, was positioned 12 nautical miles southwest from Rauma. Even though the commander of the submarine, Bruno Hoppe, had already sunk two Swedish ships the previous day, it did not fully satisfy the captain. The sun had not quite risen yet, but the look-out could see and hear for 8 miles despite the slight morning fog. At 5am, he suddenly heard a weak sound. It was the sound of a motor. The commander was called to the lookout spot, and he immediately decided that they should look into the matter. The U-22 left its position and glided towards the sound that was coming from the west. The night was tranquil and calm on the Jönköping. The ship had made its way across the North Sea without any troubles. Because of the dusk and fog, however, the Finnish coast could not yet be seen. Therefore, the schooner cruised calmly in front of Rauma, waiting for dawn. Suddenly, a small island was detected from the ship, and fearing that the coast was already too close, they turned Jönköping towards the open sea. Soon they noticed, Fi n e C e n t u r y Ta s t i n g 1907 Heidsieck Goût Américain 87 97p 1907 1907 Heidsieck Goût Américain (France) Average auction €3980 price: Colour: Pale and light, almost youthful Nose: Sweet, fruity, and fresh nose dominated by honey and exotic fruit and raisins Palate: One of the richest champagnes we have tasted, and has amazingly good balance and structure. Finish: Not very sweet, even though the Heidsieck Goût Américain style had a relatively high sugar dosage. In a nutshell: Excellent level; decanted five minutes before tasting. A high dosage wine. No malolactic fermentation. Buy or not: Worth of an once-in-a-lifetime experience Tasted: 32 times, last in 5/2012 Decanting time: 15 minutes Glass time: 15 minutes When to drink: Now Food pairing: Don´t even think about it Fake factor: None Inside information: The result of the analysis: alcohol content 12.35°, pH 2.93, 42.55 grams residual sugar, total acidity 5.35g H2SO4/litre. Final verdict: Very long and so pleasing wine, which moved smoothly and easily down the throat, leaving a most memorable and historic aftertaste.

1907 1907 Heidsieck Goût Américain 88 however, that the island was not an island but rather a German submarine, which quickly overtook them! Commander Hoppe ordered the captain of the schooner, E.B. Eriksson, to turn off the ship’s engine and go up to the submarine to show the ship’s papers and explain its cargo. Hoppe soon realised that the cargo contained contraband, and he announced to Eriksson that the ship was to be sunk. Eriksson did whatever he could to save his ship. He suggested that they throw the entire cargo into the sea and even offered to transport it to the nearest German harbour. Hoppe had, however, already made his decision and stuck to it; this was Jönköping’s tenth journey that year with contraband, and Hoppe’s message was: there is a limit to everything and Jönköping’s time had come. Two crew members of the U-22 rowed to the schooner carrying explosives. After setting the explosives, the men took as many bottles of champagne as they could from the ship and then left it. Except for these few bottles, the whole cargo load sank deep to the bottom of the sea along with the ship. The search for Jönköping commenced at the end of May 1997, when a Swedish search party found the wreck at a depth of 64 metres. Only in July, when the diver returned from the wreck with a bottle of Heidsieck Monopole Goût Américain from 1907 in hand, was it confirmed that it really was Jonköping. (The same product and vintage had also been stored on the Titanic when it sunk in 1912.) The first bottle that the diver brought up, however, did not have a label or anything that would have immediately conveyed what champagne the bottle in question held. The leader of the search party, Peter Lindberg, had the honour of opening the first bottle. This is how he reflected upon it: “I stood at the bow of my ship with my whole crew around me holding plastic cups, waiting for me to open the bottle. I held the cork tightly and tried to pull it up, but suddenly it was really tightly stuck. I had to use force to get it to move, and finally the cork got loose from the bottle accompanied by a little ‘plop’ sound. I was surprised that my heavy-handed handling had not broken the cork. I carefully smelled the cork. My first reaction was that it did not smell very good. There was, however, writing on it: Heidsieck & Co. Reims at the bottom and Goût Américain 1907 on the side. I handed the cork forward and placed the bottle underneath my nose and smelled. Already it smelled much better than the cork, and I knew immediately that the bottle did not contain water but instead champagne. The others around me also smelled the cork, and their reactions were somewhat similar to mine. Therefore, when I placed the bottle on my lips and tasted the first gulp, I thought I sensed crazy things. The taste was very strong, sweet, and fruity. The drink was actually very good! The others were observing me very closely to see my reaction. I took the bottle from my lips, and a smile lit up my face. As a result of this, many plastic cups were immediately held out in front of me. Because I had survived the first sip, my crew wanted to enthusiastically taste this brilliant champagne.” Peter Lindberg, diver and leader of the search party, established the Swedish rescue group C-Star, which had acquired the rights to the schooner’s cargo. However, in early spring 1998, before C-Star had made it back to the wreck, another ship was already there. Finnish businessman Peter Fryckman had quickly arranged for a ship and divers, and they were also trying to save the golden cargo. Fryckman demanded the rights to the cargo that would have belonged to his grandfather. Fryckman, however, could not prove his right to this claim. The local coastguard could not act and intervene in the matter at hand and asked the court for a decision on what to do. At the same time, a minor war was already escalating between the two rescue groups. There were accusations, rumours about death threats and sabotages, and small-scale violence in the air. On 3 July, a Finnish court ruled in favour of C-Star. Thus, the Finnish group should leave the area. On 5 July, all the divers from the Finnish ship suddenly moved to the Swedish ship. The Swedish group had simply offered them 25% of everything that they could lift up, and they all joined their enemy’s group. As a result of this, the “war” seemed to be over for good. Fryckman, the leader of the Finnish group, did not comment in any way. His lawyer did, however, comment on the departure of the divers: “It’s horrible; all the things people do for money.” In early 1900, Heidsieck & Co Monopole was the market leader in Europe. The rulers of Germany and Austria-Hungary, such as Tsar Nikolai II, were its faithful customers. Champagne was already known worldwide when, in 1911, the King of England granted the Heidsieck & Co Monopole champagne house the prestigious royal warrant, and the house then became “Purveyors of Champagne by appointment to his Majesty”. In Russia, for its part, where Heidsieck’s champagne was very well known and famous, Tsar Nikolai II’s personal orders, even before Jönköping’s fateful journey, exceeded a modest 400 000 bottles. The North Sea’s temperature, hovering around four degrees, the total darkness of the sea bed and the water pressure at 64 metres, had preserved the bottles in impeccable condition for 82 years. When Jönköping sank, its cargo hold contained some 50 wooden boxes of champagne, 60 bottles in each. Of these, some 2500 bottles were lifted after seven successful rescue trips, and we have had the pleasure to taste 32 of them.

92p 1913 1913 G.H. Mumm Cuvée Cordon Rouge, (France) Average auction price: Bottle condition: Colour: Nose: €1090 A2 Medium-rich, golden, no bubbles Clean, evolved, lean, one-dimensional, peachy Palate: Off-dry, crisp, vivid, ripe yellow fruits, grapefruits, citrus, fresh Finish: Medium-length, a bit austere, earthy In a nutshell: Surprisingly fresh for a century-old Champagne Always a risk, but worth going for Twice, last in April 2012 None 15 minutes Now Pan-fried scallops with hazelnuts and a butter glaze Fake factor: None Inside information: When this champagne was produced, G.H.Mumm had become the world’s biggest champagne producer thanks to its 3 million-bottle production. Or try this: Pol Roger 1911 Final verdict: For a difficult vintage, G.H. Mumm have been able to make a pretty good champagne! Taster’s comment: Being a bit champagne geek, I was so amazed with both champagnes, Ruinart 1919 and Mumm 1913, from the second decade of the 20th century. Such a youthful, bubbly, powerful and amazing. 1913 Mumm showed itself so well that you could easily have mistaken it with one from seventhies! Of course, those truffle notes betrays a bit, but every sip was a mindblowing experience!! 1919 Vintage Champagne 92p 1919 Ruinart(France) Average auction price: Bottle condition: Colour: Nose: €534 A3 Bright, medium dark yellow Open, sound, maple syrup, chocolaty, caramel and truffle Palate: Dry, lucious, full, well-balanced, intense, beautiful Finish: In a nutshell: Buy or not: Tasted: Decanting time: Glass time: When to drink: Food pairing: Fake factor: Or try this: Final verdict: Medium-long, sweet, complex, mature Tender bubbly Absolutely 2 times, last in 5/2012 15 minutes 45 minutes Now Gratinated mussels You wish Veuve Clicquot 1923 Entertaining yet nothing overly electrifying. Taster’s comment: A combination of coffee and smoky maple syrup. A lovely champagne. Fi n e C e n t u r y Ta s t i n g Buy or not: Tasted: Decanting time: Glass time: When to drink: Food pairing: 89

1926 1926 Philipponnat Royale Réserve The summer of 1926 was wonderful. The grapes were beautifully ripe when picked, but the prolonged drought of that hot summer had robbed them of just the perfect balance which made the wines of 1923 and 1929 both delicious and lasting. The crop was also only about one-third of normal. A shortage of grapes was caused by a severe hail-storm in July. Taster’s comment: The first, official flight was still Champagne, beginning with a 1926 Philipponnat Royale Réserve Demi-Sec. This was the sweetest Champagne that I’ve ever had. It was caramel city with its smooth, browned flavours. It was balanced and mature to the brink but without being oxidized; it was an age thing. ‘So sweet’ and ‘mushroomy’ summed it up. 90 1926 Royale Réserve 94p 1926 Philipponnat (France) Average auction price: Bottle condition: Colour: Nose: Over €250 A1 Bright, goldish, promising Very fresh, fully open, toasty, sweet, creamy aromas, mushrooms Palate: Medium-dry, some bubbles, toasty, crisp, broad, nicely balanced, creamy Finish: Long, lovely, firm In a nutshell: Delightful surprise Buy or not: Don´t even try – impossible to find, even Philipponnat don´t have any left Tasted: 2 times, last in 5/2012 Decanting time: 15 minutes Glass time: 30 minutes When to drink: Now Food pairing: Fried scallops Fake factor: None Inside information: The winemaker was the famous Louis Bolland, who at the time was both Philipponnat’s Chef de Cave and Mareuil sur Ay’s biologist, and the pioneer of yeast selection and more scientifically controlled bottling and “prise de mousse” in Champagne. Or try this: Krug 1926 Final verdict: Serene, virale yet an old, mature Champagne

