N e w I n t e r a c t i v e B o n u s Fe at u r e s Including armanD DE BrignaC Delve deeper into the story of Armand de Brignac through a choice of videos BEntlEy Experience the new Bentley Mulsanne's design process in video form. View the car from all angles and locate your nearest dealer. thE Ways oF thE WinE This film takes the viewer on the personal and dramatic journey of Charlie Artuarola, a top American sommelier. who suddenly loses his most prized tool ­ his palate. How can this happen and will he recover? EDitorial Choose between our narrated or written editorial BlaCkBErry Farm Click to view the culinary country estate's video cookbook nEW WinE moViE mumm in F1 Mumm takes you to the Formula 1 Party at Monza DEWitt Go under the surface and find the genious of Dewitt's tourbillon CliCk For thE instruCtions hoW to usE n aV i g at i o n o p t i o n s > > > El Camino DEl Vino Watch A Sneak Preview of the latest wine movie! F I N E C H A M P A G N E M A G A Z I N E £ 4 . 9 9 · U S $ 9. 5 0 · C a n $ 9. 9 9 · A u s $ 9. 9 9 t h e 1 0 0 b e st c h a m pag n e s fo r 2 01 0

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CHAMPAGNE MAGAZINE Editor-in-Chief Pekka Nuikki pekka.nuikki@fine-magazines.com Editor Essi Avellan MW essi.avellan@fine-magazines.com Deputy Editor Anne Lepola anne.lepola@fine-magazines.com Publishing Editor Meri Kukkavaara meri@fine-magazines.com Editorial adviser Juha Lihtonen juha.lihtonen@fine-magazines.com Copy Editor Craig Houston craig.houston@fine-magazines.com Editorial Assistant Pipsa Salolammi pipsa.salolammi@fine-magazines.com Creative Director Anni Rekonen anni.rekonen@fine-magazines.com Art Directors Teemu Timperi teemu.timperi@fine-magazines.com Samuli Ollikainen samuli.ollikanen@fine-magazines.com Contributing Graphic Designer Michael Boudot WRITERS 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 1870­1970, a book about the Château Mouton-Rothschild ­ Wine and Art 1924­2003 and most recently a book about the best German white wines. His next book will be about the 100 Most Important Champagnes. 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 her wine buying guide, Ms Avellan contributes to several newspapers and wine magazines internationally. She judges at several wine competitions, such as the Decanter World Wine Awards and the Wines of Argentina Awards. Ms Avellan has been awarded the title of Dame Chevalier of the Ordre des Coteaux de Champagne. Juha Lihtonen Contributor Juha Lihtonen is the editor of European, American and Scandinavian FINE Wine Magazine 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. Besides his day job, Mr Lihtonen studies for the Master of Wine qualification. Andreas Larsson Contributor Andreas Larsson is the editor of FINE Exclusive and a regular FINE columnist. The 2007 Best Sommelier of the World, the best sommelier in Europe in 2004 and the best sommelier in the Nordic countries in 2002, Mr Larsson has worked as a sommelier in the best restaurants in Stockholm and won the Wine International Sommelier Challenge in 2005. He is a member of the Grand Jury Européen and has occupied many wine juror positions around the world. Mr Larsson is also a wine writer and educator. Martin Williams MW Contributor Martin Williams MW is a consulting winemaker from Australia's Yarra Valley. In addition to Australia he has made wine in Burgundy and California. Mr Williams' qualifications are in chemistry, biochemistry and in oenology. He passed the Master of Wine examination at his first attempt in 1999 and won Australia's Vin de Champagne Award in 2008. Amanda Regan Contributor With vintage experience in Champagne and Burgundy, Amanda Regan makes Pinot Noir, Chardonnay and sparkling wines at her family vineyard next to the Macedon Range in Victoria, Australia. Ms Regan has a Masters degree in Wine Technology, Management & Marketing, a background in art and design, and is currently studying for the Master of Wine qualification. Ms Regan is an experienced wine judge, regularly tasting in major international wine competitions such as the IWC, IWSC, Decanter World Wine Awards, Mondiale du Pinot Noir, and Chardonnay du Monde. Meri Kukkavaara Contributor Meri is an interior designer by trade, who has a wide range of interests in the field of art, as well as education. Since completing her art studies in Florence, Italy she has worked extensively with art exhibitions and antiques, while occasionally contributing to art exhibitions as a free artist. She is also an art therapist, with more than ten years of experience. Meri is a keen student of life and in her free time enjoys taking up courses such as drumming, Indian cooking and tango. International Distribution - Pineapple Media Limited · shcirculation@ntlworld.com · www.pineapplemediauk.com 8 Senior Advisers Seija Nummijoki, Tuomas Hirvonen, Martti Viitamäki, Sami Martinkauppi Contributors Andrew Caillard MW, Pascal Kuzniewski, Jan-Erik Paulson, David Passarello, Philip Tuck MW Photographers Pekka Nuikki Michael Boudot Publishing Director Jarmo Hietaranta jarmo.hietaranta@fine-magazines.com Communications Director Markku Vartiainen markku.vartiainen@fine-magazines.com Media Sales & Development Executive Isaac Svirskis isaac.svirskis@fine-magazines.com Printing House Libris 2009 Price Single issue 30 including delivery Single digital issue 15 www.fine-magazines.com Orders and queries 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.

T he ambiance at the end of vintage time in Champagne was surprisingly relaxed. The cellar masters were all smiles as another first-rate harvest was safely secured in the cellars. The weather conditions provided welcome comfort to the champagne houses that are battling with plummeting sales. The fact that the growers and négociant houses were able to come to an agreement on reducing yields further restores confidence in champagne's undoubtedly bright future. Many head figures of the trade now consider champagne's dip as a passing fad ­ as long as their pockets are deep enough to survive the worst. Money might still be tight this year for everyone. Consequently, in order to make best use of the reader's budget, FINE tasted over one thousand champagnes and constructed an inclusive ranking of the region's finest offerings. The TOP 100 list introduced in this magazine is intended to aid and advise you as to what to buy and drink right now. Regarding this, I had a chance to take part in a fascinating closures tasting. Nine sparkling wine bottles from the same batch were closed with varied seals and blind tasted twelve months after disgorgement. The selection consisted of a natural cork; a plastic closure; four steam treated "cork dust" closures, that are supposed to be free from cork taint; and three crown caps of different oxygen permeability. My top three consisted of crown caps only, which I had ranked in hermetic order. The natural cork finished seventh, while samples eight and nine, two steam extracted "cork dust" closures, suffered from the cork taint condition that they were supposed to eliminate. Needless to say I have been a firm believer in crown seals ever since. To shed further light on the issue, Martin Williams MW gives us a scientific introduction to sparkling wine closures later in the magazine. In addition to this interesting debate, we celebrate the region's great historical personalities with the story of Eugène-Aimé Salon and reveal the secrets of the rocketing luxury brand, Armand de Brignac. Also, we give our readers a roaring dose of horsepower, as we explore champagne in Formula 1, as well as enjoying spectacular classic cars at the Weekend of Automobile Excellence in Reims. Many consumers and trade members believe that part of champagne's romance is in the popping of the cork. I, however, am of the opposing view and regard the closure merely as a hinderance between my wine and I. The 100 per cent condition of the wine is where the romance starts! Essi Avellan Essi Avellan MW Editor Fi n e E d i t o r i a l 9

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Page 22 Formula 1 and Champagne: Intertwined for The Past 60 Years Page 28 Discovering the Formula 1 Legend's Palate 12 Fine Contents Page 112 Clive Christian - The Rolls-Royce of Kitchens Page 80 One Man's Quest for Perfection Page 90 A High-Octane Break from the Champagne Harvest

Page 18 Avenue de Champagne: ­ Dressed to Impress Page 52 Armand de Brignac's Winning Hand 17 18 22 28 34 52 60 Page 34 The Best Champagnes for 2010 Fine Nuikki Fine Event Fine Experience Fine Personality Fine Ranking Fine Property Fine Larsson Fine Science Fine Vintage Fine Novelty Fine Champagne Fine Reads Fine Experience Which Sommelier Would You Entrust with Your Happiness? Habits de Lumières Thrills, Spills and Bubbles Pit Stop with Jean Alesi The 100 Best Champagnes for 2010 The Midas Touch of Cattier Living Life to the Slowest Closures Debate 1998 - an Unexpected Delight Lanson Extra Age Salon - Champagne for One Champagne Book Novelties Weekend of Automobile Excellence in Champagne 1959 Pol Roger Bubbly Splendour of Prestige Cuvées Design with a Perfumed Touch 62 68 76 80 89 90 100 102 112 1000 Finest Wines Fine Gallery Fine Design Page 68 The 1998 Vintage in the Glass Today Fi n e C o n t e n t s 13 9 Fine Avellan Editorial

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Which sommelier would you entrust with your happiness? not its sommelier, but now my happiness for this evening rested mostly in the hands of this unknown person. Had he taken proper care over his wines, their selection and their storage? Was he familiar with the award-winning chef 's innermost thoughts and secrets? Could he decant and serve the wine correctly, making even the last sip enjoyable...? A black book ­ a list of 4000 wines ­ was placed in my hands accompanied by a polite question: "Would Sir like to choose his own wines, or may I take care of things?" The voice exuded genuine caring coupled with cheerful geniality. I smiled back and nodded. "What do you recommend?" "Firstly, would you mind telling me what dishes you were planning to order, and what kinds of wines you like?" The sommelier sounded sincerely interested. I was somewhat relieved, as I seemed to be in good hands. I explained that I enjoyed mature Bordeaux and Burgundy, but that I was not prepared to pay exorbitant amounts for them. We conversed for a while longer and agreed that three wines would be served. I left the rest to the sommelier ­ thankfully. The evening was perfect, culminating in the sommelier's choice of the cellar's last bottle ­ and our last sip ­ of Château Margaux 1943. When we were leaving, the sommelier asked whether I wanted to take the empty wartime Margaux bottle with me as a souvenir. As I write this, I gaze upon it and wonder why I haven't collected more bottles. Sadly, the reason is simple. Generally, I have been disappointed by restaurant sommeliers ­ sometimes in the sense that the restaurant does not even have one. Most often, however, the reason is the sommelier's indifference towards the wine and the customers. Customers are not regarded or treated as individuals, resulting in everyone being offered the same alternatives. In my opinion, the most important skill for a good sommelier is reading the customer and applying his knowledge to each situation separately. The sommelier's profession is esteemed, although not to the same degree as the chef, whose status and celebrity value have soared in recent years. Chefs are expected to be eccentric and behave like outrageous rock stars, whereas sommeliers stand, boy scout-like, in the wings demurely deferring and bowing to the customers. It is no sin to have good manners, but hiding behind them could be construed as just that. In Europe we have highly skilled, supremely trained and competitively recruited sommeliers, but how many do you know by name, or even by reputation? This is a wake-up call to all good sommeliers. You are in control of one of the most deeply revered products of the world, and in possession of training that rivals that of a high-ranking soldier. But where is your personality? Don't forget to bring your competence and character into play: offence is often the best defence. I for one am ready to be conquered and to surrender before your expertise, and I am sure many others are as well. T he waiter brought us glasses of the house champagne and allowed us time to have a look around before bringing the wine list. The restaurant's twenty or so tables were full, but the atmosphere was relaxed. I recognised a few of the diners from pictures in magazines. We were dining at one of the world's top restaurants, where it seemed only natural that the house champagne should be Krug's masterful Clos du Mesnil in the form of its excellent vintage of 1996. According to my dining companion, "the first sip is always the best." She will often only have one glass, leaving the rest of the bottle because that one glass has given her the necessary knowledge and experience of the wine. My needs are different. I want to become acquainted with the wine and its character, giving it time to show off its best aspects and to enthral me. For me, the greatest experience and understanding are contained in the last sip. An empty bottle on the table represents a unique event that has become an indelible, if small, part of my personal history. "The sommelier will be with you in a moment, Sir," I heard the waiter say, and my thoughts snapped back to the present. That comment worried me. I had chosen the restaurant based on the reputation of its kitchen, Pekka Nuikki Editor-in-Chief Fi n e N u i k k i 17

T 18 he Habits de Lumières is an annual winter festival hosted by the ten prestigious champagne houses that line the Avenue de Champagne, which runs through the heart of Epernay. For the occasion, the avenue has been decorated using vibrant colours and brightened with sounds; the joyous atmosphere further enhanced by performances, art, gastronomy, and ­ needless to say ­ champagne. Since its debut in 2000, this festival has become the most important cultural and economic event in town. Themes change each year, from The Swinging Sixties in 2007, to La Mode fashion in 2008. The theme this time is justifiably La Fête, celebration, as it is the 10th anniversary of the event. The Habits de Lumières is officially launched inside the town hall. After getting into the festive mood by toasting with Boizel and De Venoge champagnes, I join the crowd that has gathered outside to watch animated scenes projected onto the façade of the beautiful building. Suddenly, corks pop and fireworks explode from giant champagne bottles ­ situated on the roof of the building ­ and explode majestically in the night sky. I am caught up in the meandering flow of thirty thousand people following the blanc de blancs diamond fairies from the town hall towards the Place de Champagne at the top end of the avenue. The Lumières is a moving adventure that is played out along this one kilometre stage. Each champagne house I pass is illuminated, all of their courtyards are sparkling, and each open gate invites me to come in. I want to go everywhere at once. Stars are shining across the façade of Moët & Chandon. Further along, Perrier-Jouët has chosen a contemporary style to illuminate each of its four courtyards on both sides of the avenue, with white balls suspended in front of bold, coloured backdrops and solid architectural shapes of light. I then catch a glimpse of Pol Roger and it looks magical, glimmering glassy pink and blue. I arrive at the top of the avenue just in time for the finale. Launched from amongst the vines at Champagne Mercier, fireworks are exploding over the Place de Champagne. At this point, I turn around and walk against the crowd, like a bubble trying to go back into the bottle after the cork has just popped. The Boizel and De Venoge parties flank both sides of the entrance into a grand courtyard. There is a champagne bar and live music set amid a spectacular scene of lights and colours, which move dramatically across the buildings. Adjoining facades at Pol Roger gleam like blue water fountains and Brut Reserve is being served from magnums inside. What an extraordinary party, instantly glamorous and convivial, happy and familial. It is no surprise to find that the Moët & Chandon party is the biggest. A marquee plays host to waiters serving champagne and jazz musicians entertaining guests in the main court. The gateway to the private party at the art deco disco across the road is pure fantasy. Everything is glittering with gold and glamour. Guests crowd the buffets, lounges, staircases and balconies. It is "a Grand Cru on all levels" says Stanlislas de Rocoffort de Vinnières of Moët & Chandon. The Habits de Lumières is a celebration as elegant, refined and effervescent as the finest champagne. I wish I had been here before, and wish I could go to every party tonight, but there is always next year. >

an a Reg mand l Boudot A Text: Michae tos: Pho 2008 Event click the Video Fi n e E v e n t 19

A unique style throughout the world Champagne Lanson is made in the purest of traditions and according to original methods that have been handed down through the generations. Since 1760 this savoir-faire is the absolute guarantee of a unique and consistent style, sought after by all followers of great wines who love to discover its delicate nature, its power and its length on the palate. In letting its aromas develop over time, Champagne Lanson retains its balance and its freshness. This is why certain specialists do not hesitate defining it as a champagne for laying down.

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Text: Essi Avellan MW R hythmic waves of the chequered flag mark the end of the race. The crowd immediately starts invading the racetrack to witness the victory celebrations on the podium, following last year's Formula 1 Italian Grand Prix in Monza. The fans' wait is soon rewarded, as the top three drivers enter the stage: Rubens Barrichello and Jenson Button of Brawn GP and Kimi Räikkönen of Ferrari. After the happy, yet seemingly exhausted, drivers have impatiently listened to the national anthems and received the monumental trophies, it is time for a party. The special F1 Edition Mumm Cordon Rouge jeroboams are being ceremonially handed to the drivers. Barrichello, Button and Räikkönen pick them up, give them a good shake and approach the audience, directing the gushing sprays of champagne over them and each other. The ultimate motor sport celebrates with the quintessential sparkling wine. How is it that Formula 1 came to build such a strong bond with champagne? Fi n e E x p e r i e n c e 23

Renault engineers fine-tune their car in preperation for the big race 24 "He has got the right attitude! champagne first." Räikkönen always tastes the

CELEBRATION VIDEO Click the image and enjoy Mumms F1 Champagne sabrage at the Mumm bar Kimi Räikkönen celebrates his podium finish I am enjoying the view of the successful drivers playing around with the jeroboams of champagne with Hughes Trevennec, G.H. Mumm's F1 Director. When Kimi Räikkönen stops for a while to take a good sip from the bottle, Trevennec smiles contently: "He has got the right attitude! Räikkönen always tastes the champagne first." I doubt Räikkönen is testing it for the cork taint. It is more likely the Finn savours the drink and rewards himself with it. However it is also customary to reward one's teammates. Often, after the first sprayings, the bottle is dropped down from the podium to the pit staff who start circulating it amongst themselves, sipping the liquid gold in celebration. After all, wines are always best when shared, so even spraying could be considered one form of sharing. I ask Hughes Trevennec about this. "Originally the wine was not sprayed but poured into the trophy or a glass. It was actually in the 24 Hours of Le Mans race in 1967 that the change occurred. Dan Gurney and A. J. Foyt had won the race with the Ford GT 40 Mk IV and Henry Ford II himself had crossed the Atlantic to witness it. Once on the podium, Gurney started to take the muselet off the Salmanazar-sized bottle. But the sunshine and heat had done their tricks and the cork popped open and caused a big surprise. Gurney tried to stop the gushing and placed a finger over the bottle. This, of course, maximised the gushing and got Mr Ford wet. A legend was born." in Champagne, with the Reims-Gueux track playing host on July 2. Trevennec points out: "Obviously, when in Champagne, the teams and drivers were received by the Champagne Houses and given champagne as gifts. Soon afterwards Moët & Chandon started hosting the Sunday night celebrations." F1 raced in Champagne until 1966 and by this time a major bond had been forged. Champagne started to accompany the celebrations worldwide, in whichever country the major houses had managed to secure distribution. Originally there were no exclusive deals but only individual arrangements. Hughes Trevennec remembers: "It was not always given that the celebration wine would be champagne. There was actually a rivalry between a major German sekt house and champagne. But, as history tells us, champagne won the battle." era oF exclusivity In 1984 Bernie Ecclestone, president and CEO of the companies that manage and administrate the F1 circus, started making exclusive three-year contracts for champagne sponsorship. Hughes Trevennec, who worked for Moët & Chandon at the time, was heavily involved in brokering the deal. Moët & Chandon sponsored the competition until 1997 when they decided to leave the F1 podiums. Trevennec shares some background information: "When Moët withdrew from the circuits, Ecclestone kept the Moët bottles on the podiums by buying them. But they were already searching for a new champagne partner. At that time Mumm contacted me and I changed houses. Soon after we went about securing the deal for 2000. In 2010, as F1 turns 60, we are also celebrating our 10th year of involvement! " F1 came to champagne The Formula 1 World Championship, launched in 1950, celebrates its 60-year anniversary this year. The first ever race took place at the Silverstone airfield circuit in England on 13 May 1950. The sixth race of the championship was held Fi n e E x p e r i e n c e 25

tricky sponsorship Some voices of criticism are heard about mixing drinking and driving. Therefore Pernod Ricard, owner of G.H. Mumm, strictly ensures that a bottle of champagne is visible and popped open only after the engines are switched off. In conservative Grand Prix environments even more rigorous guidelines are followed. Trevennec specifies: "For instance, in the Arabic countries, such as Bahrain, no champagne is sprayed. Instead, a bottle with the Bahrain Grand Prix logo containing sparkling rose water is used. In France, we also have uncompromising rules about sponsoring events with alcohol. Therefore the Mumm Cordon Rouge is not visible there either, but is instead replaced by a naked bottle." But where legal, the special edition double magnum bottle has become a collectable item. As the wine is not "meant" for drinking, I notice myself wondering whether Mumm bothers putting Cordon Rouge ­ or even real champagne ­ inside. "It is Cordon Rouge", Trevennec confirms, "We manufacture around 3000 of these special bottles on a yearly basis. Each of the three drivers gets one and they also sign one for Mumm. Some drivers, such as Ayrton Senna in the past, collect all their victory bottles in their trophy rooms." Despite the challenges, Mumm values the sponsorship greatly. Trevennec also believes his company benefits from it in two different ways. "Almost everybody loves the GPs and wants to come and see the races. It is such a great opportunity for delivering experiences to our key clients. Via F1 we are also entering and gaining visibility in new markets. But most importantly, it is the joyous moment of celebration and succeeding that fits Champagne Mumm's brand philosophy perfectly." Trevennec then pauses and grins: "And we never have to worry about the result of the race ­ Mumm always wins and gets to be on the podium every time!" > Hughes Trevennec of G.H. Mumm 26 Victory celebrations on the podium Mumm's Fabien Gay with the traditional signed jeroboam

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Jean Alesi Pit Stop with 28 After the Saturday's Grand Prix qualifications in Monza, I am invited to the paddock and Renault motor home for a peek behind the scenes. Despite Renault's mediocre performance on the day, the ambiance in the massive, two-storey camper is astonishingly relaxed. I am seated at one of the tables in the spacious secondfloor lounge. The appearance of the hostess that soon greets me by handing over a glass of champagne ­ Mumm Cordon Rouge, of course ­ corresponds with the glamorous image of pit girls. I savour my champagne and relish the buzz of the team's drivers and management going in and out of the motor home. I soon recognise a familiar face entering the room. It is Jean Alesi, the famous former Formula 1 driver. With his intensive eyes, carved features and healthy tan, the 45-yearold Alesi looks positively stately. He seems to know nearly everybody in the lounge, exchanging quick greetings with one and all. This does not strike me as surprising, given he has been involved with Formula 1 racing since 1989 and has remained an active agent in the racing world since his retirement from the track. As I watch him mingle, Alesi's history as one of the most colourful and recognisable Formula 1 personalities of all time appears fresh in my memory. Sicilian blood and a childhood spent in the Mediterranean Avignon come through in his reputedly flamboyant personality and aggressively entertaining driving style. I remember Jean Alesi best for his seasons at Ferrari. The early 1990s was a difficult era for the iconic Italian team, but Alesi's passionate personality brought much comfort to the fans. I am awoken from my thoughts when Jean Alesi walks to my table and greets me kindly. Earlier in the day I had had a conversation with the former F1 driver Mika Salo regarding wine lovers amongst Formula 1 personalities. He proposed to set up a meeting with Jean Alesi, a renowned wine lover and vigneron. Sooner than expected, I get my interview with Alesi over a glass of champagne. Unfortunately he is on a tight schedule and the "pit stop" can only take ten minutes. Text: Essi Avellan MW

29 Fi n e C h a m pa g n e P e r s o na l i t y

Taste for the best We start the discussion with his own wine, Clos de l'Hermitage, a Côte du Rhône that is scored highly by the influential American wine critic, Robert Parker. Alesi bought the small, fourhectare property near his hometown of Avignon in 1995. His winery, which produces 12 000 bottles a year, is more a hobby than a business. However, he takes guarding his personal image seriously: "Before releasing anything under my name I needed to be 100 per cent sure we could make high enough quality wine." In the early days the label bore little connection to Alesi but today it shows a Ferrarired sports car figure, as well as Alesi's signature. Quite logically it is distributed mainly in Parisian restaurants and in Italy, the home of his most dedicated fans. Not much export effort is required in addition to these markets, as they are large enough to swallow Clos de l'Hermitage's entire production. Given he makes a classic Rhône blend, I presume this to be Jean Alesi's favourite wine style. However, I find out he possesses an educated palate and a taste for the finer things in life ­ as well as an open mind: "I appreciate all wines of the world. What I like to drink the most are fine red wines such as Château Pétrus and Sassicaia." He and his wife, Japanese model, actress and pop singer Kumiko Goto, have a soft spot for champagne, too: "Personally, my favourite is Dom Pérignon, although Taittinger also belongs at the top of my list. It is a highly consistent marque, providing only good surprises. But I like my champagnes mature enough; wines from 1995 and older are drinking well today. Truthfully, my wife is the champagne lover in the family. She adores Cristal." Soon the glass of champagne and therefore the pit stop are over and Alesi needs to rush on. Based on his first-rate taste in wine, perseverance and passion in the racing world, his full "retirement" into wines some day is something wine lovers should toast with great enthusiasm. 30 Jean Alesi 1964 Jean Alesi's lengthy Formula 1 career consisted of over 200 Grand Prix races between 1989 and 2001 for Tyrrell, Benetton, Sauber, Prost, Jordan, and Ferrari. He gained thirty-two podiums but only one victory. After Formula 1 Alesi moved to DTM ­ German Touring Car Championship ­ in 2002 and drove until 2006, winning four races. Alesi bought his winery Clos de l'Hermitage in the Côte du Rhône in 1995. His sole wine from the four-hectare property scored 94 Parker points in both the 2001 and 2007 vintages. > (born Giovanni Alesi) Alesi's old Ferrari is art exhibition art exhibition in Champagne Pommery's cellars.

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C TexT: essi AvellAn MW PhoTos: PekkA nuikki hampagne can boast a most rare combination: its greatest wines are blessed with an ageing capacity that is second to none. On top of that, due to the custom of blending and prolonged ageing on the lees, champagne is one of the few fine wines that is so delightfully pleasurable at the time of release. Indeed, most champagnes are consumed right away, meaning they are rarely given the option of reaching their absolute peak. As some need remarkably more time than others, FINE went through the rigorous process of naming and ranking the 100 best champagnes that bring the most enjoyment today. Putting brand images and prices aside, we blind tasted over 1000 samples of the current champagne offering: prestige cuvées, vintages and non-vintages. Fi n e 1 0 0 B e s t 35

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W e have come across several champagnes that divide opinion when tasted in their youth. An excellent example of this is Roederer Cristal, while others include Philipponnat Clos des Goisses and Ruinart Dom Ruinart. All are exquisite wines, but to our minds they are champagnes that really need time. Therefore, their splendour can go unnoticed in a blind tasting, even though this time the Cristal surprised us by showing so well, so young. We have witnessed on more than one occasion people's amazement about the fuss and cult following these wines have achieved. Unfortunately, verifying these wines' superior future to fellow tasters by serving older vintages is not always within the realms of possibility. It is the current offering on the market by which the products are revered or disparaged. Further ageing potential does not warm one's heart when the cork is popped and the precious moment is at hand. Our aim with this courageous ranking of top champagnes is to give advice on which champagnes are most palatable right now. As always in FINE Magazines, the points on the 100-point scale express the wine's current drinkability. Therefore, the points have a tendency to rise as the wine approaches its peak. We do, however, evaluate the ageing capacity both verbally and by providing an optimal drinking time for each wine. The resulT The quality of the wines was generally high, as one would expect from such a reputable and high-priced category, with very few clearly disappointing wines. The average scores of the wines that were selected for our Top 100 list were in the 90­92 point bracket, which was satisfactory for wines as young as the recent releases. On many occasions, vintages approaching the end of their commercialisation showed very well due to both additional ageing and the probability of longer postdisgorgement times. Dom Pérignon 2000 was a viable example of this, as it clearly is much more open and giving than, say, a year ago. All in all, the wines with extensive ageing on the lees excelled by sticking out in the blind tastings with their charm and impressive gist. The 1998s are no blockbusters but they possess elegance and charm and many are just reaching a wonderful drinking age, as Pol Roger Sir Winston Churchill and Taittinger Comtes de Champagnes demonstrate. 1999 possesses neither the finesse of 1998 nor the power of 2000, often leaving us longing for focus and energy. However, the Jacquart Blanc de Blancs and Deutz Cuvée William Deutz Rosé were both delightful surprises from the vintage. excluding Prejudices And exPecTATions We assessed and ranked some of the most famous and expensive wines of the wine world. To go beyond brand prejudices and expectations, we chose to taste the wines blind. Therefore we had to neglect any knowledge about the wines' apparent ageing histories, as well as the vintages. It is essentially a ranking based on the organoleptic qualities of the wines on that particular day. As we have no idea Fi n e 1 0 0 B e s t 37 as to the disgorgement dates of most wines, the results can be affected by whether it was an old or new disgorgement. However, lack of knowledge of the disgorgement date is a problem no consumer can escape. During several blind tasting sessions throughout the past year, we analysed over 1000 champagnes of all styles and price levels, from non-vintages to prestige cuvées and sought-after collectors' items. However, we excluded the late-disgorged wines, such as Dom Pérignon Oenothèques, from the selection as their availability is minimal and prices much higher than that of the rest of the offering.