95p 1928 1928 Pol Roger (France) Average auction price: Bottle condition: Colour: Nose: €1754 A3 Pale-gold, appealing Fresh, lively, rich, sweet, butter, vanilla, nutty, honeyed Palate: Intense, sweet, ripe, well-integrated and balanced, complex, sparkling, elegant Finish: Long, dryish, crisp, sweet In a nutshell: A beauty without beast Buy or not: One of the real classic – so, yes Tasted: 9 times, last in 5/2012 Decanting time: 15 minutes Glass time: 45 minutes When to drink: Still almost perfect Food pairing: Foie gras Fake factor: Small but existing Inside information: This vintage was a particular favourite of Winston Churchill to whom it was shipped until 1953. Or try this: Pol Roger Blanc de Blancs 1928 Final verdict: Winston Churchill was rarely wrong. Taster’s comment: So, how would one start a weekend of this magnitude, with a magnum of 1928 Pol Roger, of course. This original magnum (no recent disgorgement) had lightly sautéed butter and perfectly burnt white sugar in its nose. It was quite sweet, ‘normal for the period’ per SuperSomm, who has won The Best Sommelier of the world somewhere somehow official. Suffice it to say, he has one of great palates I have encountered, even though he is Swedish. Back to the wine, wheat, light grass and yellow fever all graced the palate, which also had just the right amount of petillance. Its sweetness was noticeable to the last sip. Taster’s comment: The wine that was a start pistol of the Century Marathon! A great shot – energetic, lively and surprisingly vivid with long and lingering aftertaste. The epitome of the great event. Fi n e C e n t u r y Ta s t i n g 1928 Pol Roger 91

1932 90p Between the period of the two World Wars the champagne market fluctuated back and forth. Consumption of champagne lowered from 39 millions bottles in 1909 to merely 4.5 million bottles in 1932; the export of champagne worldwide fell by 55% between 1920–1923. The vinegrowers were badly hit by the slump in the price of grapes, which fell from 10 francs a kilo in 1926 to 1.50 francs in 1932, when the stocks in the cellars in Reims and Eperney contained the equivalent of 33 whole years of consumption. In 1937, the struggle was over and 38 million bottles were sold. 1932 1932 Veuve Clicquot Vintage Champagne (France) Average auction €511 price: Bottle A2 condition: Colour: Medium-intense, amber, no bubbles Nose: Evolved, volatile, maderised, walnutty Palate: Dry, crisp, vivid, stingy, walnuts, lemony Finish: Medium-length, edgy, nutty In a nutshell: A retiring lady Buy or not: No Tasted: Twice, last in April 2012 Decanting time: – Glass time: 15 minutes When to drink: Now Food pairing: Pata Negra Fake factor: None Inside information: One of the generally poor vintages of the century in Europe, and Champagne was no exception. Or try this: If you want a save choice from the 1930s, go for the top vintages of 1934 or 1937 Final verdict: A beautifully aged widow 92 92p 1962 1962 Krug Vintage Champagne (France) Average auction price: Bottle condition: Colour: Nose: €800–1400 A2 Gold, bright and deep Renewed, open, rich, candy, vanilla, exotic fruits Palate: Vigor, rich, delicious, broad, fascinating, well-balanced, complex, a bit oxidized Finish: A bit short and dry, appetizing In a nutshell: Captivated Buy or not: Perfect birthday present Tasted: 16 times, last 05/2012 Decanting time: 15 minutes Glass time: 3 hours When to drink: Now Food pairing: Best alone or just with foie gras Fake factor: None – never seen any. Inside information: Made from Pinot Noir 36%, Pinot Meunier 28% and Chardonnay 36%. Also the year when Henri Krug took the the House. Or try this: Cristal 1962 Final verdict: Although the bottle was a bit oxidized, it was still a grand moment. 94p 1976 Krug Vintage Champagne 1976 (France) Average auction €670 price: Bottle A1 condition: Colour: Golden, deep, pure Nose: Sound, clean, complex, vigor, sweet, dried fruits, toasty, wax Palate: Good balance and acidity, vibrant mousse, medium bodied, focused, gentle Finish: Suave, pure, round In a nutshell: Should be even better Buy or not: In good condition bottle- always Tasted: 7 times, last in 5/2012 Decanting time: 5 minutes Glass time: 30 minutes When to drink: Now to 2020 Fake factor: Small Inside information: Our philosophy is to select grapes from individual plots which will each express their distinctive features, their nuances and their uniqueness. There is no hierarchy in our selection, no plot is favoured over another. A plot may sometimes be smaller than a garden. What interests us is the character, the contrast between the grapes from different plots. Krug is the only Champagne House to capture the essence of each unique plot in an individual wine.” Eric Lebel, Krug’s Chef de Caves Or try this: Dom Pérignon 1976 Final verdict: A wine to give as a 40th birthday bottle in 2016

1949 Dom Pérignon Fi n e C e n t u r y Ta s t i n g Pierre Pérignon is said to have been a learned man, intelligent, broad-minded, warmhearted and punctual, both in his religious and other duties. He was modest in character and way of life – an honourable man, small in size but with a big heart of gold. Such respect did he engender that when new bells were installed in the church of Hautvillers in 1706, his name was engraved on the largest. It was customary at the time to dedicate new church bells to the incumbent bishop and two other persons of note. As a winemaker, monk Pérignon was a legend and as a man he seems to have been no less celebrated. At the beginning of the 18th century the name of Dom Pérignon was so well-known that even many Frenchmen thought it a village or a monastery and searched for it on the map. Today, his name remains just as famous and is a symbol for genuine and sophisticated champagne all over the whole world. 93 95p 1949 1949 Dom Pérignon (France) Average auction price: Bottle condition: Colour: Nose: €1032 A2 Opaque, clear Perfumed, adjusted, sweet, chocolate, coffee, ripe peach, honey Palate: Direct, well-balanced, medium intense, silk, complicated, medium-full Finish: Lengthy, clean, appetising In a nutshell: Should be better Buy or not: If you find a perfect bottle – yes. Tasted: 11 times, last in 5/2012 Decanting time: 15 minutes Glass time: 45 minutes When to drink: Asap Food pairing: Deserves to be enjoyed on its own Fake factor: None Inside information: All the vintages before the 1943 vintage, Dom Pérignon was produced from regular Moët & Chandon vintage champagne that was transferred to the special 18th Century-style bottles after extended cellaring. From the 1947 vintage, Dom Pérignon has been produced independently from the start. Or try this: Bollinger Vintage 1949 Final verdict: From perfect bottle, this should easily be over 95 points wine – with champagnes at this glorious age you need luck – a lot of it. Taster’s comment: 1949 Dom Pérignon – my favorite Champagne and the year I was born – also the year Jan-Erik Paulson was born – wine that could only improve with the company it was enjoyed with.

1964 1964 Salon Vintage Champagne Waiters move from table to table, as the house band strikes up its first notes of the evening. The bustling restaurant is alive with jovial conversation as the Paris elite of the early twentieth century converge upon Maxim’s for another night of high society entertainment. 94 However, the eight middle-aged gentlemen that are seated in the corner of the restaurant are oblivious to the world around them. All are quietly watching their host, to whom the sommelier is currently serving champagne. With a look of intense seriousness, the host raises the glass to his lips, closes his eyes, and sips the wine. Silence ensues and time stands still; seconds seem like hours. The host opens his eyes, nods, and smilingly informs his guests that the wine tastes just as it should. Soon, champagne glasses are clinking and compliments on the wonderfully refreshing taste of the champagne are mixed with the lively strains of the Charleston. Though the evening has just begun, some are inspired to dance, buoyed by the knowledge that this will be a night to remember. A smile of satisfaction shines across the face of the host, Eugène-Aimé Salon, and with good reason. He can at last drink his favourite champagne in his favourite restaurant; Paris’ number one dining venue, Maxim’s. It had not been easy to get to this point though, because he had to make the champagne himself. The first in its class Since its inception in 1905, Salon Blanc de Blancs has always been the Champagne region’s most mythical wine. The basic idea for its production was unusual right from the start, given its sole purpose was to satisfy the palate of just one man. The only place that this wine was served was Maxim’s in Paris. It might sound like vanity, but it was only there that Eugène-Aimé Salon wanted to drink his wine and that was, well, his prerogative. For nearly half a century, Maxim’s had exclusive rights to Salon. Today, the wine has become one of the world’s most sought-after and expensive champagnes. Salon’s 100-year success story has not been a matter of mere chance. Eugène-Aimé Salon’s rather successful career as a fur trader provided him with a luxurious lifestyle, allowing him to dine at Maxim’s on a daily basis. However, life was not perfect, and it was additionally marred by bad champagne. The numerous champagne types he tasted at Maxim’s brought him little pleasure, often spoiling what had, for the most part, been a good day; and, after all, what was the purpose of champagne anyway? Frustrated, Eugène-Aimé Salon decided to make his very own champagne – for himself! Champagne production was not new to Eugène-Aimé. In his early years, he had helped his brother-in-law produce champagne at the small Clos Turin vineyard in the village of Le Mesnil-sur-Oger. So now he decided to purchase five hectares of vines near the very same village. Up until 1971, Salon also had sole rights to the grapes on the Clos Turin vineyard, which the Krug brothers then decided to buy out and convert to their legendary Clos du Mesnil champagne. Eugène-Aimé Salon’s philosophy was simple. He wanted to capture in a bottle the Côte de Blancs terroir, by producing just one wine from one grape variety, from one village and from one year – all for one man. The northern, chilly Champagne region only rarely provides excellent harvests. Salon decided to produce his wines only in the best years, and initially he only made wine every other year on average. Salon’s first vintage, 1905, was also the first official blanc de blancs champagne. Eugène-Aimé only made wines that were of the highest quality. He only wanted the best, and if that was not going to be the case, he would sell the grapes. There were four vintages – 1905, 1909, 1911 and 1914 – that were exclusively for his own use and that of his friends. Of course, that was before his creation became Maxim’s house champagne in the 1920s. 96p 1964 1964 Salon Vintage Champagne (France) Average auction price: Bottle condition: Colour: Nose: €4750 A2 (Magnum) Ligh, clear, tiny bubbles Open, developed, fresh, apricot, vanilla, chocolate, toast, flowery, butter Palate: Transparent, medium-bodied, complex, delicate, feminine, nicely-balanced, refined Finish: Long, intense, fresh In a nutshell: Salon Buy or not: A big bottle like this is always a good idea Tasted: Decanting time: Glass time: When to drink: 7 times, last in 5/2011 15 minutes 45 minutes Perfect today but can effortlessly take time Food pairing: Crème of cepes Fake factor: None Inside information: Since 1921 the following vintages have been produced: 1921, 1925, 1928, 1934, 1948, 1949, 1951, 1952, 1964, 1966, 1969, 1971, 1985, 1988, 1990, 1995, 1937, 1953, 1973, 1996, 1943, 1945, 1946, 1947, 1955, 1956, 1959, 1961, 1976, 1979, 1982, 1983, 1997 and 1999 Or try this: Clos des Goisses 1964 Final verdict: A time stopper