38 The millennium vintage of 2000 has ripeness and roundness and it gives us gastronomic wines that are enjoyable already today; indeed, it is worth looking out for the Dom Pérignon, Egérie de Pannier and Billecart-Salmon Cuvée Elisabeth Salmon Rosé of this vintage. The 2001 vintage is easy to miss, as it was an utter catastrophe in the region. We only sampled a small number of these, as many were simply not made. However, for Ayala's Cuvée Perle d'Ayala the vintage was successful indeed. 2002 is a great vintage ­ in our mind on a par with the majestic and exceptional 1996. Quite different in style, it has power, vibrancy and freshness; and above all, those elements are in perfect balance. No wonder Cristal and Cristal Rosé are so spectacular. Fortunately for us, there are still many more wines to be released from this vintage. The battle for supremacy was fought mainly between Grande Marque prestige cuvées but a number of grower champagnes elbowed their way in. The most delicious were ChartogneTaillet Fiacre NV, Guy Charlemagne Le Mesnillèsime 2002 and Collard-Picard Cuvée des Archives 2002. golden surPrise Mumm's re-launched flagship wine Cuvée R. Lalou is commendable for its approachability today that does not in any way detract from its ageing capacity. It was this same feature, yet in a very different wine style, that gave the position of No 1. champagne to Armand de Brignac. We witnessed in our glasses a fine, smooth and creamy champagne with underlying power and great mineral freshness. Classic, restrained and energetic in style, it has everything a truly great champagne can offer. Its accentuated fruit-forwardness is what makes it so irresistibly palatable today. Armand de Brignac's flashy golden bottle is eye-catching in the true meaning of the expression. It is always rewarding when the content of the bottle matches its price and reputation. We were thrilled that the champagne, appreciated by the rich and famous thanks to its bling-bling appeal, not only looks resplendent, but the contents also delivered so perfectly on the connoisseurs' collective palate.

39 Fi n e 1 0 0 B e s t

40 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. Armand de Brignac Dom Pérignon Mumm Cuvée R. Lalou Roederer Cristal Egérie de Pannier Pol Roger Cuvée Sir Winston Churchill Dom Pérignon Rosé Jacquart Blanc de Blancs Roederer Cristal Rosé Chartogne-Taillet Fiacre Deutz Cuvée William Deutz Rosé Bollinger Vieilles Vignes Françaises Heidsieck & Co Monopole Gold Top Charles Heidsieck Brut Réserve Ayala Cuvée Perle d'Ayala Krug Clos d'Ambonnay Armand de Brignac Rosé Billecart-Salmon Grande Cuvée Laurent-Perrier Grand Siècle Alexandra Rosé Salon Taittinger Comtes de Champagne Billecart-Salmon Cuvée Elisabeth Salmon Rosé Lanson Noble Cuvée Brut Joseph Perrier Cuvée Royale Pommery Cuvée Louise Louis Roederer Cattier Clos du Moulin De Venoge Blanc de Blancs Guy Charlemagne Le Mesnillèsime Mumm Grand Cru Collard-Picard Cuvée des Archives Maxime Blin Cuvée Maxime Krug Clos du Mesnil Veuve Clicquot Vintage Reserve Chartogne-Taillet Rosé Bollinger La Grande Année Charles Lafitte Brut Millésime Cuvée Speciale Laurent-Perrier Grand Siècle Pol Roger Deutz Cuvée William Deutz Louis Roederer Brut Premier Alfred Gratien Brut Dom Ruinart Blanc de Blancs Pommery Grand Cru Jacquesson Avize Grand Cru Krug Grande Cuvée Chartogne-Taillet Louis Roederer Rosé Mumm de Cramant NV 2000 1998 2002 2000 1998 1998 1999 2002 NV 1999 1998 2002 NV 2001 1995 NV 1996 1998 1997 1998 2000 1998 1999 1999 2003 NV 2000 2002 NV 2002 NV 1998 1998 NV 1999 1999 NV 1999 1999 NV 1999 1998 2000 2000 NV 2000 2004 NV 1995 96p 95p 94p 94p 94p 94p 93p 93p 93p 93p 93p 93p 93p 93p 93p 93p 93p 93p 93p 92p 92p 92p 92p 92p 92p 92p 92p 92p 92p 92p 92p 92p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 91p 90p 50. Henriot Cuvée des Enchanteleurs

51. Taittinger Brut Réserve 52. Duval-Leroy Femme de Champagne 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. Nicolas Feuillatte Palmes d'Or De Venoge Blanc de Noirs Pommery POP Earth De Venoge Cattier Brut Premier Cru Pol Roger Brut Réserve Philipponnat Grand Blanc Chartogne-Taillet Cuvée Sainte-Anne Brut Krug Perrier-Jouët Billecart-Salmon Brut Rosé Delamotte Blanc de Blancs Pol Roger Rosé Agrapart Vénus Armand de Brignac Blanc de Blancs Chanoine Tsarine Blanc de Blancs Gosset Célébris Blanc de Blancs Extra Brut Vranken Demoiselle Deutz Amour de Deutz Perrier-Jouët Belle Epoque Jacquesson Laurent-Perrier Brut L-P Gosset Grande Réserve Delamotte Brut Philipponnat Clos des Goisses Joseph Perrier Cuvée Josephine Bollinger Special Cuvée Philipponnat Sublime Réserve Charles Lang Rosé Duval-Leroy Clos des Bouveries Jacquart Cuvée Katrina André Clouet Un Jour de 1911 Vranken Demoiselle Rosé Brut Pierre Peters Grand Cru Blanc de Blancs Mumm Rosé Lanson Noble Cuvée Brut Rosé Claude Cazals Clos Cazals Collard-Picard Cuvée Dom Picard Canard-Dûchene Cuvée Leonie Mercier Boizel Brut Rosé Laurent-Perrier Cuvée Rosé Brut Pommery Apanage Rosé Ruinart Brut Laurent-Perrier Ultra Brut Pommery Brut Apanage De Saint-Gall Blanc de Blancs Extra Brut NV 1996 1998 NV NV 2000 NV NV 2002 NV 1998 1998 NV 1999 2000 2002 NV 2003 2003 NV 1999 1999 2000 NV NV NV 2000 2002 NV 2002 NV 2004 NV NV NV 2003 NV NV 1999 NV NV 2004 NV NV NV NV NV NV NV NV 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 90p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 89p 88p 88p 88p 100. Ruinart Brut Rosé Fi n e 1 0 0 B e s t 41

1. Armand de Brignac NV 2009/2025 96p Pale lemony colour. Smooth peach nose with pear and floral notes. Complex with mineral smokiness, restraint, honey and spicy finesse. Creamy, foamy palate with good freshness and tropical fruit. Linear with compact fruit and wonderful length. Enjoyable today but there is great potential ahead. 42 2. Dom Pérignon 2000 2009/2025 95p Deep lemon colour. Opulent, toasty and autolytic, sweet, fruity nose, with coffee, mineral restraint and stone fruit. Medium bodied but very complex, fine and evolved. Wonderful acidic lemony bite. Long, with minerality and richness. Starting to show its full glory but there is lots of life ahead. 3. Mumm Cuvée R. Lalou 1998 2009/2028 94p Medium deep lemony colour. Elegant yet rich, buttery, brioche and lemon nose. Candied fruit with toffee and tropical fruits. Intense, structured and stylish on the palate. Very long and linear with a charming velvety and creamy mouthfeel. Great degree of vinosity tied to an elegant restraint. Monumental yet already approachable. Possesses all the features needed for long maturation. 4. Roederer Cristal 2002 2009/2030 94p Bright, glossy lemon-yellow colour. Restrained, elegant and toasty ripe, white fruit nose. Upfront intensity with vivid fruit aromatics. Lively and smooth, creamy palate. Accentuated, focused, tight acidity. Deliciously bright, pure fruit expression. Super long and fine, enjoyable but very young. 5. Egérie de Pannier 2000 2009/2018 94p Pale lemon-gold developing colour. Highly toasty, sweet candied fruit and coffee nose. Wide, rich and round on the voluptuous palate. Wonderful to drink now due to the appetising toastines, but will evolve. 6. Pol Roger Cuvée Sir Winston Churchill 1998 2009/2025 94p Deep lemon-yellow colour. Smooth, creamy and toasty apple, vanilla, fudge and dried fruit nose with confectionary notes. Compact palate with a wonderfully acidic backbone and accentuated minerality. Fine and with great potential ahead. 7. Dom Pérignon Rosé 1998 2009/2025 93p Medium deep cherry-red colour. Very toasty, yet elegantly restrained nose. Red berries, smoky minerality and floral aromatics. Wide and vinous red fruit palate with fine acidity support. Good length and a seductively creamy mousse. 8. Jacquart Blanc de Blancs 1999 2009/2015 93p Medium deep lemony colour. Attractive toasty, autolytic nose combined with ripe apple and a gentle, smoky minerality. Ripe fruitiness, floral perfumy notes and tempting vanilla scent. Smooth, round and velvety palate. A nice, gunflinty touch of minerality on the finish is a fine ending to this textbook style blanc de blancs. Perfect to drink today but will improve for five more years. 9. Roederer Cristal Rosé 2002 2009/2030 93p Pale cherry-pink colour. Pronounced, fragrant and toasty nose of red fruit, dried fruit, spices and caramel. Extraordinary, vinous and muscular palate with a magnificently acidic spine. Extremely intense and fine. Long length and an impeccable ageing capacity. 10. Chartogne-Taillet Fiacre NV 2009/2019 93p Medium deep green-hued yellow colour. Powerful red fruit nose, slight rusticity and a spicy touch. Bruised apple, honey and gentle toasty finish. Intense, with plenty of character and power. Long, round and drinking well now. Can be kept for up to ten more years. 11. Deutz Cuvée William Deutz Rosé 1999 2009/2018 93p Pale peachy-salmon colour. Gently spiced, fresh red fruit nose with a nice toasty and mineral complexity. Stylish, linear and complex structure with a lively, smooth texture and long length. Perfect to drink today but will improve for the next 5­8 years. 12. Bollinger Vieilles Vignes Françaises 1998 2009/2022 93p Deep, developed colour. Beautiful nose, highly nuanced with a bright fruit appeal, red berries, and soft, spicy apple pie. Focused and concentrated on the palate with plenty of muscle for further ageing. 13. Heidsieck & Co Monopole Gold Top 2002 2009/2019 93p Medium deep lemon-yellow colour. Smooth, complex and toasty nose with accentuated vanilla and perfumy notes. Nice bright fruit and compact palate. Stylish and fine overall impression. Drinking well already but capable of ten years further ageing.

15. Ayala Cuvée Perle d'Ayala 2001 2009/2020 93p Deep, developing lemony colour. Red fruit nose with some earthy tones and cardamom. Round palate with a muscular structure and enough acidic backbone. A fruity and gastronomic wine with a good degree of vinosity. Starting to drink well. 16. Krug Clos d'Ambonnay 1995 2009/2030 93p Deep and dense golden-yellow colour. Chewy and muscular first sensation but the energy and minerality soon take over. Red apple, vanilla and spice aromatics. Not heavy but concentrated and seamless. Some vanilla oak aromas are detectable. Long palate, packed with fruit. 17. Armand de Brignac Rosé NV 2009/2018 93p Beautiful, pale-raspberry colour. Fragrant and seductively sweet raspberry nose with a delicate and yeasty impact. Fine on the palate too, smooth with silky texture, pure fruit character and lots of intensity. Gentle fluffy mousse. Enjoyable but with mid-term capacity. 18. Billecart-Salmon Grande Cuvée 1996 2009/2025 93p Deep lemon-gold colour. Powerful toasty nose and layers of apple, spices, perfume and cream 19. Laurent-Perrier Grand Siècle Alexandra Rosé 1998 2009/2017 93p Deep onion-skin colour with orange hues. Charmingly harmonious and an elegantly spicy floral nose. Smooth and vinous on the palate. Long-lasting finish with a perfectly integrated silky mousse and lemony acidity. Wonderful between now and 2017. 20. Salon 1997 2009/2025 92p Bright, greenish-yellow colour with energetic bubbles. Pronounced, complex nose with intense ripe kiwi fruit aromas, hints of toffee and almonds. Dry and crisp on the palate with a voluptuous mousse, lovely mineral character and balanced ripe fruitiness. Long lingering finish with a refined and persistent, elegant style. Drinks surprisingly well already, but will improve in the next 10 to 15 years. 21. Taittinger Comtes de Champagne 1998 2009/2019 92p Pale lemony colour and lively effervescence. Overt, toasty, sweet fruit with perfumy and vanilla notes. Palate is a bit foamy, but smooth and creamy. Elegantly lifted acidity and minerally long finish. A fine and open drink today but there is capacity for a further 10 years' ageing. 22. Billecart-Salmon Cuvée Elisabeth Salmon Rosé 2000 2009/2019 92p Deep onion-skin colour. Rich yet elegant nose of pepper, leather, dried fruits and red berries. Bright, pure fruitiness and a wonderfully juicy 23. Lanson Noble Cuvée Brut 1998 2009/2018 92p Pale greenish-yellow colour. Pronounced and seductive green apple, smoky mineral and smooth toffee nose. Elegant and restrained palate with an underlying power and harmonious nature. Lean and long, still somewhat tight with accentuated acidity. 24. Joseph Perrier Cuvée Royale 1999 2009/2017 92p Medium deep lemony colour. Creamy and toasty nose with ripe fruit, lemon and apple. Compact and focused on the adequately fresh palate. Exploding fruit with vegetal characteristics and floral hints. Long length and mid-term ageing capacity. Fi n e 1 0 0 B e s t 43 14. Charles Heidsieck Brut Réserve NV 2009/2017 93p Deep lemon-gold colour. Fragrant and prominent nose of delicious sweet apple and tropical fruits. Powerful on the palate with great fruit purity and intensity. Persistency and class, nice autolytic touch. nuances. Compact and linear palate that is wide and fruit-driven. Well integrated, accentuated acidity and a very fine, silky mousse. Youthful still but starting to come around. Best cellared. mouthfeel. Stylish and silky with a wonderful vibrancy and width. A great ripe and fruity wine, still in its youth today.

complexity. Linear, tightly-packed palate with pure, bright fruit attack and long length. 30. Mumm Grand Cru NV 2009/2015 92p Deep lemon colour. Smooth toasty edge on the vanilla and fruity nose. Concentrated, smooth and velvety on the palate. Gentle creamy mousse and a long and delicately peppery and toasty finish. Harmonious and drinkable today. 31. Collard-Picard Cuvée des Archives 2002 2009/2016 92p Pale lemony colour. Very toasty, creamy, smooth, white fruit nose. Nice compact fruitiness and muscular finish. Overt and easy to approach. Not very complex but with plenty of character. 32. Maxime Blin Cuvée Maxime NV 2009/2016 92p Very pale onion-skin colour. Toasty and fruity, red berry and pepper nose. Grapefruit and lemon appear on the palate alongside gentle yeasty notes. Intense yet with stylish, restrained qualities. Enjoyable today but will peak after five more years of storage. 33. Krug Clos du Mesnil 1998 2009/2025 91p Medium deep lemon-yellow colour. Toasty and smoky, perfumy, white fruit nose. Persistent, hugely intensive, powerful and fruity. Salty and minerally with light, new oak nuances. Highly youthful with the power and spine for extended bottle maturation. 34. Veuve Clicquot Vintage Réserve 1998 2009/2018 91p Medium deep developing lemony colour. Rich, creamy nose with toasty, caramel, vanilla and bruised apple notes. Wide palate, rich and muscular. Toastiness is accentuated on the palate, too. Good fruit intensity and depth. A long and vinous wine with lots of personality and a good capacity for ageing. 35. Chartogne-Taillet Rosé NV 2009/2013 91p Medium deep orange-hued colour. Smooth, evolving, spicy and leathery nose with tobacco and toast nuances. Tightly-packed, smooth and silky. Charming texture and a lot of personality. 36. Bollinger La Grande Année 1999 2009/2020 91p Medium deep lemony colour. Overt, bruised apple, vanilla and spice nose. Medium-bodied with a slightly singular fruitiness. Medium length accompanied by a stylish, velvety mouthfeel. 37. Charles Lafitte Brut Millésime Cuvée Speciale 1999 2009/2015 91p Deep lemon-gold colour. Wonderfully rich, overt and delicious burnt sugar nose. Full and round with burnt match aromatics. Long and complete on the palate. Enjoyable today but with great potential. 38. Laurent-Perrier Grand Siècle NV 2009/2022 91p Pale lemony colour. Rich, toasty nose with a lovely sweet, bright fruit behind. Cantaloupe melon, smoke and cream. Nice and delicate yet intense fruit and freshness can be found. Youthful still, but very harmonious with underlying power and great persistence. 39. Pol Roger 1999 2009/2017 91p Pale lemony colour. Toasty, elegant nose with a floral and yeasty complexity. A lot of fruit and muscle. Attractive coffee and spice finish. Approachable today but a few more years' cellaring will bring the best out of the wine. 40. Deutz Cuvée William Deutz 1999 2009/2020 91p Medium deep lemony colour. Pungent floral and nutty nose. Ripe apple fruitiness and delicate autolytic nuances. Wonderful citric backbone and silky mouthfeel. Still slightly in pieces but good potential and lots of personality. 41. Louis Roederer Brut Premier NV 2009/2017 91p Medium deep youthful lemony colour. Developing, minerally, gunflinty and roasted nose. Clean, sweet, citric and tropical fruit on the palate. Wonderful fruit purity. Linear and fruity structure. Delicious and long with a nice crisp backbone. 25. Pommery Cuvée Louise 1999 2009/2020 92p Pale lemon-green colour. Delicately floral, restrained nose with vanilla and cantaloupe melon. Foamy mousse with gunflinty minerality. Still closed on the palate and requires time. Stylish, pure and long. 44 26. Louis Roederer 2003 2009/2015 92p Medium deep lemony nose. Powerful and overt yeasty nose with nut and ripe apple notes, sweet confectionary and vanilla hints. Foamy mousse and long finish with lots of personality. The overall impression is lifted by the gunflinty minerality. 27. Cattier Clos du Moulin NV 2009/2017 92p Pale lemon-yellow colour. Complex, ripe apple, pepper and stonefruit nose. Compact on the palate with sweet fruitiness, but a very dry finish. Lots of character in this youthful wine. Will benefit from 5+ years of storage. 28. De Venoge Blanc de Blancs 2000 2009/2016 92p Pale lemon-green colour. Toasty and rich nose with caramel and vanilla. Wonderfully sweet brioche nose. Appealing, juicy and mouthwatering palate with long length and super pure fruit. Smooth and velvety mouthfeel. A great drink today but has capacity for ageing too. 29. Guy Charlemagne Le Mesnillèsime 2002 2009/2020 92p Pale lemon-yellow colour. Fragrant and elegant, toasty, cool, lemon and mint nose with a smoky

42. Alfred Gratien Brut 1999 2009/2017 91p Lemon-yellow colour. Complex herbacious and bright fruity nose with some autolytic, toasty, and nutty notes. Medium-bodied, compact and complete. Long with some mineral notes and a woody complexity. Long, stylish and approachable today. 43. Dom Ruinart Blanc de Blancs 1998 2009/2020 91p Youthful, bright-lemon colour. Smoky, mineral and floral nose. Elegant and reserved on the palate. Good fruit purity and intensity. Mediumbodied with a smooth, silky texture. Still has reserved aromatics on the palate. Will drink well until 2020. 44. Pommery Grand Cru 2000 2009/2016 91p Deep lemony colour. Pronounced and bright tropical fruit, flower, wet straw, honey and gunflint aromas. Intense, stylish and persistent on the palate, which finishes with a mineral note. Approachable already but will peak in 4­6 years. 45. Jacquesson Avize Grand Cru 2000 2009/2020 91p Deep lemon-gold, dry colour. Ripe apple, apple jam and spice nose. Wide and rich on the palate, with an appealingly sweet fruitiness. Long and luscious with a confectionary taste on the persistent, but fully dry, finish. Needs some time to show its full potential and will last for more than 10 years. 46. Krug Grande Cuvée NV 2009/2025 91p Medium deep lemony colour. Very rich, evolved and charmingly sweet nose. Toast, melon and brioche aromatics with a good degree of complexity. Mouth-filling, wide and round on the palate. Nice autolytic influence. Enjoyable and giving already, but has the power and structure needed for prolonged maturation. 47. Chartogne-Taillet 2000 2009/2016 91p Deep greenish-lemon colour. Rich, oxidising nose of bruised apples, mixed spices and honey. Fi n e 1 0 0 B e s t 45

Wide, robust and muscular palate with a bright, acidic backbone. 48. Louis Roederer Rosé 2004 2009/2017 91p Pale cherry-pink colour. Delicate, restrained nose of red cherry, tart strawberry, toffee and perfume aromas. Long and fresh with a smooth foamy mousse. Pleasant now, with mid-term ageing potential. 49. Mumm de Cramant NV 2009/2017 91p Medium deep lemony colour. Toasty, smooth, sweet nose with lemon, tropical fruit and sweet bread. Compact on the palate with a gentle silky-smooth mousse. Fresh, linear and long on the palate. Wonderful to drink now but with a good basis for development. 46 50. Henriot Cuvée des Enchanteleurs 1995 2009/2018 90p Medium deep lemon-yellow colour. Toasty and rich, caramelised pineapple, ripe apple and fudge nose. Voluptuous palate with an energetic mousse and good length. Complex, with power and some elegance. Generous now but there is enough fruit and structure for mid-term drinking. 51. Taittinger Brut Réserve NV 2009/2013 90p Medium deep developing-yellow colour. Soft, sweet white flower and white fruit nose. Balanced, with good intensity, elegance and a refreshing spine. Harmonious and complete. 52. Duval-Leroy Femme de Champagne 1996 2009/2020 90p Medium deep lemon-green colour. Fragrant and delicate white fruit, floral and caffè latte nose. Tightly-packed and fruity, even hard at first on the palate. Opened up in the glass and left a long-lasting, mouth-watering aftertaste. Tight and youthful still, with the promise of future potential. 53. Nicolas Feuillatte Palmes d'Or 1998 2009/2016 90p Medium deep lemony colour. Sweet Pâtisserie and herbacious nose with plenty of personality. Dusty notes and bruised apple. Full and round with medium length. Lacks refinement and some spine. Open and enjoyable now with midterm ageing capacity. 54. De Venoge Blanc de Noirs NV 2009/2013 90p Pale lemony colour. Soft, nutty and lemony nose with sweet peach and tropical fruit. Overt fruit on the medium-bodied and fresh, rounded-off, dry palate. Nice elegant depth and long, focused length. Bright and very clean fruit expression. 55. Pommery POP Earth NV 2009/2012 90p Medium deep lemony colour. Smooth, nuanced and delicate tropical fruit nose. Long, rich and gentle palate. Creamy mousse and good length. 56. De Venoge 2000 2009/2016 90p Deep golden colour. Rich, overt nose of ripe red berries and toast. Gentle and smooth, delicious taste. Mouth-filling and rich. Medium-long and overt, with a good aromatic complexity. Delightful today but has future capacity. 57. Cattier Brut Premier Cru NV 2009/2013 90p Deep lemony colour with a green tinge. Rich and toasty, wonderfully sweet, tropical fruit and mineral nose. The dry but intensely fruity and fresh palate shows complex and autolytic characters of brioche and biscuits. Smoky, mineral finish. 58. Pol Roger Brut Réserve NV 2009/2015 90p Pale lemony colour. Fragrant, ripe white fruit nose. Elegant feel with some overripe tones, as well as mineral complexity. Pleasantly fluffy mousse. Long, linear and creamy. Stylish with a lot of personality. 59. Philipponnat Grand Blanc 2002 2009/2020 90p Pale lemony colour. Toasty, cheesy and creamy, slightly reductive nose with melon, white flowers and tropical fruit. Mineral, pure and long on the light-bodied but intense palate. Very young still but with great potential.