Taster’s comment: The 1964 Salon was the best ’64 I ever had- a classical example of the vintage, absolute power, mass of ripe fruits, some foie grass in the nose and concentration concentration supported by long long mineral finish... Great! Fi n e C e n t u r y Ta s t i n g Respect Eugène-Aimé Salon managed to produce ten excellent vintages in his lifetime. After his death in 1943, his nephew took over, but sold the business in 1963 to the champagne house of Besserat de Bellefon. The new owner was happy with the quality of the wine, and the only major change made was to the Salon packaging, which was redesigned in 1976. It was given a more modern and exclusive look, although its Belle Epoque-style ‘S’ symbol was kept, both on the packaging and the label. The business transferred from Besserat de Bellefon to Laurent-Perrier in 1988. LaurentPerrier, which also owns Champagne Delamotte next to Salon, produces Salon according to the philosophy of its founder. Hence, the wine is produced only from the finest vintages. 95

1976 1976 Philipponnat Clos des Goisses Magnum Climbing the steep hill of Clos des Goisses against the shadows of the setting sun, my thoughts settled and the busy day seemed like yesterday. The sounds of Mareuil-sur-Aÿ village below had grown fainter and were accompanied only by the last rays of the vanishing sun. The peace was perfect on that even hilltop. The 5,5 hectare vineyard that spread out around me is the best known after Krug´s Clos du Mesnil. Even after sunset the southern slope of the vineyard seemed to glow with warmth – Charles Philipponnat said that Clos des Goisses and particularly its southern slope enjoy a clearly unusual, very warm microclimate. “Clos des Goisses vineyard is divided into at least two parts, sometimes even more, that all have their own microclimates. In bad, rainy and cold years the vineyard´s southern slope can produce rather well balanced grapes when the other parts of the vineyard fail. On the other hand in hot and dry years the grapes of the southern slope downright shrivel before the harvest, spending long days under the burning sun. This is when the cooler, shadier parts of the vineyard offer well matured grapes, where the balance between sugar and acidity is better. We produce the Clos des Goisses champagne only on good years, when our whole vineyard gives fruity, well balanced grapes.” Taster’s comment: Fresh and complex wine. Yeasty nose and honeyed fruit on the palate.Beautiful. 96 1976 Clos des Goisses 96p 1976 Philipponnat Magnum (France) Average auction price: Bottle condition: Colour: Nose: €865 A1 Bright, yellow, promising Wide and open, vigor, crisp, toasty, green apple, creamy, nuts, honeysuckle, refine Palate: Monumental, toasty, freshy, youthful, complex, intense, good acidity, broad, well-balanced Finish: Powerful, persuasive, lengthy In a nutshell: Deep as ocean floor Buy or not: Don´t hesitate Tasted: 11 times, last in 5/2012 Decanting time: 15 minutes Glass time: 45 minutes When to drink: Now to 2020 Food pairing: Fresh oysters Fake factor: None Inside information: The Clos des Goisses vineyard is owned by the Philipponnat champagne house and the Philipponnats have lived in the Champagne region since the 17th century. Pierre and Auguste Philipponnat founded the champagne house in 1910 in the village of Mareuil-sur-Aÿ, roughly five kilometers from the city of Epernay. Their first vineyards (17 hectares), including Clos des Goisses, were acquired in the mid 1930s. (1976 70% PN, 30% CH) Or try this: Dom Pérignon 1976 Final verdict: A display of uniqueness and bravery

In 1876, a Roederer champagne made for Russia’s Tsar Alexander II became the world’s first luxury cuvée. But with the sudden collapse of the Russian market, the champagne house endured a long struggle on the verge of bankruptcy. Eventually, the family’s shrewd patriarchs managed to turn things around, and today, Roederer is the most solvent of Champagne’s houses; indeed, its future looks Cristal clear. Roederer is one of the few top champagne houses to remain family-owned. Although the house’s history actually began in 1776, the company was not called Roederer until 1833, when Louis Roederer inherited the business from his uncle. It was Louis Roederer himself who increased the house’s production volume to its present level, 2.5 million bottles a year. He laid the foundation for exports and, particularly in Russia, enjoyed great success. Louis Roederer II, his son, receives the credit for developing Cristal. The Russian Tsar was absolutely taken with Roederer champagne: in 1873, some 666,386 bottles, which amounted to approximately 27 per cent of its entire production, were delivered to the court of Alexander II. In order to formalise Roederer’s status as official purveyor to the Imperial Court of Russia, Alexander II commissioned Louis Roederer to produce a very sweet, prestige blend packaged in a real crystal glass bottle. Roederer’s Martine Charlotte Lorson told us: ”The first luxury cuvée was born. From the very beginning, the bottle was clear and flat-bottomed. We later patented the bottle’s design. We have tried to change from the flat-bottomed bottle, but we can’t. Because of and thanks to the patent, Cristal’s label and appearance have stayed the same since 1928!” And how fortunate that is, because, at least in our opinion, it is quite possibly the most beautiful wine bottle in the world, especially when wrapped in its trademark amber cellophane. Chef de Cave Jean-Baptiste Lecaillon explained the practicalities: ”We started using cellophane in the late 1970s, and there were still bottles with and without cellophane available in the early 1980s. Champagne is a light-sensitive product, so even though the cellophane is beautiful, it also plays a key role in protecting the Cristal from ultraviolet radiation. The amber cellophane also makes the bottle instantly recognisable, thus serving as a brandbuilding tool.” The story of Cristal’s genuine crystal bottle is well-known. This is why we were surprised to discover that there is not one true crystal bottle in existence or even a photograph of one. ”Unfortunately, that’s true”, says Martine Lorson from Roederer’s communication department, and continues: ”We’ve been searching high and low without any luck. But then again, Cristal was only packaged in crystal bottles for one or two years. The bottle was too weak to withstand the pressure and, because the Tsar’s champagne was so sweet, there was some post-fermentation, and the resulting losses were too much even for the extravagant Tsar.” The 1970s were a turning point of sorts for Roederer and Cristal. Camille Olry-Roederer’s grandson Jean-Claude Rouzaud joined the house and gradually took the helm. It was a rough start, as TCA, a chemical compound that causes cork taint, infested the Roederer cellars. The young man faced an enormous undertaking. A huge volume of wine had to be taken off the market and disposed of, and the entire production facility had to be sterilised and rebuilt. This is also the period of Cristal’s emerging popularity, when Roederer worked with an American importer to make Cristal the world’s most in-demand champagne. A key detail of this plan was to double the price. When Rouzaud was named Decanter Man of the Year in 2001, he said in an interview that one of the most significant things he had done at Roederer was to decrease the production of Cristal from one third to under a fifth of Roederer’s overall production. High price and low availability – alongside uncompromised quality – have made Cristal the most coveted champagne in the world. 1979 93p 1979 Louis Roederer Cristal (France) Average auction price: Bottle condition: Colour: Nose: €240 A1 Goldish, deep, healthy Complex, evolving, pronounced, toffee, dried apricots, honey, tart red fruit Palate: Medium bodied, focused, sharp acidity, intense, complex, youthfull Finish: In a nutshell: Buy or not: Tasted: Decanting time: Glass time: When to drink: Food pairing: Fake factor: Inside information: Lingering, fresh, pure Sophistication Yes 16 times, last in 10/2012 15 minutes 1 hour Now to 2020 Keep it simple an let wine shine None On February 1, Ayatollah Khomeini returned to Iran; on March 28, a serious nuclear accident took place in Harrisburg, USA; and, on December 26 Soviet troops began their occupation of Afghanistan. Or try this: 1979 Pommery Cuvée Louise Final verdict: Graceful champagne Taster’s comment: Deep golden colour, steady slow flow of bubbles. Strong toasty and mushroomy fruity and round nose. Excellent tightknitted structure. All elements in harmony, linear acidity bringing a great freshness and youthfulness to the wine. Beautiful wine that is drinking well today. Due to harmonious nature can be kept for 10 more years. Fi n e C e n t u r y Ta s t i n g 1979 Louis Roederer Cristal 97

1996 93p 1989 Louis Roederer Cristal Rosé 1989 (France) Average auction price: Bottle condition: Colour: Nose: €410 A1 Bright, full, sound Clean, pure, dense, generous, mineral, fragrant, vanilla, exotic fruits Palate: Elegant, tuneful, fresh, developed, perfumed, voluptuous, good-balance, firm structure Finish: In a nutshell: Buy or not: Tasted: Decanting time: Glass time: When to drink: Fake factor: Confident, long, savory Classic Cristal Rosé Very good price-value ratio 9 times, last in 9/2012 15 minutes 1 hour Now to 2025 None Inside information: In 1974, nearly 200 years after the creation of the Maison Louis Roederer and 100 years after the creation of Cristal, Jean-Claude Rouzaud decided to create Cristal Rosé. To do this end, he selected old vine pinot noir grapes, according to specifi c characteristics, located on the fi nest of the Aÿ vineyards. Or try this: Laurent-Perrier Alexandra Rosé 1989 Final verdict: Crystalline purity with mesmerizing intensity 98 92p 1998 Bollinger Vieilles Vignes Françaises (France) Average auction price: Bottle condition: Colour: Nose: 1996 Krug Clos du Mesnil €370 A1 1998 Bright, golden Sound, tense, sherry, redcurrant, creamy, smoky, mineral Palate: Medium-bodied, stylish, concentrated, lavish, polished, well-balanced Finish: Graceful, refined, extensive In a nutshell: Passionate charmer with class Buy or not: Yes Tasted: 6 times, last in 10/2012 Decanting time: 30 minutes Glass time: 1 hour When to drink: 2020–2030 Fake factor: None Inside information: Renowned English wine author Cyril Ray was the guest of Madame Lily Bollinger when he recorded the history of the Bollinger Champagne house in 1968. His attention was drawn to these exceptional plots and the truly unique character of the wines they produced. At his urging, Lily Bollinger decided to produce wines from these plots under her own name. The 1969 vintage produced in honour of Madame Bollinger’s 70th birthday was released in 1974. Or try this: Pol Roger Cuvée Winston Churchill Final verdict: Worth to wait Taster’s comment: A 1996 Krug Clos du Mesnil had aromas of vanilla cream, toast and yellow ice cream. There were straw and hay flavors, along with vanilla, and ‘wow’ and ‘wonderful’ came from the crowd. It was a bit more approachable than most memories that I have of this legend, but I wasn’t complaining.

VINTAGE 1996 BY PETER LIEM One of the most controversial champagne vintages of the modern day, 1996, produced rich, powerfully-structured wines that were initially hailed as some of the finest that the region had ever seen. As time has progressed, however, the ’96s have been the subject of intense debate, with both producers and consumers raising questions about their development and longevity. The year began with a dry, cold winter that saw temperatures drop as low as minus 20?C in February. Fortunately, the vines escaped major damage, thanks in part to a strong north wind that circulated the cold air. As is becoming increasingly more common in modern times, the weather fluctuated dramatically over the next few months: sunny weather in April saw temperatures climb to 26?C, yet May brought more frost, with a low of minus 5.5?C reported in the Vallée de l’Ardre. June was largely warm and sunny except for a brief period of cold around the 19th, which resulted in the bizarre combination of precocious growth along with millerandage, particularly in Chardonnay. The summer was mostly hot and dry up until the latter part of August, and the northerly wind continued to blow throughout the season. Cold September nights in the weeks leading up to the harvest preserved that famous ’96 acidity; the harvest began as early as September 14 in some areas, and continued until mid-October under sunny skies. One thing to remember about 1996 is that it was essentially unique – nobody had ever seen a vintage with the same combination of high ripeness and high acidity. Producers were thrilled with the extraordinary phenomenon of “10/10” (10 degrees of potential alcohol and 10 g./l. of acidity), which involved sugar levels comparable to those of 1989 and 1990 but also acidity levels of vintages such as 1986 or 1980. On paper, this should be terrific, even ideal. In some cases, it probably is. But not all ’96s have aged gracefully, and this has provoked a good deal of criticism. “Most of the 1996s will die before the complexity of the fruit balances out the acidity,” says Charles Philipponnat of Champagne Philipponnat. Richard Geoffroy, chef de cave of Dom Pérignon, offers an explanation for the variability of the ’96s. “Many Champenois don’t think the same, but 1996 is about concentration from dehydration in the berries,” he says. “The north wind concentrated the acidity, the flavours and the sugars in the berries. But the pitfall of ’96 was that it concentrated the oxidative compounds in the bad grapes. Many people were seduced by these components at the time of blending, but they have evolved very rapidly. This is why some wines are not yet ready to drink, while others are already over the hill. This is also why there are not many rosés from ’96, because of this oxidation in the Pinot Noir.” Geoffroy notes that the wines of Burgundy show similar characters in this vintage, and have correspondingly suffered from similar problems. Fi n e C e n t u r y Ta s t i n g The story of Clos du Mesnil started in 1698 when a 1,85 ha plot in the outskirts of the village of Le Mesnil-sur-Oger was sealed with walls for reasons unknown. The village grew in size and in 100 years the vineyard plot was surrounded by housing. The walls protected the vineyards from being dug up and from being used for housing purposes. The plot landed in the hands of the Krug family, when the brothers were searching for new vineyard acquisitions in the 1975s. A property was being sold in the Côte de Blancs, and as vineyard land was fiercely sought after, the brothers bought the plot without really seeing what they had bought. When they first saw the Clos du Mesnil, they became very excited by the idea of producing a single vineyard wine. As the plot was not in good condition, Krug had to take the decision to replant it. Therefore, the first vintage of Krug Clos du Mesnil dates back to 1979 when the vines were old enough to produce good wine and when the unique quality of wine from the plot was realised. The Clos du Mesnil is produced in a similar way to the vintage. The plot comprises 6 individual parcels of varying vine ages. Each is picked and vinified separately. Enhancing terroir attributes is the guiding philosophy throughout vine growing and vinification. Rémi Krug stresses that it was not the single vineyard concept that was fascinating in itself. Instead it was the uniqueness of the parcel and its wine; “a diamond one wishes to show on its own”. The Krugs always insist that the Clos du Mesnil is a unique wine, but never better than the vintage or the Grande Cuvée. In this massive volume vintage the Clos du Mesnil is however a true diamond of a wine: 99 1996 94p 1996 Krug Clos du Mesnil (France) Average auction price: Bottle condition: Colour: Nose: €1145 A1 Deep lemon gold Waxy nose of apple jam, spices and still prominent oak Palate: Concentrated, oaky palate which still needs time to integrate and soften Finish: Long, powerful and linear In a nutshell: Outrageous Buy or not: Considering its price, not now Tasted: 4 times, last in 2010 Decanting time: 20 minutes Glass time: 1 hour When to drink: 2015–2030 Food pairing: Perhaps best appreciated on its own Fake factor: None Inside information: Clos du Mesnil is a 1.84-hectare vineyard located in the heart of Le Mesnil-sur-Oger village. The vineyard has been protected by walls since 1698. Or try this Salon 1996 Final verdict: Needs time, but will be great.

some of the world’s most extraordinary chefs are now among Blackberry Farm’s most anticipated guests. Situated in the Tennessee foothills of the Great Smoky Mountains, Blackberry Farm’s Relais & Châteaux property — recently named #1 for Service in the Continental U.S. and Canada by Travel + Leisure — is celebrating its 35th anniversary by bringing back some of their favorite guest chefs, vintners and artists for this year’s schedule of unforgettable events. From its 180,000-bottle Grand Award-winning wine selection and renowned cuisine to countless opportunities for wellness and adventure across 4,200 protected acres, Blackberry Farm is home to enriching, one-of-a-kind experiences all year long. To reserve your place at one of our special events, contact our Reservations Team, or visit us online for a complete calendar of upcoming events. Walland, Tennessee 00.1.865.984.8166 blackberryfarm.com joi

Sean Brock Join Chefs Mike Lata, Vivian Howard, and Tyler Brown along with Vintner Jamey Whetstone and Newest Fellow, Chef Sean Brock for the 2013 Taste of the South Jan uary 10-13, 2013 Michael Accarrino joins us along with Vintner Jasmine Hirsch of Hirsch Family Vineyards Jan uary 20-23, 2013 Wine in the Fly join Blackberry Farm Chef Jospeh Lenn, along with vintners Jim Barbour of Barbour Wines, Justin Stephens of DR Stephens Wines and Brian Lamborn of Lamborn Family Vineyards a pril 7-10, 2013 Hospice du Rhone join Vintners Yves Gangloff, Vieus Donjon, Alban Vineyards, Epoch Wines and Herman Story Wines M ay 2-5, 2013

COLUMN PEKKA NUIKKI 102 Do you still carry arounD a black tasting book anD pen? T wo years ago I dug through some old tasting notes for an article I was writing on Vega Sicilia. Some I found in a spreadsheet on my computer (how modern!), but most of them were in old tasting notebooks with black covers, a few hundred of which had gathered in the various nooks and crannies of my office over the years. This semi-chaotic situation is probably familiar to any wine critic. Although the wine world is finally entering the twenty-first century at a good pace, tasting notes haven’t. They are mostly identical to those of a century ago, both in content and in method. The pen may in some cases have been replaced, first by a typewriter and then by a computer keyboard, but many of my colleagues still use a trusty old pen or pencil. The nostalgic black tasting book may be slow and easy to misplace, but it is still a familiar sight at wine events. Why is that, and what should a twenty-first-century tasting book be like? Today’s tasting book should make use of our everyday technology, such as smart- phones and tablet computers, and work both online and off. It would be practical and timesaving if I didn’t have to type in any words but rather select them from a touchscreen; the software would turn them into sentences and readable notes. At the same time I could quickly enter details of the wine bottle’s condition and price, the decanting and everything else related to the wine. I’d take a picture of the event or the bottle to top off the experience and make my tasting notes more complete than ever before. Having created the notes, I’d want to save them – or, even better, they would be saved automatically as I wrote them, both on the device and on a cloud server. From there I could

Fi n e N u i k k i 103 access them anywhere and on any device. Finally, after all these years, my notes would be filed properly so that I could find them quickly using appropriate search words. I could then share them with one click on Facebook or Twitter. What if I weren’t the only user of this twenty-first-century tasting book? If it were available to many other wine experts, so we can share our notes? That would give me up-to-date information on bottles opened all around the world, how drinkable they were and how well they suited different foods. I would also find out about newly discovered counterfeits. For a sommelier or wine seller such information would be invaluable. And why limit the joy of sharing to professionals? Imagine a situation in which you could share your wine tasting experience with the whole world. Anyone with an interest could follow my notes in real time, and those of other chosen professionals. That would definitely take the service to the next level. The new twenty-first-century tasting book would be smart. It would quickly learn the main aspects of my tastes through my ratings and opinions, and suggest connoisseurs with similar tastes for me to follow, as well as wines that would suit my profile and go well with specific foods. It would know just what wines I’m bound to like. And now that I’ve decided the modern tasting book should be global, it should also work in several languages. It would be great to read notes written in Chinese by a colleague from China in my own mother tongue. Inside the tasting book I could build a personal world of wine. It would include the connoisseurs I’d chosen to follow, the wines and estates I like or want to know more about, and all my friends, so that I can share my experiences with them or even hold virtual wine tastings. The new tasting book would also have to be educational and enlightening. Containing access to all the world’s wine knowledge, it might as well teach me to be a better wine taster. In relation to wines I am tasting, it could tell me in real time what other wine experts had thought of it and what characteristics they’d identified. Optimally, it would also tell me what the winemaker wanted the wine to express in the first place. But perhaps my greatest wish for the modern tasting book would be that the scores given to wines by thousands of professionals and wine lovers around the world would form a significant, universal and completely unbiased ranking. The wine world has long been dominated by a single, absolute ruler. Mr Parker’s opinions are the only criterion determining a wine’s price and desirability, and sometimes even its production method. Now, if ever, the time is ripe to rid ourselves of this autocracy and give the power to a jury of thousands. Or does anyone seriously believe that the average rating given by, for example, one hundred wine professionals and one thousand consumers would tell us less about the true qualities of a wine than the opinions of one man in the American Midwest? The time for dictatorship is over. Two years ago, I drafted a seemingly endless wishlist for the properties and functionalities of a tasting book to replace my old methods. It was not utopian, however: it is now a reality. My friends and I decided to put ideas into action and create a new twenty-first-century tasting book. After thousands of hours of planning, coding, testing and content creation, I am proud, happy and perhaps a little surprised to tell you that all of the above mentioned things, and many more, are now possible. Visit www.thetastingbook.com and create your own wine world, write tasting notes in 20 seconds, learn from professionals and share your experiences with the whole world or just your friends. It’s easy, free and, what’s best, rewarding and liberating. >

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Fi n e C h a m pa g n e a Text: Essi Avellan MW, Photos: Pekk Nuikki 105 le Epoque el B la à es n o em n a d n Champagne a stigious chamouët launched its pre carefully hand-painted In 1902, Émile Gallé r champagne bottles. white anemones on fou st have visualised them In his thoughts, he mu s. ces of grand festivitie as celebrated centrepie for lie uld wo y the t He hardly imagined tha dec Perrier-Jouët for gotten in the cellars of efor n the could already ades. But perhaps he ign would decorate the des his day see that one mpagne bottles, a true most beautiful of all cha era, the Belle Epoque. travel in time back to his Perrier-J in name, Belle Epoque, pagne with the same e om bec has it llé, Ga by 1969. With its bottle er Aft l for Perrier-Jouët. something of a symbo ship, it became doubtner ow in several changes be anything more than ful of whether it would . in a beautiful wrapping an industrial product e uin mpagne still a gen Is the Belle Epoque cha y era? nar rdi rao praise of the ext