60. Chartogne-Taillet Cuvée Sainte-Anne Brut NV 2009/2015 90p Pale lemon-green colour. Round and rich, toasty, burnt sugar and tropical fruit nose. Still youthful and restrained on the palate compared to the evolved and overt nose. Stylish creamy mousse. Good degree of complexity and a long length. Short-term storage is recommended. 61. Krug 1998 2009/2030 90p Deep lemony colour. Very toasty and rich nose with sweet apple and vanilla fruit. Slightly dry finish with a lot of width and weight. There is a contrast between the overt and sweet fruity nose and the much more restrained palate. Very young still, with a bright future ahead. Don't touch in the next few years. 62. Perrier-Jouët 1998 2009/2020 90p Medium deep lemony colour. Sweet, caramelised sugar, honey, flower and tropical fruit notes, with green vegetal notes also evident. Compact fruit and long length with mineral touches. Easy to approach, with a pure mouth-watering palate. Will open and show more complexity with 5­10 years further ageing. 63. Billecart-Salmon Brut Rosé NV 2009/2012 90p Pale peach-hued colour. Very fine and elegant nose. Restrained character with some tobacco, toast and gentle, volatile notes beneath the red fruits. More powerful on the palate with a good depth of flavour. Nice juicy, mouth-watering acidity. Gunflinty and minerally mouthfeel. 64. Delamotte Blanc de Blancs 1999 2009/2015 90p Pale lemony colour. Smooth and harmonious ripe apple and stonefruit nose. Wide, round and gentle, yet stylish, on the palate. Medium length and a nice integration of small-sized bubbles. Charming today and in the next 5­7 years. 65. Pol Roger Rosé 2000 2009/2017 90p Medium deep cherry-red colour. Elegant and pure red fruit, strawberry nose. Restrained yet elegant palate with bright, fresh cherry fruit and delicate toasty edge. Medium length and round, mid-weight palate. 66. Agrapart Vénus 2002 2009/2020 90p Pale lemony colour. Smooth, creamy and nutty, caramel, green apple and tropical fruit nose. Sharp, highly acidic palate with medium length and a very dry finish. Young still, but approachable. 67. Armand de Brignac Blanc de Blancs NV 2009/2019 90p Very pale-greenish colour. Soft and very youthful nose of super-pure floral and pear fruit. Youthful on the palate too, with a soft mousse and green fruit. Nice spine and medium length. Enjoyable now but a few extra years' maturation will bring out more charm. 68. Chanoine Tsarine Blanc de Blancs 2003 2009/2016 90p Medium deep lemony colour. Fragrant but restrained, floral, white fruit and pineapple nose. Smooth texture and very dry, toasty, medium-bodied palate. Will benefit from a short, extra maturation that will smooth the dryness of the finish. 69. Gosset Célébris Blanc de Blancs Extra Brut 2003 2009/2018 90p Medium deep lemony colour. Rich, smooth and toasty nose. Vanilla and fudge alongside ripe apple. Full-bodied, juicy and round on the palate. Easy to drink and gastronomic, despite being very dry. 70. Vranken Demoiselle NV 2009/2017 90p Pale yellow colour. Smooth, sweet stonefruit, confectionary and red apple nose. Gentle, autolytic toastiness. Medium-bodied, compact and elegant palate with long length. 71. Deutz Amour de Deutz 1999 2009/2020 89p Pale lemon-green colour. Very fragrant, bright floral nose. Compact and elegant on the toasty and minerally palate. Long, creamy and fresh, with a mid-term capacity for ageing. 72. Perrier-Jouët Belle Epoque 1999 2009/2020 89p Pale lemony colour. Vegetal, chalky mineral, toffee and smoke nose with a touch of waxiness. Light-weight but intense palate with lots of minerality. Linear and focused structure with a foamy mousse. Fine, but too young to express much charm. 73. Jacquesson 2000 2009/2018 89p Medium deep lemony colour. Pleasantly pungent, toasty brioche and dried fruit, honey, yeast and bruised apple nose. Crisp and dry palate with muscle and length. Enjoyable already but will evolve. 74. Laurent-Perrier Brut L-P NV 2009/2014 89p Pale lemon-green colour. Mineral and tight, white flower and smoky nose. Very minerally on the palate lined with bright tropical fruitiness. Tightly-packed and linear. Very dry. 75. Gosset Grande Réserve NV 2009/2013 89p Deep, developing lemon-gold colour. Soft, evolving lactic nose. Apples and dust. Midweight and rounded. Balanced but with a rustic, dusty touch. Lots of personality and richness. 76. Delamotte Brut NV 2009/2014 89p Medium-intense lemony colour. Toasty, evolving, nutty and lemony nose. Fresh and linear on the palate with some elegance and intensity but no great complexity or depth. Stylish and long. 77. Philipponnat Clos des Goisses 2000 2009/2030 89p Medium deep golden-hued colour. Toasty, nutty, spicy, oxidised apple and honey nose. Pungent palate with an oily texture and medium length. Needs time to smoothen and integrate. 78. Joseph Perrier Cuvée Josephine 2002 2009/2020 89p Medium deep lemon-yellow colour. Toasty nose with smooth, feminine, peachy and floral nuances. Intense, fruity and long on the palate. Good ageing capacity. Fi n e 1 0 0 B e s t 47

79. Bollinger Special Cuvée NV 2009/2015 89p Medium deep lemon colour. Rich, sweet and complex. Cinnamon, apple pie and vanilla nose. Gentle, deliberate oxidation. Weighty and wide, smooth, velvety palate with a nicely integrated mousse. Balanced and rich. 80. Philipponnat Sublime Réserve 2002 2009/2015 89p Medium deep lemony colour. Creamy and yeasty nose with red fruits and apple. Linear and quite rustic, with medium length and a sweetness on the palate. A foamy mousse and one-dimensional palate that lacks charm. 81. Charles Lang Rosé NV 2009/2014 89p Salmon-pink colour. Pleasantly opulent, delicately floral and ripe strawberry nose. Dry, mouthfilling mousse with a gentle acidity and fresh red berries in the harmonious finish. 82. Duval-Leroy Clos des Bouveries 2004 2009/2017 89p Pale greenish-yellow colour. Delicate floral nose with white fruit and soapy notes. A really dry and fine-tuned, closed palate. Elegant and nuanced but needs time to express more. 83. Jacquart Cuvée Katrina NV 2009/2016 89p Medium deep lemony colour. Toasty and creamy white fruit, tropical fruit and floral nose. A rich, smooth mousse and fresh, fruity, lemony finish. 84. André Clouet Un Jour de 1911 NV 2009/2017 89p Medium deep lemony colour. Smooth, cheesy and creamy sweet apple pie, spice and vanilla nose. A nicely fruity, slightly restrained, wide and structured palate. Medium-length with good purity of fruit but not very much complexity. 85. Vranken Demoiselle Rosé Brut NV 2009/2015 89p Pale-salmon colour. Fragrant, smooth, raspberry nose. Foamy mousse and a crisp finish. Forward, fruity and fresh palate. 86. Pierre Peters Grand Cru Blanc de Blancs 2003 2009/2015 89p Medium deep greenish-yellow colour. Fresh and lively floral, yeasty nose with smoky minerality. Fresh and elegant palate with a foamy mousse. Tight and dry finish. 87. Mumm Rosé NV 2009/2014 89p Medium deep peach colour. Sweet and round, forward red fruit nose. Nice fruit attack, which is tart and fresh. Attractive vinosity and sweet raspberry fruit in the lingering finish. 88. Lanson Noble Cuvée Brut Rosé NV 2009/2016 89p Pale onion-skin colour. Sweet and gentle, ripe peach nose. Dried fruit on the delicate palate. Elegant style, nicely balanced with charming fruit. Enjoyable from now until 2016. 89. Claude Cazals Clos Cazals 1999 2009/2019 89p Deep lemony colour. Vegetal, green apple, smoke and straw nose. Some impurities. Compact and lean palate with a somewhat coarse mousse and very dry, highly acidic finish. This wine needs time to show more charm and complexity. 90. Collard-Picard Cuvée Dom Picard NV 2009/2016 89p Pale lemony colour. A very smoky, pungent and restrained nose at first, which opens up in the glass. Pear, lemon, flowers and cream. A fruit-forward, white fruit palate. An elegant, rounded and balanced wine that will gain more complexity within a few years of cellaring. 91. Canard-Dûchene Cuvée Leonie NV 2009/2013 89p Medium deep lemony colour. Smooth and round, rich toffee, red apple and toasty nose. Nicely rounded body, with focused fruit and good length. Attractive purity and intensity. Good ageing capacity. 92. Mercier 2004 2009/2014 89p Pale lemony colour. Complex lemon, melon, flower and vanilla nose. Lean and elegant palate with a fresh, lively acidity. Slighly foamy mousse. Nice silky finish. 93. Boizel Brut Rosé NV 2009/2013 89p Pale-peachy colour. Stylish, slightly autolytic nose, where the fresh red fruits are in the back. Nice touch of spice and dried fruit. Elegant and restrained on the palate. Long, energetic and elegant. 94. Laurent-Perrier Cuvée Rosé Brut NV 2009/2013 89p Medium deep onion-skin colour. Delicately herbaceous nose with red fruit and floral notes. A fine mousse gives a silky feel to the palate. Bright cherry and confectionary flavour on the persistent, elegant palate. Fine and sophisticated with a very dry finish. Very much Burgundy Pinot Noir in style. 95. Pommery Apanage Rosé NV 2009/2013 89p Very pale onion-skin colour. Delicate peach and flower nose. Silky mouthfeel, stylish and restrained. Elegant style. 96. Ruinart Brut NV 2009/2014 89p Medium-intense lemony colour. Elegant, vegetal lemon and white flower nose. Restrained, intense and dry palate. Youthful still, with a firm, linear structure and good ageing capacity. 97. Laurent-Perrier Ultra Brut NV 2009/2014 89p Mid-depth lemon-green colour. Rich, gunflinty and toasty nose. Lemon and green apple. Restrained and bone-dry on the palate with autolysis coming through nicely. Stylish, with a fine mousse and wonderful fruit purity. 98. Pommery Brut Apanage NV 2009/2014 88p Medium-intense lemony colour. Smooth, vanilla and cream, ripe tropical fruitiness. Tight and closed on the palate but balanced with some complexity and elegance. 99. De Saint-Gall Blanc de Blancs Extra Brut NV 2009/2013 88p Medium deep lemon-green colour. A toasty and bready, tropical fruit and apple nose. Toasty and medium-bodied on the palate. Long and intense finish. 100. Ruinart Brut Rosé NV 2009/2011 88p Medium deep salmon-red colour. Appealingly autolytic, yet with a bright and fruity nose of ripe cherries, spices and figs. Rich, vinous mouthfeel, which is fruity and long. A gastronomic wine with weight and spine. 48

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52 Text: Pekka Nuikki Photos: Pekka Nuikki & Armand de Brignac T he greatest challenge for producers in Champagne is not the rather chilly climate, or the quality or quantity of the wines themselves, but how to market their products. The very name champagne evokes powerful images in all of us ­ of luxury, celebration and success. They are images that every one of us would like to associate ourselves with and which set champagne apart from all other drinks. But how do champagne producers exploit these images in their marketing campaigns? Not too well actually, as only around 40-50 champagne producers are known by their brand worldwide. The question worth asking is therefore: how could as many as 5000 unknown producers of champagne make us all aware of their brand and sell their products? At least one would seem to have found the answer ­ Cattier.

53 Fi n e P r o p e r t y

"The veRY NAMe ChAMPAGNe evOKeS POWeRFUL IMAGeS chaMpagne The Messenger Since the beginning of the twentieth century, it has been the world of sport and the fashion and entertainment industries that have mainly been responsible for champagne's visibility. Producers have not needed to invest a huge amount in order to have their products thrust into the limelight, either at the dining tables of the famous or as an accompaniment to various parties celebrating victory. All the same, the champagne houses have largely shied away from using personal branding in their marketing campaigns. They have simply felt no desire to attach themselves to one particular person. Indeed, many luminaries have felt that champagne brands themselves were a way to say something about their own status and success. One such was Armand de Brignac of Champagne Cattier. 54 oscar nighT chaMpagne One of the hottest champagne stories to emerge from the entertainment industry in recent years concerned the link between Roederer's Cristal champagne and the world of celebrities with which it found favour. Cristal's dominance as the number one drink among celebrities seemed unbreakable until it was challenged by Dom Pérignon, thanks to a number of massive marketing campaigns designed by Karl Lagerfeld. And now it is the turn of Cattier, who realised the time had come to conquer the world of music and entertainment. Cattier created a luxury brand called Armand de Brignac and emblazoned the bottle with a pewter "Ace of Spades" insignia. It erupted onto the world stage partly by accident, appearing first of all in a video by the US rapper Jay-Z. Afterwards, the golden bottle put in an appearance at David Beckham's celebritystudded welcome party in Los Angeles. Soon after, the cream of the entertainment world left the Oscar celebrations with a chilled bottle of Armand de Brignac in 2009 Academy Awardnominee gift bags. The press proceeded to run stories the following day featuring pictures of world-famous stars, from Justin Timberlake to Will Smith, posing with the golden bottle and history began to write itself ­ without any major advertising or marketing campaigns. Cattier's PR agency could congratulate itself on a job well done. Philippe Bienvenu, Cattier's Commercial Director, is extremely pleased with the way things have progressed and says of the popularity explosion: "There was actually no decision made to launch the brand through celebrities. The first celebrity to become a lover of Armand de Brignac was Jay-Z ­ he heard about the brand and contacted our U.S. importer, who then had us send him several bottles while he was holidaying in the south of France ­ and the bottles later appeared in his music video. Most recently, we saw the New York Yankees baseball team celebrate with Armand de Brignac after winning the World Series. Famous actors such as Leonardo di Caprio, George Clooney and many athletes such as Roger Federer, Luis Figo and LeBron James have all been seen in the company of the golden Ace, as have singers such as Rihanna. It has also become a favourite at France's Michelin-starred gourmet restaurants. "The NeW YORK YANKeeS BASeBALL TeAM CeLeBRATeD WITh ARMAND De BRIGNAC AFTeR WINNING The WORLD SeRIeS."