Champagne’s golden era 106 “Henry Gallice turned his attention to how his champagne was packaged” In 1969, the year Belle Epoque was launched, luxurious champagnes were gaining ground on the champagne market. Belle Epoque was a perfect addition to the game. At the same time, it marked a new era in marketing wines: before it, decorating a bottle with large flowers would have been regarded as unthinkable, an act of heresy. In their marketing, the few well-established luxury brands relied mostly on their historical connections to the era of Dom Pérignon. The period from the late 19th century to the outbreak of the First World War is known in European history as Belle Epoque. During this era of peace, technological innovations improved the living conditions and new, modern forms of expression developed in art. It was the heyday of Art Nouveau. The beautiful, worriless period was also a golden era for champagne. Consumption grew in France, and champagne became to symbolize celebration everywhere in the world. The late 19th century was also an era of rapid growth for Perrier-Jouët. In the hands of Henri Gallice, the company raised its yearly sales figures from one million to 1.3 million bottles between 1880 and 1888. Henri Gallice proudly wrote to an Australian merchant in 1888 how he had never spent money on advertising. He regarded high quality as the best advertisement a wine could get, and never compromised it. But as competition got fiercer and sales started dropping, he was forced to change his mind about advertising. Henry Gallice turned his attention to how his champagne was packaged. In 1902 he approached Emile Gallé, a leading glass designer and one of the founding fathers of the Art Nouveau movement. Gallice commissioned Gallé to design a bottle for his vintage champagne. Gallé designed four magnum bottles with hand painted Art Deco flowers. Perrier-Jouët was known for its use of Chardonnay, and the flowers paid homage to Chardonnay grapes. However, practical problems stepped in. No automated way of producing them was found and the price of hand painted bottles would have been too much for all but the richest customers. At the same time, the markets for champagne were heading towards a crisis. Gallice dropped the project, hoping that the bottles could be used later, at a better moment. It took sixty years for that moment to come and the forgotten bottles to be found in the cellars of Perrier-Jouët.

107 Fi n e C h a m pa g n e

108 Climb on the Social Ladder The other champagne dynasties founded before the end of Napoleon’s era may boast with noble origins or at least with well-off founders, but not so with Perrier-Jouët. The Ruinart and Clicquot families were wealthy merchants; the Moët family was part of the local nobility. Perriers had been craftsmen and their social status started to change only during the 18th century. Pierre Nicolas-Marie Perrier founded the champagne house in 1811. Because the name Perrier was not unusual enough, he combined it with Jouët, the maiden name of his wife. Under the guidance of Charles Perrier, the next generation built the foundation for the success of Perrier-Jouët, both in the royal courts of Europe and among British customers. Charles, the youngest of Pierre Nicolas’s sons was the one most interested in his father´s business. English language was a prerequisite for working on the champagne market, and young Charles was sent to London to learn the language in 1834. The young man was positive, energetic, lively, and he had what it took to succeed in the trade. In 1835 Charles announced that he was ready to return home and get back to work–with limitless amounts of energy to put into his fathers’ business. Perrier-Jouët became wealthier and emerged gradually as a competitor to Moët and Ruinart. Strong ties to Britain were strengthened, and by the year 1847 some 75 per cent of the production was sold to the British. Perrier-Jouët was a “Perrier-Jouët was the first to mark vintage dates on corks in 1858” pioneer in producing dry champagne, which the British loved. Perrier-Jouët was one of the most prestigious dry champagnes, but it was also the result of some ambitious product development. When vintage wines became the name of the game, Perrier-Jouët was the first to mark vintage dates on corks in 1858. A decade later, it started printing them on the labels as well. This development marked also the beginning of a market divided between non-vintage and the more expensive vintage champagnes.

Fi n e C h a m pa g n e 109 From Riches to Rags Six years before his death, Charles Perrier took upon himself to train his nephew Henri Gallice to continue the family business. Henri was only 19 years old at the time, but Charles took the risk, because he knew the young Henri to be smart and diligent, with the kind of go-ahead spirit needed in the job. At first the business flourished, but the sales figures took a dive in 1890. Henri Gallice did not manage to break into new markets, and the competition in Britain got fiercer year after year. In the 1890’s, British wine merchants started offering their “own-brand” champagnes, which weakened the sales of the more expensive quality brands. A phenomenon, which is recurring just now, one hundred years later! Consumption grew in France, but Perrier-Jouët had only a small share of the French champagne market. Gallice chose not to even try to conquer a bigger share of the sales: Perrier-Jouët was practically synonymous with dry champagne and the French had not found the dry champagnes yet. The turn of the century arrived with two further problems: the wine louse phylloxera left French vineyards devastated and forged champagne distorted the market. Henri Gallice’s era ended in the First World War, which left the whole region of Champagne in ruins for a long time. After Henri Gallice’s death, ownership was split between more and more family members. They took no interest in developing the business. PerrierJouët was a frozen company with steady but modest revenues and returns, so it came as no surprise when the family sold it. Champagne Mumm bought Perrier-Jouët together with its vineyards in 1959, only to sell them to the Canadian Seagram the following year. Seagram turned out to be a stroke of luck for Perrier-Jouët, which had suffered from lack of investments. Now, production facilities were modernised and oak barrels were replaced with steel tanks. PerrierJouët increased its output, its portfolio grew and it benefited from the international distribution channels of Seagram.

Emile Gallé’s Anemones One of innovative products which Perrier-Jouët could now develop was the luxurious champagne, Belle Epoque. In 1964 André Bavaret, cellar master, showed the four hand painted magnum bottles to Pierre Ernst, sales and marketing director of the house. Even after the 60 years under the dust of the cellar, the bottles brought alive the magnificent history of the house. The anemones reminded of the flowery elegance of the Chardonnay-based trademark wines of Perrier-Jouët. 110 Pierre Ernst began a project to finally enable the bottles to go into production. The enameling techniques of the Belle Epoque era were largely forgotten, but the house needed an artisan who would provide the decorations at a reasonable price. After months of feverish search, a suitable family business was found in Argenteuil. They produce the bottles even today. Meanwhile, Michel Budin and André Bavaret set to develop a champagne worthy of the bottles. Basis for the mixture was to be found from Perrier-Jouët’s own vineyards in the Grand Cru villages of Côtes de Blanc. The first vintages had more Chardonnay from the village of Cramant than the present version. Only 5000 bottles were produced at first. The legendary Maxim’s of Paris, founded in 1891, was the champagne enthusiasts’ paradise in the Belle Epoque era. Perrier-Jouët gave the restaurant exclusive rights for the new luxury champagne for two years–and a true reincarnation of the beautiful era was born. The immediate success of the enamelled bottles was echoed in the numerous customers’ requests that they would like to take the empty bottles home with them. Since those early years, the production of Belle Epoque has grown year after year. Belle Epoque Rosé was created in 1976. The excellent vintage of Chardonnay in 1993 inspired Hervé Deschamps, cellar master at Perrier-Jouët, to produce a small quantity of Blanc de Blancs: “The production is very small-scale–only one per cent of all Belle Epoque champagnes. The grapes are grown almost exclusively in one of our top vineyards in Cramant. Rosé makes up eight per cent of the sales, and we hope to see that figure grow. Despite the larger volume we now produce, the production is still expensive: high levels of humidity and the way the bottles are piled take their toll on the gilding. The cost of a bottle without any contents is 10 euros!” A Man with Know-how Cellar master is the key person in producing champagne. Mixing wines from different villages, vineyards and different varieties requires welldeveloped senses and years of experience. Vintage champagne ages in cellar generally for more than five years, and it is only after that that the cellar master has a chance to taste the results of his work. Hervé Deschamps, cellar master at Perrier-Jouët, has worked for the champagne house soon 30 years and has had the chance to develop his expertise under two of his predecessors. Deschamps has been in charge since 1993: “We aim to recreate the style of that era in Belle Epoque: elegant, flowery and with plenty of fruit. About a half of the grapes are Chardonnay, 45 per cent Pinot Noir and the final five per cent Pinot Meurnier. Some 60 per cent of the grapes are grown in our own vineyards and we always ensure that the amount of Chardonnay from Cramant and Avize is as high as possible.” Like most Grand Marques, also Perrier-Jouët uses only the best cuvée. The wine is fermented in a controlled temperature of 18 degrees celcius with the aid of cultivated yeasts. All champagnes of the house undergo full lactic acid fermentation. Deschamps says: “Belle Epoque is very dry, so when we re-cork it, we add just 8 – 8.5 grams of sugar to the bottles. There is some variation in dosage between the vintages as a mere half a gram of sugar is able to fully change the wine.”

Fi n e C h a m pa g n e 111 Hervé Deschamps Hervé Deschamps

The Secrets of Autolysis More Changes of Ownership The bread-like and baked aromas, which characterize champagne are formed during the so called autolysis, in which the wine has direct contact with the disintegrating yeast sediment. During his studies in Dijon, Hervé Deschamps specialised in autolysis, and we had an excellent chance to ask him about the process. Under the ownership of Seagram, Perrier-Jouët quickly gained popularity on the other side of the Atlantic. For the American market, Belle Epoque was renamed as Fleur de Champagne. The house was ranked as the third among champagne brands in the US. “After bottling, the yeast stays alive for some two months. The cells start to disintegrate once all sugar has been consumed. Autolysis starts immediately with smaller proteins and other molecules. A short fermentation on top of yeast sediments produces the aromas of fresh bread and yeast. The wine undergoes changes throughout the process but autolysis really starts only after 18 months. The exact time needed depends on temperature and the type of yeast. The aromas created are complex and layered. This makes the minimum length of aging, 15 months, too short 112 for us here in Champagne. Even our non-vintage varieties age on sediment for at least three years.“ Hervé Deschamps points out that the chemical composition of champagne makes the aromas produced in autolysis unique to wines produced in the region. Champagne cannot be copied anywhere else in the world. “We age Belle Epoque on yeast for six years, which yields full benefits from autolysis. After re-corking, we keep the bottles in the cellar for another couple of months, so that the sugary wine has time to blend in properly.” Seagram held on to the house for 29 years. During this time, volumes grew and quality improved. A group of American private investors bought the house in 1999. The investors may have been after money rather than after good champagne as PerrierJouët and Mumm were sold at a highly profitable price to Allied Domecq in 2005. Pernod Ricard, another multinational company, acquired the champagne houses when it bought Allied Domecq the following year. But as it seems, Pernod Ricard looks like a committed owner with long-term interest in developing Perrier-Jouët. Maison Belle Epoque Perrier-Jouët opened a museum for the art and style of Belle Epoque era on Avenue de Champagne, the champagne main street of Épernay, in 1990. The museum houses more than hundred pieces of art by the most renowned artists of the era. The size of the collection makes it unique in the world. The maison is more than just a museum: dinners are organized there and quests have the possibility of spending a night in the midst of the Art Deco masterpieces. To celebrate the new millennium, champagne houses launched various kinds of special editions of their wines. Perrier-Jouët produced 5000 magnum bottles of vintage 2005 Belle Epoque Reserva. The lilies on these bottles were made of gold and platinum. These collector’s pieces were pricy, but the price included a night and a luxurious dinner in Maison Belle Epoque. I love the personality and uniqueness, which the Belle Epoque era and Emile Gallé’s art have given to Perrier-Jouët. Unique as it is, the champagne is even today among the most beautiful bottles in the world. Its impact reaches beyond the house of Perrier-Jouët: Georges Renoy maintains that the bottle has been an important source of inspiration for all modern bottles and labels, and many others share his view. >

Belle Epoque 2004 87p Colour: Pale lemon Nose: Toasty, lactic, spicy, pieces Buy or not: Choose another vintage or give it time Tasted: Last in 2012 When to 2014–2025 drink: Or try this: The same wine in 10 years’ time Inside A year of massive information: yields and light-weight elegant champagnes Final verdict: Not one of the finest Belle Epoques, disappointment so far even though development in the past year has been positive 92p Colour: Pale peachy Nose: Creamy, lactic, fresh soft, vanilla, patisserie Palate: Full, fluffy Ending: Raw and tight In a nutshell: For the timebeing in Belle Epoque Rosé 2004 Palate: Ending: In a nutshell: Buy or not: Colour: Medium-deep lemon Nose: Smooth, creamy, ripe berries, smoky-mineral Linear, tight, edgy white fruit, white flowers, vanilla, toffee Palate: Medium-bodied, firm, energetic Ending: Long and pure Dry and bitter Hiding its charms Not for immediate consumption Tasted: Last in 2012 When to 2012–2025 drink: Or try this: Just about any other vintage of the same cuvée will be more enjoyable at the moment Inside The same cuvée information: as the regular Belle Epoque but with added red wine Final verdict: Raw and reserved still, holding back and lacking harmony and integration. Will improve with ageing but will never be amongst the best vintages Belle Epoque 2002 In a nutshell: Intense with subdued Buy or not: Tasted: When to drink: Or try this: power Buy, buy, buy Last in 2012 2014–2025 Magnums and jeroboams Inside A vintage tha cominformation: bined fruit maturity, intensity and acidity in an ideal way Final verdict: An excellent, classic Belle Epoque but still very young Fi n e C h a m pa g n e 87p 113 92p Belle Epoque Rosé 2002 Colour: Pale onion-skin Nose: Charmingly toasty and Palate: Ending: In a nutshell: fragrant, raspberries, white flowers and spices Vibrant and fresh, mineral palate with energetic mousse Medium-bodied long length Not yet ready but promises a lot Yes Last in 2011 Buy or not: Tasted: When to 2014–2025 drink: Or try this: Invest in magnums and hold on to for a number of years Inside Developing slowly and information: craving time Final verdict: Elegant and perfumy wine that is starting to drink well but has the structure for a prolonged aging 86p Belle Epoque Blanc de Blancs 2002 Colour: Pale lemon Nose: Slightly dusty, chalky, yoghurty, hay, cheese Palate: Zesty, linear, reserved Ending: Dry and mineral, feels short In a nutshell: Hard to judge yet, too Buy or not: Tasted: When to drink: Or try this: young to be opened Why not Last in 2012 2014–2025 The regular Belle Epoque from the same year Inside This wine from the information: prestigious Côte des Blancs vineyards craves time to show its true character. None of the Belle Epoque Blanc de Blancs vintages has yet reached its prime Final verdict: Patience is a virtue, but probably the regular Belle Epoque will still end up being superior 92p Belle Epoque Blanc de Blancs 2000 Colour: Medium-deep lemon Nose: Ripe and fresh Chab- lis-like nose of smoky minerality, seaweed, cream, tropical fruit and lemon Palate: Creamy texture and a lively yet tender mousse on the palate. Light and elegant Ending: Refined and long In a nutshell: Seductrice Buy or not: Yes Tasted: Only tasted twice, When to drink: Or try this: Inside information: both times in 2010 2013–2020 Cristal 2000 A pleasing, friendly vintage of Belle Epoque Final verdict: More approachable than the other Blanc de Blancs vintages, does not share the overripe characters of many other 2000s

90p Belle Epoque 1999 88p Colour: Developing lemony Nose: Elegant, mineral yet Palate: Ending: In a nutshell: Buy or not: Tasted: When to drink: Or try this: Inside information: sweet peach, aromatic wood, almond and vanilla Delicate with ripe fruitiness, perfect balance and tight-packed fruitiness Long with hidden power Nicely balanced and approachable Yes Last in 2009 2013–2020 Dom Pérignon 1999 This looks to be the best Belle Epoque of the three versions made that year Final verdict: Subtle and drinking earlier than Belle Epoque’s in general Belle Epoque Rosé 1999 Colour: Developing peachy Nose: Mild, soft, fudge, 87p Colour: Medium-deep lemon Nose: Chablis-like characters minerality Palate: Brisk, intense, aggressive mousse Ending: Medium-long, dry In a nutshell: Not fully integrated Buy or not: There are better vintages available Tasted: Last in 2007, needs a Belle Epoque Blanc de Blancs 1999 Palate: Ending: In a nutshell: retaste When to 2013–2020 drink: Or try this: Charles Heidsieck Rosé 1999 Inside A vintage of mild information: acidity Final verdict: Last tasted a long time ago, and has probably developed towards more harmony since Buy or not: with hay and gunpowder Tightly mineral and lean Medium-long and unforgiving Too long ago since last tasted, needs a retaste No, based on the 2006 tasting not, but judgement reserved Last in 2006 Tasted: When to 2013–2020 drink: Or try this: Cuvée William Deutz 1999 Inside This was tasted when information: first released so has probably changed a lot since then. 1999 should be a vintage that drinks early Final verdict: A bit hostile and unintegrated in youth, needs a retaste 114 93p Perrier-Jouët Belle Epoque Jeroboam 1998 Colour: Medium-deep lemongreen Nose: Lovely toast, charred, lemony, floral, mineral Palate: Very dry, fresh and lively, smooth mousse, seamless and balanced Ending: Silky and charming In a nutshell: Balance Buy or not: Yes Tasted: Just once from a jeroboam Glass time: 25 minutes When to Now through 2025 drink: Or try this: Equally good in magnum-format Food pairing: Blinis with vendace roe Inside Hervé Dechamps information: chose this vintage as the “living legacy champagne” due to its extraordinary ageing potential: ”Alive with pure, mineral energy, it has all the marks of a wine with a long and happy future ahead of it.” Final verdict: Still going up 90p Belle Epoque 1996 Colour: Medium-deep gold Nose: Youthful nose of straw, lactic notes, toffee and smoky minerality Palate: Intense but very young and accentuated in acidity Ending: Tight and linear In a nutshell: Wine for the future Buy or not: Probably yes, but its true greatness will only be revealed over time Tasted: Last in 2011 When to 2013–2030 drink: Or try this: 95 points in jeroboam and 94 in magnum Inside This will be a nearinformation: eternal champagne taken Belle Epoques excellent ageing capabilities Final verdict: One of the most slowly aged 1996s 91p Belle Epoque 1995 Colour: Deep lemon Nose: Developed, sweet and dried fruit, minerality Palate: Full, fleshy Ending: Medium-long In a nutshell: Developed already, better in magnum and jeroboam Buy or not: In magnum and jeroboam Tasted: Last in 2011 When to drink: Or try this: Inside information: 2013–2020 The 1996 Disappointing recently but deserves a second chance Final verdict: Some bad experiences in bottles but may be due to storaging problems

Belle Epoque 1990 Colour: Deep lemon Nose: Soft and sweet with vanilla and apple Palate: Wide and fat yet fresh and juicy Ending: Medium and unimpressive In a nutshell: Nice and easy Buy or not: Tasted: When to drink: Or try this: Inside information: Buy and enjoy now Last in 2011 2013–2020 Dom Ruinart 1990 Masculine and therefore atypical for Belle Epoque Final verdict: At its prime, similar points in jeroboam 93p Perrier-Jouët Belle Epoque Jeroboam 1989 Colour: Deep golden Nose: Sweet toast, honey, ripe fruit, pastry, burnt sugar, confectionary Palate: Full and concentrated, vinous, silky Ending: Long and powerful In a nutshell: A serious wine Buy or not: If you manage to spot one Tasted: Just this once from a jeroboam Glass time: 30 minutes When to Now through 2023 drink: Or try this: Philipponnat Clos des Food pairing: Inside information: Final verdict: Goisses 1989 Crayfish risotto Belle Epoque was made from the superior, earlier harvested grapes of 1989 A typical Belle Époque, with impressive intensity 94p Belle Epoque 1988 Colour: Deep golden Nose: Fresh, lively, fragrant, orange peel, lemon, coffee Palate: Fresh palate, quite lean and elegant, bright Ending: Lean and long, fine intensity In a nutshell: Do not hesitate Buy or not: Tasted: When to drink: Or try this: Last in 2011 2012–2025 Cristal 1988 Such a slow-ageing, refined vintage that suits Belle Epoque style perfectly Inside Beautiful and information: harmonious wine Final verdict: At its prime, similar points in jeroboam Fi n e C h a m pa g n e 92p 115 97p Perrier-Jouët Belle Epoque Jeroboam 1985 Colour: Deep golden Nose: Wonderfully toasty and reductive, coffee, sweet ripe fruit, tropical, peach, gunpowder Palate: Full and energetic. Rich but with focus, vinous, velvety, complete, concentrated Ending: Tightly packed and lingering In a nutshell: Charisma Buy or not: Do not hesitate Tasted: Just once, sadly. Worth the same points in magnum-format, though Glass time: 45 minutes When to Now through 2025 drink: Or try this: Tough to replace but Food pairing: Inside information: Final verdict: Roederer Cristal is a good contender Fried arctic char with creamed chanterelles The exact blend is Chardonnay 48%, Pinot Noir 47%, Pinot Meunier 5%. Chapeau! 92p Belle Epoque Magnum 1983 Colour: Developed golden Nose: Rich, toasty, dried fruit richness Palate: Perfectly integrated 94p Belle Epoque Jeroboam 1982 Colour: Deep golden Nose: Mellow, mushroom, bubbles Palate: refined Ending: Ending: Harmonious and In a nutshell: Much better in magBuy or not: Tasted: When to drink: Or try this: num than in bottle Yes Last in 2007 2013–2018 Louis Roederer Cristal 1983 Inside A rare year but Belle information: Epoque performs well Final verdict: Drinking perfectly now, complete and peaceful In a nutshell: Buy or not: Tasted: gunpowder, aromatic wood, spices Firm with fresh acid, lacks completeness Long, with some sweetness Youthful and tight Yes, if 1985 or 1975 jeroboam is not an option Just tasted this once rated 95p from jeroboam in 2009 30 minutes From now until 2020 Glass time: When to drink: Or try this: Belle Époque Rosé 1982 Food pairing: Grilled lobster Inside The exact blend is information: Chardonnay 49%, Pinot Noir 46%, Pinot Meunier 5%. Final verdict: Interesting but not perfected