IN ALL OF US ­ OF LUxURY, CeLeBRATION AND SUCCeSS." These include Alain Llorca's Le Moulin de Mougins and Jacques Chibois' La Bastide St Antoine on the Riviera, along with Reims' celebrated L'Assiette Champenoise." MiniskirTs and wine The added value that many champagne producers bring to their brand is woefully unimaginative. Today it is almost exclusively visible in the packaging. The same is also true of Cattier's Armand de Brignac champagne, it has to be said, but it is in the unique packaging that its commercial brilliance lies ­ it dazzles and immediately catches the attention. The idea of the metallic bottle was originally conceived by the famed French fashion designer, André Courrèges. his ultra-modern designs featured well-cut pants, trapezoidal lines and miniskirts with white mid-calf boots; white became his hallmark. "Courrèges contacted us because he wanted to create his own champagne and he had two very specific colours; white and silver. he asked us if it would be possible to make a silver bottle for our champagne and in turn we could then say that we were the first champagne house to have a metallic champagne bottle. Mr Courrèges was very happy with the result and started to produce his own champagne under the name `Champagne Andre Courrèges'. We helped him until he retired and then the project ended," says Philippe Bienvenu. "The PRODUCTION IS ALSO veRY LIMITeD. LAST YeAR, We hAD exACTLY 42 000 BOTTLeS; AROUND FIFTeeN PeR CeNT OF WhICh WAS ROSé AND SeveN PeR CeNT BLANC De BLANCS. " Jancis has her doubTs The paperless gold bottle features four handapplied pewter labels, accented with two Ace of Spades insignias symbolising the Champagne region's regal heritage. The bottle is packaged in a black lacquered wooden case, fitted with an engraved nameplate, lined in black velvet and embossed with the brand's crest. It is this vain and pricey look that allows doubt to creep into one's mind regarding the quality of the contents. That has been the reaction of many a wine critic, including Jancis Robinson MW, the UK's best known wine writer. "exposure PR, the company in charge of promoting this new brand in the UK, kindly offered me a sample to taste some time ago and I declined the offer, because I just couldn't imagine recommending a wine at that price and with so little track record," wrote Jancis on her website. She need not have worried. The bottle's external appearance and the high price of the wine are rather off-putting, it is true, but Armand de Brignac's real genius is to be found within the metal shell. "exposure PR noticed my report and offered a tasting sample a second time. This time, I graciously accepted and shared a golden bottle, which was in the most extraordinarily lavish black lacquer box, with some rather bemused friends last weekend. "Now, of course, this is not the same as tasting a wine blind, but I have to say that I was pretty impressed. Armand de Brignac Brut Gold is extremely dense with a very stimulatingly tight bead. It is tense and refreshing, with scents in the floral spectrum followed by real precision on the palate," noted Jancis at the end of a successful weekend. Fi n e P r o p e r t y 55

"The SeCReT BehIND The hIGh PRICe OF LUxURY PRODUCTS ­ LIMITeD PRODUCTION AND AvAILABILITY" d Alexan tier re Cat Philippe Bien ve nu worTh More Than gold Today, Cattier remains an independent champagne producer and family business. It has some 20 hectares of grapevines, and most of the vineyards are Premier Cru. The Cattier family have owned the estate since 1793, though it is only since 1918 that they have produced and marketed champagne under their own name. Patriarch Jean-Jacques Cattier oversees the house's limited wine production alongside his son and Chief Oenologist, Alexandre Cattier. how then is Armand de Brignac different from the other Cattier products? Philippe Bienvenu believes that: "Armand de Brignac is unique for us in a number of ways. JeanJacques and Alexandre wanted to create a high-quality luxury cuvée ­ produced using the most traditional methods ­ that would give them complete control over the final product. Unlike most other champagnes in the category, which are made from a single vintage, their idea was to create a multi-vintage blend, with each bottling comprising three distinct vintages from exceptional years. They also wanted to pay tribute to the emblematic villages of Champagne, which are known for the high quality of their grapes that are all rated Premier Cru and Grand Cru and located in Montagne de Reims, Côte des Blancs and vallée de la Marne. We only use a very small 56 fraction of the first pressing of these grapes compared even to our own cuvées. Three distinct vintages are used for each bottling of Armand de Brignac, in a similar way to our Clos du Moulin." Measuring 2.2 hectares, the Clos du Moulin vineyard is a unique, walled-in vineyard that was acquired by Cattier in 1951. In the past, this Clos belonged to an officer of King Louis xv, Mr Allart de Maisonneuve, who was one of the first producers of Champagne wines in Reims. This special cuvée is a blend of selected vintages and is only produced from high quality harvests. "In the case of the Clos du Moulin, which was, by the way, selected by Air France and British Airways to be served on board Concorde and in First Class, the grapes are taken from just one plot of land instead of many ­ Armand de Brignac by comparison allots more freedom to Jean-Jacques and Alexandre, allowing them to create something different to what we normally make. Jean-Jacques believes that a single vintage champagne is like a single violinist, playing by himself. A multi-vintage such as Armand de Brignac is the entire orchestra, playing together. Finally, the dosage for Armand de Brignac is further enhanced by ageing in oak barrels for nine months, in order to impart a touch of soul to the champagne. The barrels come from Burgundy, having been used once before for Chardonnay. "The production is also very limited. Last year, we had exactly 42 000 bottles; around fifteen per cent of which was rosé and seven per cent Blanc de Blancs. The production will always remain limited, although we can expand a little. According to our projections, we estimate that we could possibly increase production to around 60 000­70 000 bottles, but it will never be more than that," says Philippe. MoTher and child The `de Brignac' name was registered by the Cattier family in the early 1950s. It was chosen by Jean-Jacques Cattier's mother, who had been reading a novel featuring a character of the same name. "In 1950, Mrs Cattier had the idea to create another brand and, by that time, she had already decided to one day do something different to what we were doing at Champagne Cattier. She did not know then exactly what, but she really liked the character in the novel and used his name to create something new. Around ten years ago, we thought that it was time to re-launch this initial project of Mrs Cattier and pay tribute to her. Unfortunately,

she passed away before Armand de Brignac was released. The concept of Armand de Brignac was originally very simple ­ we just tried to make the best possible champagne with the best possible presentation," explains Philippe. The secreT behind The high price of luxury producTs ­ liMiTed producTion and availabiliTy Although the original idea sounds very simple, it took a decade of hard work and faith to realise. The Armand de Brignac launch went perfectly, though, and the product proved to be a commercial success. "We intentionally limit the production of Armand de Brignac in order to maintain the quality of the brand. We would anticipate perhaps 6000 cases being released in 2010, which is similar to 2009. each year thus far, we have sold our entire release ­ so it is very successful," says Philippe proudly. Cattier has been a well-known producer among champagne connoisseurs for a long time now, particularly on account of the excellent single vineyard champagne from Clos du Moulin. There is always an air of modesty and humility in the way the company goes about things, and it has managed to remain hidden away from the general public, indeed almost too well. It therefore came as a big surprise when Cattier launched Armand de Brignac, a product that represented the complete opposite of the company's previous marketing strategies. The self-assured brand has brought the company fame and at the same time inspired other small champagne houses, under pressure from their bigger competitors and their huge marketing budgets, to believe in a better future. "I think that it has proven to us what we already believed to be true ­ that our champagnes can compete with any in the world, even the most famous houses. We will continue to put the most care possible into the creation of all our champagnes and we hope that the fame of Armand de Brignac will encourage people around the world to try them all. even in small countries there are champagne lovers! We always want the public to have something new to talk about as well ­ so we just released the Demi-Sec and will have new sizes, such as the Nebuchadnezzar (15L) and Jeroboam (3L), available soon." Cattier has discovered its own Midas touch. Armand de Brignac is a splendid example of a new kind of approach, one that would unfortunately seem to be rare among champagne producers in the current climate. The current situation seems surprising considering the numerous successful examples of world class marketing stunts in the past. Over one hundred years ago eugène Mercier, with the help of the Lumière brothers, produced the world's first advertisement film about his champagne, marketed wine tastings above Paris rooftops from a hot air balloon and used the free publicity provided by the Paris World Fair to his great advantage. Back then, eugène understood that you need to offer the consumers more than just beautifully designed packaging. The visual and taste experiences are not enough: it is the images and stories that harbour the luxurious secrets of champagne, and it is these enigmas that should be the main focus throughout future marketing campaigns. > "CATTIeR hAS DISCOveReD ITS OWN MIDAS TOUCh." Fi n e P r o p e r t y 57

the Story of ArmAnd de BrignAc -click the video http://www.armanddebrignac.com/ media/history.html 58 midAS Midas was one of the kings of Ancient Phrygia, where he reigned in the last decades of the eighth century BC. According to the myth, the satyr Silenus ­ in Greek mythology satyrs are male creatures that roam woods and mountains ­ had wandered away from the rest of the Sileni, having drunk a great deal of wine. Midas took the wanderer in and gave him hospitality for ten days before returning him to his companion. To show his gratitude, Dionysos said Midas could have whatever he wished. Without thinking, Midas asked that whatever he touched should be changed into gold. The wish was granted, but everything he touched did indeed turn into gold, including his food, his drink and his daughter when he tried to embrace her. In the end, the king regretted his request and relinquished his powers. the ArmAnd de BrignAc rAnge Armand de Brignac The first release of Armand de Brignac was a combination of three vintages ­ 2000, 2002 and 2003 ­ and an equal blend of Pinot Noir, Chardonnay and Pinot Meunier. Dosage 10g/l. The second and current release comprises three years ­ 2002, 2003 and 2005 ­ and is a blend of 40 per cent Pinot Noir, 40 per cent Chardonnay and 20 per cent Pinot Meunier. Dosage 10g/l. The origins of these grapes are quite varied. They are restricted to only Grand and Premier Crus, the most important of which include Chigny-les-Roses, Rilly La Montagne, Ludes, Villers Allerand, Montbré, Taissy for Pinot Noir; Avize, Villers Marmery, Vertus, and Le Mesnil sur Oger for Chardonnay; and Pierry and Damery for Pinot Meunier. Armand de Brignac Blanc de Blancs The first and current release comprises three vintages ­ 2002, 2003 and 2005 ­ and is a blend of 60 per cent Cote des Blancs and 40 per cent Montagne de Reims. Dosage 10g/l. Armand de Brignac Rosé The first and current release comprises three years ­ 2002, 2003 and 2005 ­ and is a blend of 50 per cent Pinot Noir, 40 per cent Pinot Meunier and 10 per cent Chardonnay ­ including red wine from the old vines of both Pinot Noir and Pinot Meunier, representing 12 per cent of the total volume. Dosage 10g/l. Single vineyArd vintAge ArmAnd de BrignAc? Philippe sheds light on Armand de Brignac's forthcoming single vineyard novelty: "Armand de Brignac Clos du Yons ­ 100 per cent Pinot Meunier ­ will be vintage champagne. Compared to the rest of the wines in the range, which are multi-vintages, the first Clos du Yons will be from a single vintage, the 2007. With 1.1 hectares, we could have produced 10 000 ­11 000 bottles but, in fact, we have made so strict a selection that the production will only be around 3000 bottles. I am certain that it will be something very interesting to taste and the first bottles should be released around 2012­2013. "We will surely have something very interesting and very different from the rest. This is the philosophy of Armand, to never do the same as others."

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Living life to the slowest Andreas Larsson 60 I just love the winter. It is nostalgic and it is sparkling with ever-shifting nuances of white. Things are back to normal and the pace increases intensely after the soothing calm of Christmas. However, few of us seem to have the time to embrace winter's beauty due to the confines of everyday stress. However, taking time and defying that stress is something we should learn. I mean, why run through life instead of slowing down and imbibing life's rare and precious moments. Time is finite, and living it to the max is sometimes living it to the slowest. Certain things need to be slow. Yesterday night I was invited to a fancy tasting where an impressive number of rare flacons were tasted, discussed and rated. Sure, as a wine professional, I need to do this to enhance my knowledge and to update my vinous hard drive. When it comes to pleasure though, I am not convinced about sizeable tastings' virtues. The greater the number of wines we taste, the less we focus on enjoying them. It is in these moments that I find myself envying the amateur wine lover who can cherish and savour each wine with an abundance of time. After all, there are no perfect wines, only perfect moments. This became especially evident when we were poured nothing less than a 2002 Cristal Rosé during the intermission. No one in a healthy state of mind can deny the fact that it was a bloody remarkable champagne, even though I didn't really enjoy it. Was there something wrong with the bottle? No, not at all. The only fault was that everyone toasted and finished their glasses in less than a minute to get on with the tasting. Kind of a waste, really. We always talk about a wine's properties: visual aspect, nose, aromatics, purity, taste, structure, length, potential etc. But does anyone take into consideration the time aspect? I think there should be a minimum time required to fully enjoy the majesty of a grand vin! An inexpensive sparkling wine might well be at its best when gulped down in an instant. However, a top class champagne craves the luxury of time. We have already heard of slow food, maybe there is now time for an esoteric society called slow wine that could function as a wellneeded counterpoint to the surpluses of instant gratification wines and mastodon tastings. This is also somewhat true when it comes to my other great passion in life ­ music. To fully enjoy the beautiful dynamics and complex structures of great music, we need to slow down, listen, reflect and feel. Often in music, speed and virtuosity have always been things that have impressed us. Witnessing the dazzling speed and intricate escapades from geniuses such as Charlie Parker or Glenn Gould is always a thrill, but, playing `slow' is sometimes even more demanding. I am currently listening to the English maestro Julian Bream performing t

the slowest the Largo from Vivaldis Concerto for Lute and strings in D Major. Bream may never have had the same technical speed and accuracy of the great John Williams, but his mastery and perfect command of playing slow, haunting and beautiful music, giving each note a presence and a sparkle, remains unparalleled. My half bottle of Billecart-Salmon Brut Rosé is by no means as great as the Cristal. But it is opened for a perfect moment. Slowly, I am following it to the notes of Vivaldi. It is fragrant, creamy and balanced, displaying elegant fruit and a red berry-infused aftertaste. I am positive that the aftertaste lingers much longer if I just quietly sit down and reflect on the presence of each note. A lovely and slow weekend is coming to an end as I indulge in a marvellous Krug Grande Cuvée, disgorged in March 2003. It is a dignified champagne, as pure and layered as the season, with a light toastiness and a plethora of aromas; bright and balanced with an array of flavours on the long finish. Imagine the millions of years it took the soils of Champagne to form, the years it took the vines to reach a sufficient age, the annual cycle, the long ageing in bottle, and the time I kept this bottle in my own cellar until this special moment arrived. I will drink this with great joy, slowly enjoying every second of its grace, poise and elegance, accompanied by the capturing notes of the late Mstislav Rostropovich playing J.S. Bach's second cello suite in D Minor ­ a true work of art with an impeccable structure, grace and complexity. It is slow, it is beautiful, and it sparkles. to Fi n e L a r s s o n 61 Living life

62 Photo source Domain Chandon M Text: a W r tin illi a M ms W Maestro ­ one solution Duval-Leroy opened the champagne closure debate last April by launching its single vineyard Clos des Bouveries 2004 under the Maestro technical closure. The renowned Canadian packaging company's new solution for sparkling wines tackles the sealing problems by using a closure that is essentially a crown seal disguised or decorated to look much like the current stopper. It is equipped with a golden lever that even manages to make the closure "pop" at opening. Maestro is a significantly costlier option than a natural cork, but it does offer ease of opening and freedom from cork taint. Soon after its launch, however, the closure was classified illegal for Champagne, where laws necessitate a cork stopper. The support of Carol Duval-Leroy, a power lady of the champagne business, for the revolutionary packaging is to be seen as a discussion opener. Maestro may not be the ultimate solution, but some respected voices are clearly prepared to argue that even the most historical regions need to evolve to improve their wines' quality and Essi Avellan MW consistency.