RJ_2 97p Belle Epoque Rosé 1983 Colour: Developing orange- Belle Epoque Jeroboam 1978 93p Colour: Deep golden Nose: Developed, roasted, hued colour Nose: Seductively toasty, rich and impressive nose of coffee and gunpowdery minerality Palate: Linear, compact, seamless Ending: Long and succulent In a nutshell: A stunner Buy or not: Yes, and share it with me Tasted: Only once in 2010 When to 2013–2016 drink: Or try this: You do want to experi- 96p Palate: Ending: In a nutshell: Buy or not: Tasted: Glass time: When to drink: Or try this: ence this! Inside A warm year made iminformation: pressive champagnes Final verdict: Such a perfect age to drink this wine, at least from a magnum. Perfect and has not started its journey down yet Final verdict: 93p 95p Food pairing: earthy, pastry shop, fudge Full and powerful, mature, chewy, some oxidation, concentrated Velvety vinous and long Overwhelming Not one of my favourites In 2009 I gave it the same 93 points in magnum-format 30 minutes Ready but can last five more years The same in magnumformat Roasted guinea fowl and cepes polenta A big boy that is ready to drink Perrier-Jouët Belle Epoque Jeroboam 1975 Colour: Deep golden, peachy hue Nose: Developed yet fresh, lightly mushroomy, dried apricots, coffee Palate: Fairly lean, spicy, perfectly integrated, feminine Ending: Long, mellow and fresh In a nutshell: Understated elegance Buy or not: A jero of this is always Tasted: Glass time: When to drink: Or try this: Food pairing: Inside information: a good idea Just this once 45 minutes Perfect today but can effortlessly take time Dom Pérignon 1975 Crème of cepes There is only one jeroboam of this left in Perrier-Jouët’s cellars! Final verdict: Fresh, lively and finetuned 116 Belle Epoque 1971 Colour: Mature orange-hued Nose: Toasty, apricot, raisin, honey Palate: Wide and fresh tiny bubbles left Ending: Long and intense In a nutshell: Buy or not: Tasted: When to drink: Or try this: An old lady Why not Last in 2011 2013–2016 No need to wait any longer Inside Classic year and a information: good but not great Belle Epoque Final verdict: Mature but fine Belle Epoque 1969 Colour: Deep honey-gold Nose: Rich, wide, ripe pear, flower, honey Palate: Fresh and youthful, light but balanced Ending: Long and complex In a nutshell: The unbearable lightness of being Buy or not: Yes, if you can be sure of this delicate wine’s storage history Tasted: Only three times, last in 2004, hopefully another opportunity will surface soon When to 2013–2016 drink: Or try this: The 1964, if you are lucky Inside The Chardonnay takes information: the lead in this 50/50 blend showing such elegance and purity Final verdict: Needs a retaste by now, but when tasted in 2004 was at its prime 97p Belle Epoque Magnum 1964 Colour: Very deep orange colour Nose: Caramel, vanilla and nutty nose with bright apricot fruit, honey and flowers Palate: Complex and vinous with a fine mousse left Ending: Starting to show its age in the slightly drying finish In a nutshell: Beauty Buy or not: Tasted: When to drink: Or try this: Inside information: Buy it if you see it Last in 2009 2013–2018 Hard to replace Shows just how beautifully the finest vintages age Final verdict: Needs a retaste by now, but when tasted in 2004 was at its prime

RJ_236x297_AD_Layout 1 2011-03-07 08.19 Sida 1 JOIN THE CLUB! Richard Juhlin, by many regarded as the world’s foremost champagne expert, has sampled and evaluated close to 7,000 champagnes. At www.champagneclub.com, members of The Richard Juhlin Champagne Club can login and, using a personal code, access Mr Juhlin’s unique digital library where all evaluated champagnes are listed, described and rated from 0 to 100. More than the sheer size of this vast database, its uniqueness also lies in Mr Juhlin’s vivid use of language and his ability to recognize and pinpoint not only the present but also the future state of the champagne at hand. The latter means that he awards the champagne an additional grade, where he estimates the potential greatness, with optimal aging. As soon as Mr Juhlin tries a new champagne, his tasting notes are downloaded into the database and made available to club members. The database engine allows for di erent ways of searching for a champagne, such as alphabetically, by producer, top 100, etc. On the website, the member password will also give access to Mr Juhlin’s travel articles, descriptions of champagne producers, suggestions on where to dine, and much more. Membership in The Richard Juhlin Champagne Club gives you access to the on-line member pages – but it also includes you in a global group of people who truly love champagne and who can expect to bene t from more and more advantages as the club grows. In several cities the member card already grants its bearer advantages at “champagne friendly” restaurants, special presentations of hard-to-find champagnes, online tastings, etc. In four Scandinavian cities there are also exclusive Richard Juhlin Champagne Bars, as well as annual Richard Juhlin Champagne Dinners o ered to members boasting the special black membership card. News and information is continually updated on the website and made available to members in 43 countries around the world. Join The Richard Juhlin Champagne Club at www.champagneclub.com for only 75 euro annually - and use the bonus code ’FINECHAMP’ for a VIP discount INFO@CHAMPAGNECLUB.COM | WWW.CHAMPAGNECLUB.COM

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43:17 B R I T I S H CC_Fine_Wine_Cool Luxe Kitchen.indd 3 L U X U R Y I N T E R I O R S b y C L I V E C H R I S T I A N 17/12/2012 16:43:27

Truffles 120 Text: Amanda Regan C hocolate truffles made with genuine champagne are delicious little packages, which are blended from two of the most luxurious ingredients that exist. They make a perfect gastronomic, indulgent, pleasurable and romantic match.

Fi n e C h a m pa g n e T r e at s December 17th 2012 marks the 350th anniversary of the historical documents that credit the Englishman Christopher Merret as the first person to make deliberately sparkling champagne by refermenting still French wine. The “inventor” of sparkling champagne is thus English! 121 The couture chocolatiers in France do not make champagne-flavoured truffles. Parisian truffles are plain, pure and styled using espresso cafés and chocolat noir: however, they do suggest that you drink champagne while you eat them. Across the channel, London has become a melting pot of experimentation and the city is pushing the boundaries in terms of food, including chocolate. Not only did the English put the bubbles in champagne, but now they also put champagne in chocolate to create the chocolate truffle with champagne. Milk, dark, white and pink champagne truffles are created by chocolate makers in London. The far less refined Marc de Champagne is used for many, but there are three truffles which are truly exceptional due to the fact they are made using only the finest chocolate ingredients and genuine champagne – including, in some cases, Dom Pérignon. Demarquette truffles made with Dom Pérignon champagne Of all the champagnes it is possible to blend with chocolate to make truffles, it is ironic that before Merret claimed the title, Dom Pérignon the monk was originally credited with the discovery of making champagne sparkle. Now, the prestige cuvée made in his honour is adding an extra sparkle to chocolate in England. Marc-H. Demarquette chose to use Dom Pérignon champagne for his truffles not just because it is a prestige cuvée, but because of the inherent cocoa tones he found in this champagne which perfectly complement Demarquette’s unique dark chocolate. This 2012 triple gold star (Great Taste Awards) award-winning 71.1 per cent house blend of Dominican Republic, Ecuador & Madagascar cocoa is combined with pure West Country cream from Cornwall and Hampshire. Each truffle is hand dipped in their award-winning 65 per cent chocolate, then dusted with pure cocoa powder. Because the ingredients are so fresh, the truffles should be consumed within two weeks. Due to the overwhelming demand and desire for its products, Demarquette are relocating the retail outlet side of the business to the “Chocolate Room” at Harrods in 2013.

“Champagne and chocolate can be difficult flavours to pair, but William Curley has found a good balance with the Laurent-Perrier Brut Truffles,” which “convey the freshness and lightness of the Brut.” David Hesketh 122 William Curley champagne truffles made with Laurent-Perrier champagne To celebrate Laurent-Perrier’s 200th anniversary in 2012, Britain’s leading award-winning Chocolatier and Patissier William Curley and Champagne House Laurent-Perrier have toegther created the Laurent-Perrier Champagne Truffle, which is handcrafted using Toscano 70 per cent and Laurent-Perrier’s signature Brut Champagne. David Hesketh MW, Managing Director of Laurent-Perrier UK, says that: “Champagne and chocolate can be difficult flavours to pair, but William Curley has found a good balance with the Laurent-Perrier Brut Truffles,” pagne houses in the world – the Rolls Royce of the champagne world; it is a pleasure to work with them as they, like us, only use the best ingredients.” which “convey the freshness and lightness of the Brut.” William Curley then confesses to having had great fun creating this champagne truffle: “Laurent-Perrier is one of the finest cham- Booja Booja Organic Truffles made with Fleury champagne If you like your food and wine as natural as possible, there is a divine organic champagne truffle for you, too. The deep, smooth, rich and luxurious Booja Booja chocolate truffles are blended using organic Fleury champagne and 65 per cent dark chocolate. Handmade by a small team in Norfolk, they are free of gluten, wheat and dairy products. >

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124 VER

A PeA PeArl Among mobiles Text: Petri Nevalainen, Pekka Nuikki Our individuality is mainly composed of our thoughts and actions. In addition to them, we compared to the Audi parked next to it. The examples are numerous, but surprisingly one of demonstrate our originality using everyday utensils like the most common everyday utensil, the mobile phone, clothes, shoes, bags, watches, cars – the list is nearly is seldom used to emphasise one’s individuality. The endless. These objects can tell others a lot about their reason for this is simple: a phone is chosen because of owner, his mind and style. A Patek Philippe suggests its properties, not for its appearance. This is also how a different image than a Citizen, as does a Bentley phone producers think. All except one: VerTu. Fi n e L i f e s t y l e RTU 125

VER I 126 t offers a whole new constellation for customers looking for individuality. The brand’s materials, design and unique Concierge Service make Vertu the most desirable work of art on the mobile phone market. Vertu is desired for its own sake, because it has no credible imitators or plausible competitors. Vertu is very well aware of its luxury design status. It is a phone to be seen with, and its owner knows that he or she belongs to a small community united by the Vertu philosophy. The design is beautiful, functional and exclusive. The owners of Vertu phones relish the feel of the luxurious leather casing. Furthermore, they admire the glittering of gold or diamonds and enjoy the knowledge that possession of a Vertu opens many doors which are closed to ordinary mobile users. For the benefit of its old and new customers, however, Vertu has no intention of resting on its laurels. Reforms and nov novelties are on the way. The “father” of Vertu is the American designer Frank Nuovo, who was formerly Creative Director and Chief of Design at Nokia. LaunChed In 2002 The history of the hand-crafted Vertu phone is relatively short but rather full. Born into the nokia product family in 1998, Vertu was not like the other children. The unit operated as a subsidiary of nokia and found its home in the english countryside in the hampshire village of Church Crookham, around 60 kilometres southwest of London. Formerly known as the site of military barracks, Crookham became widely known among cinema-goers for its appearance in the 2002 James Bond movie Die Another Day. events set in the demilitarised zone between north and South Korea were shot here, in Vertu’s hometown. The “father” of Vertu is the american designer Frank nuovo, who was formerly Creative director and Chief of design at nokia. nuovo, born in 1961, had come to work for nokia in the mid-1990s. his role in nokia’s design progress is considered very significant, and is considered one of the elements that helped nokia become the sixth most valued brand according to Interbrand. One of the classic nokias created by nuovo was the streamlined and glossy 8810, known in some circles as the “Cigarette Lighter”.nuovo suggested that nokia set up a specific unit to start a line of luxury phones in 1997. There was demand for luxury models but they did not fit well with nokia’s basic product selection. nuovo’s vision of a luxury brand that would develop at its own pace was approved, and work on the first Vertu models began. From the very start, Vertu was the mobile phone world’s answer to luxury watches, fashion brands and cars. It is still a product that many desire but few can afford.