V T aking into consideration the crown cap's widespread use at the lees ageing stage of the champagne making process, the decision of some New World producers, as well as the respected Champagne House Duval-Leroy, to employ it in place of cork was not exactly a quantum leap. However, it could be regarded as a bold move in an industry sector widely recognised for its long-proven production methods and strong adherence to tradition. Duval-Leroy's launch of Clos des Bouveries under the revolutionary Alcan Maestro closure during London Wine Fair 2009 was quickly deemed illegal and they were forced to withdraw the product from the market. or bidule for tirage, or a compressible polylaminate seal incorporated at the interface between wine and metal cap. marketing plOy Or quality factOr? Conceivably, there might have been both marketing and quality-based considerations behind decisions to eschew tradition and move away from cork. After all, TCA ­ 2,4,6-trichloroanisole ­ and related taint compounds, rightly or wrongly associated with cork, continue to plague the wine industry to this day. And, based on taint problems also experienced in Champagne, several champagne houses would almost certainly make a move away from cork, should the alternatives be embraced by a quality-conscious market. The experienced yet open-minded cellar master of Champagne Lanson, Jean-Paul Gandon, says: "Considering technical and quality reasons only, I would be willing to shift immediately into closing champagne with crown caps." Another cellar master who favours crown caps is Cédric Thiébault of Besserat de Bellefon. He reasons: "No question about it, they are the best closures for champagne known today. The problem is only marketing related." Market acceptance is effectively at the centre of the alternative closures debate. Olivier de la Giraudière, Old and imprOved Patented in the US in 1892 and traditionally applied to the packaging of beer and soft drinks, the crown cap has been employed for decades by the majority of champagne winemakers, and producers of méthode traditionelle sparkling wines worldwide, as an effective and economical temporary seal for wines stored en tirage, on the lees. The crown cap combines the positive attributes of excellent pressure retention with durability, convenience, economy and, arguably most importantly, inertness. The latter feature is effectively provided by a polymer insert such as the plastic cup Fi n e S c i e n c e 63 enture into your local fine wine emporium, head for the champagne section, and you are unlikely to find anything out of the ordinary. The shelves will be lined with champagne bottles of the familiar style, sealed with the classic mushroom-shaped "champagne" corks manufactured from glued cork fragments to which two discs of natural cork are bonded to provide a consistent interface with the wine. Visit the New World sparkling wine section, however, and you may well be struck by a revolutionary approach to sealing the precious bottles with "crown caps", in an effort to overcome perceived issues of variability linked to the use of cork. Many champagne cellar masters, it seems, would also choose crown caps for quality reasons ­ if their marketing departments were to give them the green light. Are they a truly viable alternative? As it is predicted to become a hot topic in the near future, I suggest we take a brief look at the science of champagne closures.

64 export manager at both Lanson and Besserat de Bellefon, insists on prudence in the closure matter: "People love the pop of the champagne bottle. The traditional mushroom-shaped cork is part of the champagne magic and it is our mission to preserve the tradition and magic related to the wine." Indeed, tradition remains strong in many sectors of the global wine trade, particularly in those markets in which wine is a recent arrival on the cultural scene and those where it is attached to images of prestige or sophistication. Those markets in which wine is regarded with a greater degree of "comfort", and is appreciated for its intrinsic ­ rather than conferred ­ qualities, are arguably the most likely to accept alternatives. The aesthetic qualities of a sparkling wine package incorporating a crown seal are sure to engender lively debate. Many would ­ and apparently do ­ regard the crown cap as a neat, functional closure that possesses its own very distinctive aesthetic qualities. SenSOry impact Indeed, there are other dimensions than aesthetics to the crown cap as a sparkling wine seal. The most topical, of course, is the closure's influence on the aroma and flavour of sparkling wines. As an almost hermetic seal, crown caps are found in research to significantly retard and modify the critical early stages of the maturation process, the result being wines that lag behind in the classic post-disgorgement development and complexity. Sparkling wines sealed after disgorgement with natural cork may be able to develop more positive sensory characteristics, such as toast, butter and mushroom, in the short term. However, beyond three years after release, the sealing quality of the natural cork starts to deteriorate causing more bottle variation and advanced development. The effect may be accelerated by the pressureassisted soaking of wine into the cork and hence the presence of a thin liquid film that can allow a more rapid migration of dissolved gas from the high-pressure zone within the bottle to the ambient conditions outside. The polymer seal within the crown cap, on the other hand, retains its elasticity for a substantially longer time, if not indefinitely, and furthermore it has a fundamental lack of affinity with water and aqueous solutions such as wine. The gradual loss of carbon dioxide from within the bottle to the outside environment is likely to have a couple of significant effects. In particular, the depletion of dissolved CO2 will have an impact on wine pH, which will rise a little and so favour the acceleration of the oxidative processes responsible for wine ageing. An alternative closure that prevents, or at least minimises, the efflux of carbon dioxide from the bottle should be expected to offer superior long-term ageing potential, based on the assumption that high pressure and/or high CO2 concentrations make a positive contribution to the maturation process. keyS tO perfect ageing There are two conditions for maturation that are significantly influenced by choice of closure. The first is the possibility of oxygen pickup after disgorgement and final packaging, and the second is the loss of internal pressure through leakage of dissolved carbon dioxide past the seal. At this stage, we can say with reasonable confidence that the best way to ensure these conditions is to use an inert seal, of which the crown cap is currently the outstanding example. A natural cork, if functioning to its full potential as a pressure seal, will achieve a ageing bubbleS Another important question, therefore, is the closure's potential contribution to the longevity of the wine. One significant contrast between cork and an alternative such as a crown cap is its susceptibility to the slow leakage of carbon dioxide along the cork-glass interface. A key factor is the effective pressure between the surface of the glass and that of the closure, which in the case of a recently inserted cork and a properly applied crown cap, is initially of similar magnitude. The performance of the cork starts to degrade as it gradually loses its elasticity and the pressure at the cork-glass interface diminishes.

similar degree of protection but it may in itself contribute a small but significant amount of oxygen at disgorgement and hence set the wine on a different path of evolution. For extended maturation of truly classic wines such as prestige cuvée champagnes, one must concede the natural limitations of cork. Champagne is even now one of the longest-lived wines. Closing the best bottles with crown caps would significantly lengthen the life expectancy of great vintages and make them near-immortal. Would the Champenois ever consider such an innovation for the packaging of their finest cuvées? In practice, all it would involve is bringing the crown cap out from the shadowy recesses of their maturation caves ­ where, incidentally, countless visitors to the region have observed the crown cap in almost universal use ­ and into the bright light of the commercial world. My guess is that this will eventually come about. For extended maturation oF truly classic wines such as prestige cuvée champagnes, one must concede the natural limitations oF cork. Fi n e S c i e n c e 65

the low temperature oF the wine during disgorging limits the evolution oF carbon dioxide but also increases the solubility oF oxygen. 66 the cheMistry explained At disgorgement, the strongly "reductive" influence of the yeast lees is removed and the wine very briefly undergoes exposure to a small amount of atmospheric oxygen. The low temperature of the wine during disgorging limits the evolution of carbon dioxide but also increases the solubility of oxygen. The liqueur d'expédition is added, along with some of the disgorged wine to top the bottle before the final closure is applied. Both the liqueur d'expédition and the topping wine will also have been exposed to oxygen to some degree during their production, so they are likely to bring some oxygen into the bottle and contribute to the future long-term chemical processes occurring therein. The liqueur d'expédition normally consists of a concentrated syrup of sucrose dissolved in wine. Once the closure has been applied, the bottle effectively becomes a closed system once again and chemical equilibrium ­ more correctly a multitude of chemical equilibria ­ is established. Numerous processes take place simultaneously. The sulphur dioxide added at expedition reacts almost instantaneously with aldehydes, removing them from the picture and preventing them from contributing to rapid oxidation processes that can degrade a wine very quickly. If a cork has been inserted, the small amount of oxygen adsorbed onto the surface exposed to the wine will diffuse and participate in the oxidation processes that ensue. Exposure of the tannin-rich cork to the wine, which is an aqueous solution of alcohols and other solvents, results in the dissolution of some of those phenolic compounds into the wine; again, they participate in the many and varied reactions that take place, including the formation of free radicals that will participate in autooxidation. They may also react with various sensory constituents of the wine to increase the intensity and complexity of aroma and flavour. Examples might be the toasty, biscuity and mushroom characters. If a crown cap has been used in place of cork at disgorgement, then the contribution of phenolics that would follow closure with a cork will not take place unless similar compounds are included in the expedition liqueur. This may be a useful tactic for winemakers who adopt the crown cap, in order to achieve a similar degree of complexity within the first eighteen months of the wine's life. Esters form in equilibrium with acids and alcohols during the process of ageing en tirage, but the equilibrium then re-establishes itself after the addition of the expedition liqueur. Esters also form between phenolic compounds and the wine's component acids, so any new phenolics derived from cork or from tannin addition at expedition participate in these reactions as well. The effects would be further, though very subtle, softening of perceived acidity and perceived tannin effects such as bitterness or astringency. Chemical processes known as Maillard reactions will start to take place between sugar added at expedition and the amino acid constituents of proteins and peptides derived from grape cell degradation and yeast autolysis. The products of Maillard reactions are widely observed in the world of food and beverages, and include compounds associated with the aromas of baked bread, cooked meat and malted barley. In champagne and sparkling wines, they include compounds related to toasty, biscuity and bready aromas. Although the chemical environment present in a wine during maturation at ambient temperatures does not particularly favour the Maillard reaction, it may still proceed slowly and steadily throughout the course of wine's maturation, provided the necessary substrates are present. Sulphur-containing compounds, most of which are by-products of yeast or bacterial activity, but some of which are generated by natural degradation of sulphur-containing amino acids, can combine with other wine constituents to form complex compounds that are volatile in nature and hence can contribute in significant measure to wine aroma. The chemical processes that follow disgorgement occur gradually, and are influenced by numerous factors including temperature, ambient light and movement. This makes it difficult to predict where a wine will be at any particular moment of its development. But there is no question that as time passes, the effects of the maturation processes become more pronounced.

«Cuvee des Moines» is the key to the reputation of Besserat de Bellefon in the most prestigious restaurants. This wine owes its success to its wonderful lightness, silky foam and delicate bubbles. www.besseratdebellefon.com Fi n e S c i e n c e 67

I 68 An Unexpected delight Text: Juha Lihtonen Photos: Pekka Nuikki I t is the second week of September and the year is 1998. Harvesting is supposed to begin today, but the pouring rain is lashing the Champagne vineyards. Farmers are cursing the situation and the whole year in general, as the weather has been tormenting them for the whole growing season. First the sub-zero temperatures in the spring, then the heavy rains in the summer and finally the scorching August heat wave possessed the qualities required to destroy vines. Even though a part of the crop was wiped out, the remaining grapes became concentrated and reached an excellent ripeness. Finally, everything was looking promising. However, the pouring rain is now ruining any chance of a successful harvest. The only way to save the crop is to postpone the harvest and hope that the rains will go away; although it will take more than the rain relenting if there is to be a vintage champagne this year. For this to happen dry, warm and sunny periods would be required. At this stage of the autumn in such a chaotic year, it would be a miracle. On the other hand, in a year of extremes anything is possible. 1998 1998 Indeed, a miracle did occur with the 1998 vintage. In addition to its sufficient quality, the vintage produced a large quantity. Due to the challenging weather conditions and large crop, it did not receive much praise from champagne lovers. Lately, however, experts have begun to praise the 1998 vintage champagnes. Maybe the vintage has what it takes to become one of the great vintages of the 90s, along with the 1996, 1995 and 1990 vintages. Now, eleven years after the harvest, we gather together to evaluate the 1998 vintage champagnes.