Fi n e L i f e s t y l e RTU 127

“This is a logical step in the evolution of Vertu as the world leader in luxury mobile products.” Oosting said in June 2012 concerning the deal between EQT VI and Nokia VER PReSenTed In PaRIS 128 Vertu was born out of a passion and need to fill the gap in the mobile communications market for luxury products. The brand was first presented to consumers in Paris in January 2002. nuovo declared then that Vertu had sprung out of nowhere to become a brand that would break down many known barriers. It quickly became the market leader among luxury phones at a time when other manufacturers had mostly only managed to launch limited editions modified from their basic models. From the start, the Vertu philosophy has included peripheral accessories and services which are only offered to the owners of the luxury phone models. after its launch, Vertu quickly garnered the attention of the rich and famous. The manufacturer does not reveal its customers in public, but Madonna, david Beckham and Gwyneth Paltrow have all been observed using a Vertu. although Frank nuovo left nokia during the middle of the last decade, he has stayed on as the Principal designer of Vertu. he is often seen as one of the cornerstones of the company’s success. From the start, Vertu represented das Ding an sich, a wholly standalone luxury phone company whose relationship with nokia was akin to that of third or fourth cousins. It may have got its technology from nokia, but in nuovo’s words it was like “nokia’s Formula One counterpart”. a change in Vertu’s ownership was announced in October 2012, with the Swedish investment firm eQT VI acquiring 90 per cent of its shares; nokia retained a 10 per cent minority holding. at the same time, former executive Vice President of nokia anssi Vanjoki was named Chairman of the Board, while Perry Oosting, who had first-hand experience of luxury products having held executive positions at compa- nies such as Bvlgari, Prada, Gucci and escada, stayed on as CeO. “This is a logical step in the evolution of Vertu as the world leader in luxury mobile products,” Oosting said in June 2012 regarding the deal between eQT VI and nokia. VeRTu OPenS dOORS It is estimated that since the beginning of the 2000s Vertu has sold around 300 000 phones. Many of them have been “basic models” which cost a few thousand euros, but there are also rarities worth several hundred thousand. Their shells are made of gold, platinum or titanium. Sometimes they are embellished with diamonds. The ringtones that emanate from the

The Vertu City Brief service is an up-to-date information pack on the world’s major cities, including tips for things to do. Fi n e L i f e s t y l e RTU 129 SERVIC ES The se rvices that VerTu offers are unique , indep enden hi-fi speakers have been recorded by and ca t refully tailore to the the London Symphony Orchestra and d specifi c need and de composed by well-known names s sires o f each Vertu from the world of film music, for custom er. eve service instance. ry is integ in rated to the The Vertu Concierge service Vertu hands At the is available to customers around et. heart o f o e f ach t he ser the clock and 365 days a year. vices is Concie Vertu rge, en suring that V ert Pressing the Concierge butmeet a u is able to nd exc ton opens a connection eed th expect e ations to a service, available in of its custom ers sea nine languages, which almlessly . lows the user to book hotel rooms around the world, send gifts to friends, buy tick- ets to sold-out performances and access other exclusive items designed specifically for Vertu customers. Concierge customers may also bring guests to Vertu clubs around the world. The Vertu City Brief service is an up-to-date information pack on the world’s major cities, and includes tips for things to do. Vertu also has international partners with specially tailored services for customers. The Concierge service is free for Vertu customers during the first year.

VER duRaBLe deSIGn The Vertu product line comprises five collections: Signature, Constellation, Constellation Quest, Ayxta and Ascent. at the top of the range, and boasting the most luxurious and expensive phones, is the Signature collection. In the Vertu Signature diamond Collection, created by the stellar jewellery house Boucheron, golden cases are embellished with snakes formed out of diamonds. Only eight Signature Cobra phones were made. 130 The Constellation collection includes smartphones as well as simpler classic models. The world’s first ceramic keypad was included in the Constellation collection in 2006. The ascent models are light and durable, while ayxta offers flip-top models. The ascent collection is inspired by the world of motor racing; for example, the titanium-shelled ascent Racetrack Legend Series has the profiles of famous racetracks etched into the cases. The phones from Church Crookham are designed to last. The use of some of the strongest possible construction materials, such as carbon fibre, means that certain models can withstand being driven over by vehicles weighing several thousand kilogrammes and still remain operational. Motoring is an important theme in Vertu products overall, and a few years ago Vertu began collaborating with Ferrari. The Vertu Constellation Quest Ferrari model combines the uniqueness of Vertu with the craftsmanship of the legendary car maker.

“Since Vertu began in 1998, our business has grown every year, due to the efforts of our talented workforce and the unique products and services we offer our customers. We believe that EQT VI will position Vertu to continue to grow and lead in our marketplace.” Oosting says Fi n e L i f e s t y l e RTU The phone’s casing has the same coating that is used on Ferrari engines. Thinner than a single human hair, it is stronger than steel. The phone’s leather case is crafted in the same Italian workshop that produces the interiors of Ferrari GT cars. The titanium battery cover Ramfeatures the iconic Cavallino Ram pante or “Prancing h horse” orse” logo. The keypad is made of sapphire crystal and the phone’s analogue clock is inspired by the rev-coun rev-counter of the Ferrari 458 Italia. Live recordings of the “heartbeat” of the Ferrari 458 Italia on a test circuit provide a unique set of ringtones. POSITIVe PROSPeCTS The ownership change is expected to further enhance Vertu’s future prospects. The deal with eQT VI offered new financial resources for use in development work, and the company has reinforced its board of directors. The brand is healthy, so it should be well set to move forward. android is considered the next logical operating system choice for Vertu. 131 “Since Vertu began in 1998, our business has grown every year, due to the efforts of our talented workforce and the unique products and services we offer our customers. We believe that eQT VI will position Vertu to continue to grow and lead in our marketplace,” says Oosting. Vertu fully lives up to its name, which is defined in the dictionary as “a love of or a taste for curios or objets d’art”, or “an artistic quality”. >

“The brand is healthy, so it should be well set to move forward. Android is considered the next logical operating system choice for Vertu.” Offering luxury lifestyle assistance and enrichment, Vertu Concierge is an independent, tailored service, delivered directly to the customer’s handset. The service is accessed via a dedicated key on the phone, offering contact by voice call or email. When a customer registers a Vertu handset, activating the Vertu Concierge service, they are offered an initial ‘fitting’ call. Whether this takes place immediately at the time of purchase, or at a time of the customer’s choosing, the fitting call is an opportunity to explain, in full, the Vertu Concierge service offering and to match the different Vertu Concierge options to the needs of the customer. This includes the establishment of individual preferences, the scope of the service they would prefer and importantly, the type of contact they wish to receive from Vertu. The Vertu Concierge service provides the customer with round the clock access to a team of lifestyle managers, situated within a network of global hubs covering all the major time zones including London, Paris, Milan, new York, Shanghai, dubai, Moscow hong Kong, and San Francisco. Vertu Concierge also has managers on the ground in major destinations in order to build close relationships with specialist suppliers of goods and services specifically for Vertu customers. Their knowledge and insight into the locality ensure that they are able to offer the most up to date information about a customer’s chosen destination. Their expertise is shared with every Vertu Concierge Lifestyle Manager. Many customers choose to use Vertu Concierge for their travel and accommodation requirements as Vertu has secured exclusive opportunities for its customers. Being entirely independent, Vertu Concierge can access the widest network of hotels, restaurants and airlines, and can therefore meet the exact preferences and expectations of their clients. Vertu Concierge customers may also require assistance with purchases ranging from small luxury items to additions to their property portfolio. Vertu Concierge can draw upon appropriate experts in their fields to guide and support the customer thorough every step of the buying process or provide ideas and recommendations if needed, through to purchase and delivery. The dedicated retail team at Vertu Concierge ensures nothing is left to chance. Building on the exclusive services offered by Vertu Concierge is the effortless and intuitive navigation experience, enhanced by a range of carefully curated apps to ensure that the Vertu exclusive services and information are at the customers’ disposal in an instant. The Concierge Live app conveniently displays a real-time status update of live concierge requests to guarantee absolute peace of mind. Providing dedicated and independent lifestyle assistance, 24 hours a day, worldwide, Vertu Concierge is available in english, French, German, Italian, Russian, arabic, Mandarin and Cantonese. Vertu Classic Concierge is included free of charge for one year from the date of purchase of a Vertu handset. VER VeRTu TIMeLIne 132 VeRTu COnCIeRGe February 1998 nokia approves the plan to start a subsidiary manufacturing luxury mobiles. Chief of design Frank nuovo begins to vision the Vertu phones. February 1999 The V shape is adopted as the model for the first Vertu phones. July 2000 The Vertu head office opens in Church Crookham, uK. September 2001 Vertu begins to train its employees in phone assembly. It can take up to a year to learn the handcrafted process. January 2002 Vertu presents its first mobile phone model, the Signature, in Paris. September 2002 The first task given to the Concierge Service is to book a flight from London to new York. January 2004 Vertu launches its second collection, known as ascent. april 2005 The Concierge service surpasses 10,000 completed customer requests. OctOber 2005 The Concierge Service surpasses 10 000 completed customer requests. July 2006 Launch of the diamond-embellished Vertu Boucheron Signature model. September 2007 Sales of the titanium-shelled Vertu ascent Ti model begin. nOvember 2008 The Vertu ascent Ti Ferrari collection is ready to go on sale. July 2009 Vertu launches the ascent Carbon Fibre model, which boasts a carbon fibre casing. It is virtually unbreakable. September 2009 Launch of Vertu’s first flip-top ayxta model. march 2010 Vertu opens its own worldwide chain of stores. By 2012 there will be one hundred Vertu stores in around 60 countries. The phones are also sold in a few hundred authorised resale outlets. OctOber 2010 Vertu launches its first smartphone, the Constellation Quest. June 2011 a carbon fibre version of the Constellation Quest becomes available. OctOber 2012 The Swedish investment firm eQT VI takes over 90 per cent of Vertu shares. nokia retains a 10 per cent minority holding. A

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