69 Fi n e V i n ta g e

> Producers' opinions Usually there is little variation of opinion between producers. However, their appraisals of the 1998 vintage champagnes varied greatly. Some say that the vintage is excellent, while others think it was too weak to produce a vintage champagne. Producers at Krug, Veuve Clicquot and Moët & Chandon among others think that the vintage was good. BillecartSalmon and Alfred Gratien are also happy with what has come their way. Some, on the other hand, including Salon, Delamotte and LaurentPerrier, did not produce a vintage champagne on the basis of the quality of the crop. JeanHervé Chiquet, the owner of Jacquesson, is also part of the minority who agree that the vintage was ruined by rain and mildew. Jacquesson did not produce a vintage, even though it would have been especially tempting to celebrate the 200th anniversary of the champagne house, which happened to fall during this unusual year. At Bollinger, the thought of producing a vintage was pondered for a long time. Bollinger's long-time director, Ghislain de Montgolfier, says that they finally gave up on the idea, because even after the most careful selection of crops the quality of grapes did not reach the level of La Grande Année. However, Bollinger managed to produce its super champagne Vieilles Vignes Françaises with carefully selected grapes, even though the quantity was small ­ only 2695 bottles were produced. Just like Bollinger, Louis Roederer had to carefully consider whether to produce a vintage. However, they managed to harvest a good crop, thanks to extremely selective picking. Roederer harvested the crop in two lots during a threeweek period and produced its rosé and blanc de blancs vintage champagnes. Their Cristal and regular vintage champagne were not produced. 1998 today When the 1998 vintage wines were launched, they seemed modest and one-dimensional. However, during the past few years, they have developed into charming wines. They are characterised by complexity, delicacy and elegance, although they cannot compare with the complexity or richness of the 1996 and 1995 vintages. The advantage of the 1998 vintage is its approachability today. The most concrete example of the enjoyment of vintages is Krug, with the 1996 and 1995 vintage champagnes that are still rather tight and concentrated, while the palate of the 1998 is more gentle, subtle and aromatic. The same applies to the ever so inviting Dom Pérignon ­ its 1996 and 1995 vintages still require considerably more resting time than the 1998 vintages. They cannot yet give that traditional Dom Pérignon rich, baked and supple texture that the 1998 already shows. When considering our experiences with the 1998 vintages, we must say that despite a few exceptions, the champagnes are complex, rich, delicate, and yet vividly fresh. They are all enjoyable already, although the best ones are still worth ageing for many more years. One of the best experiences and most pleasant surprises of the year is Mumm's prestige Cuvée R. Lalou, dedicated to its late, long-time and legendary cellar master, René Lalou. Taittinger Comtes de Champagne, BillecartSalmon Nicolas François Billecart, Deutz Cuvée William Deutz, Lanson Noble Cuvée and Pol Roger Vintage Brut all charm with their drinkability right now. What these wines have in common is their rich mousse, fruitiness and elegantly complex texture. The wines have a round and light palate, yet they still hold up enough to suggest they can easily withstand years of ageing. We recommend that the prestigious rosés that did well in the evaluation ­ LaurentPerrier Grand Siècle Alexandra Rosé and Dom Pérignon Rosé ­ should be cellared for another four to six years in order to reach their peak. This will allow the dominant berry flavours that are presently evident to evolve and enhance the subtle texture and complexity of the wines. The 1998 Bollinger Vieilles Vignes Françaises and Pol Roger Cuvée Winston Churchill are already surprisingly delicious, but require at least 8 to 15 years to reach their peak. Krugs require the longest ageing time of all the vintages. As usual, they are very tight, even after ten years of ageing, reaching their peak between 15 and 20 years of age. We recommend that impatient Krug lovers decant their Krugs an hour before serving. So, is the 1998 one of the great vintages, good enough to sit alongside the 1996, 1995 and 1990? Unlikely, if the question refers to ageing potential. The 1998 vintage champagnes in general do not have the texture that is required for years ­ not to mention decades ­ of ageing. On the other hand, the 1990 vintage was considered a super vintage with great ageing potential. However, twenty years later it has still not fulfilled its expectations. While the 1998 does not show great promise in regard to its development in the future, the wines appeal with their drinkability today and the true greatness of the vintage remains to be seen. Conversely, why wait if the 1998 vintage champagnes are already charming today? 70

A A difficult year The winter was mild and the spring started off unusually warm - the result was that the vegetal growth of the vines started early in March. By the end of April the vines were suffering from the radical subzero temperatures. Up to 2000 hectares of vineyards were destroyed, while the remaining vines' growth slowed down remarkably. After the cold weather, the heat wave began, with temperatures rising above 30°C. During the daytime, the temperatures were at a record-high while the thermometer dropped below zero at night. The flowering occurred in moderately good conditions with a good fruit set ­ luckily just before the drastic change in weather. The continuous rain and cool temperatures took place in June and lasted until the beginning of August. In July the winegrowers witnessed the poorest amount of sunlight for over forty years. The vineyards were threatened by rot, which thankfully failed to materialise on a vast scale. Then on the August 8 the region experienced the event of the century ­ the 'grillage' of the grapes, as Ghislain de Montgolfier puts it. The massive 40°C heat wave occurred rapidly. The sudden increase in temperatures, together with the scorching sun, caused excessive dehydration in the clusters and the grapes were literally toasted. The grillage caused the loss of almost ten per cent of the crop. After the heat wave in August the producers encountered the worst possible scenario when the vineyards, containing shrivelled and concentrated grapes, were hit by persistent, torrential rains. The clusters became swollen from excess water, and thus diluted the high concentration of sugar and acids present in grapes. The harvest was due to start and the crop seemed miserably diluted, a fact compounded by the noble rot, which was causing problems in some vineyards. The patient producers postponed the harvesting and were rewarded with the salvage of sunny and windy weather from September 15 onwards. The harvest was abundant and the quality good. The quantity of the crop was high, as the yields reached the maximum allowed for Champagne. Fi n e V i n ta g e 71

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VintAge chAmpAgne tAsting 93p Bollinger Vieilles Vignes Françaises 2009/2022 Deep, straw yellow colour. The pronounced nose shows rich, smoky and toasty aromas. Dry and crisp on the palate. Pronounced, complex taste with a yeasty and biscuity taste, as well as elegant toasty flavours. Broad and opulent style with a long mineral finish. The mouthfeel is dominated by a delicate mousse and intense fruitiness. Very refined texture and opulent style. Long, lingering and toasty, toffee finish. An extremely elegant wine. Drinking well already but will deliver its best after 10 to 15 years ageing. 94p Pol Roger Cuvée Sir Winston Churchill 2009/2025 Moderately pale straw yellow colour. The delicate and complex nose shows honeysuckle, almonds, milk chocolate, toast, and cream. The dry and crisp palate is highlighted by vivid acidity, good concentration and a harmonious, fresh, exotic fruitiness that displays hints of lemon and delicate toastiness. Long, lingering finish. Absolutely astonishing wine with sophisticated style. Drinking well already but will improve within the next 10 to 15 years. 93p Dom Pérignon 2010/2020 Moderately light yellow colour. Intense, complex, rich, and opulent nose with brioche, toasted coffee, chocolate and apricot aromas. Dry, rich, creamy texture, lovely toastiness, roasted coffee beans, chocolate, and brioche. Long and lingering finish. A very appealing champagne to drink now but will deliver a greater complexity in ten years. 92p Deutz Cuvée William Deutz 2008/2018 Medium-intense yellow colour. Seductive, fresh and complex nose with honey, perfume, peculiar hints of mint chocolate and cardamom aromas. Dry and crisp palate with silky mouthfilling mousse. Delicate, medium-bodied structure and very intense fruity mouthfeel. Lovely balance, vivid acidity and silky taste with a long, lingering finish. Charming wine delivering immediate pleasure. 92p Billecart-Salmon Cuvée Nicolas François Billecart 2009/2014 Medium-intense lemon yellow colour. Elegant and complex nose that shows white flowers and intense aromas of strawberries and peaches. Dry palate, intensely fruity structure and a rich, silky mousse that form a very delicate mouthfeel. Extremely pure, elegant and lean palate with white flowers and strawberry flavours. Tremendous, lingering finish. A complete wine that will benefit from a few years ageing in order to reveal its complex layers of flavours. 92p Taittinger Comtes de Champagne Blanc de Blancs 2009/2019 Moderately light yellow colour. Pronounced, toasty nose with butter and creamy tones. Complex nose delivers ripe apples, toast and perfumy aromas. The dry and light-bodied palate shows a very rich and creamy mousse, vivid acidity and elegant fruitiness. Opulent wine with milk chocolate and cappuccino flavours in the lingering finish. Harmonious wine that is drinking gorgeously now. However, the wine will benefit from further ageing. 92p Noble Cuvée Lanson 2009/2018 Moderately pale yellow colour with green tints. The rich, butterscotch nose has nice nuances of smoke and apples. Lingering, long finish with lovely concentration. Harmonious wine that will evolve nicely in the next six to eight years, but already delivers great appeal. 1998 1998 93p Laurent-Perrier Grand Siècle Alexandra Rosé 2008/2017 Moderately light orangey pink colour. Delicious nose full of floral, wild strawberry and raspberry aromas. Crisp and dry palate. Very delicate and silky mousse. The texture of the wine is tremendous ­ intense fresh fruitiness with refined structure. Long, lingering finish. Energetic palate with great potential. 94p Mumm Cuvée R. Lalou 2009/2028 Medium-intense yellow colour. Rich nose with complexity showing butterscotch, toastiness, and exotic fruits. On the palate this wine shows its true opulence. Rich, silky mousse and creamy texture with intense fruitiness. The long and lingering finish is balanced and appealing. Harmonious wine that delivers pleasure now but will improve further within the next 10 to 20 years. 93p Dom Pérignon Rosé 2010/2025 Moderately light salmon colour. Reserved nose with ripe wild strawberries, white flowers and lovely toastiness. Dry, rich and broad palate. Fi n e V i n ta g e 73

C 74 90p Krug Vintage 2009/2030 Moderately pale straw yellow colour. Pronounced nose delivers a high concentration of aromas such as yeast, nuts and smoke. Crisp, fresh style with energetic acidity, vivid mouthfeel and great depth. An immense amount of flavours ­ lemon, minerals, red apples, yeast and lovely hints of toast. Long and lingering finish. Drinking well already but will benefit from a further 15 to 20 years further ageing. 92p Pol Roger Vintage Brut 2010/2014 Light yellow green colour. Sophisticated and reserved nose with refined aromas of vegetal tones and honeysuckle. Crisp and light-bodied palate with an elegant mousse, sophisticated fruitiness and concentrated minerality. Lingering, long finish. A very sophisticated and harmonious wine that will benefit from three to four years further ageing. 91p Krug Clos du Mesnil 2009/2025 Bright, pale straw yellow colour. The nose is still closed but peculiar. Rich mineral aromas combined with bread, vanilla and smoke. Dry and crisp on the palate with a rich mousse and broad mouthfeel. A very concentrated mid palate is followed by a lingering, long mineral and lemony finish. The wine has great balance but is not delivering even half its character yet. If drunk now, decant 30 minutes before serving. 91p Veuve Clicquot Vintage Réserve Brut 2009/2018 Moderately intense yellow colour. Rich, rustic nose with butter, toastiness and exotic fruits. Dry, crisp style with ripe fruity richness and seductive toastiness, toffee, brioche, and even some roasted coffee aromas. Pronounced and masculine style with opulence and austerity. Drinking well now but will evolve positively in another 6 to 8 years. 91p Alfred Gratien 2009/2017 Pale, green yellow colour with refined bubbles. Intense, tropical fruit nose with complex aromas of cream, vanilla and yeast. Dry, crisp palate with mineral and citrus-like taste. Broad texture with marked acidity. Lean, harmonious and lingering finish with good grip. 91p Vilmart Cuvée Creation 2009/2018 Medium-intense straw yellow colour. Opulent nose with exotic fruits and vanilla, creamy, spicy, toasty, and milk chocolate aromas. Dry and crisp medium-bodied palate shows a high level of exotic fruits. The lingering finish is very mineral and balanced. A very supple champagne. Drinking well now but will reach its peak in the next seven to ten years. 91p La Grande Dame Rosé 2009/2020 Moderately intense pink colour. Pronounced, creamy and ripe strawberry nose with strong vanilla and butterscotch aromas. Dry and crisp palate with marked minerality and austere acidity. In the mid palate a phenolic mouthfeel takes over. A long, intense and powerful aftertaste. Firmly structured and masculine wine with pronounced red fruit character. The wine will benefit from further ageing, reaching its peak in eight to ten years. 91p Jacquart Mosaique Blanc de Blancs 2009/2015 Moderately intense yellow colour. Fresh, floral nose with a lovely touch of yeastiness and seductive cashew aromas. Crisp, very mineral, lean and fresh palate with green apples, grapefruit and citrus. Medium length with a touch of toasty flavours. The wine delivers pleasure already but will deliver more nuances after five to six years ageing. 89p Pierre Gimonnet Cuvée Oenophile Blanc de Blancs 2009/2019 Moderately intense yellow colour. Fresh, lean but still reserved nose showing mainly mineral and yeasty aromas. Firm palate with broad texture and medium-bodied structure. Very mineral, lemony, lean and persistent lingering finish. This wine shows an attitude and edge that will soften in seven to ten years time. 86p Lanson Gold Label Brut 2009/2011 Moderately light lemon yellow colour. Less complex, simple nose with lemony aromas. Dry and crisp palate, less intense mousse. The structure on the palate is still firm with wild strawberries, asparagus and lemon flavours. The wine is light-bodied and lacking enough complexity, fruit intensity and suppleness to seduce. The firm acidity makes this wine taste very lean and austere in its moderate length. Drinking well now and will not benefit from further ageing. 80p Gosset Célébris 2009/2016 Medium-intense straw yellow colour. Very closed but pungent nose with marked citrus notes. Dry, extremely crisp and highly acidic. Robust and aggressive in the mouthfeel with no suppleness evident. Moderate length and one-dimensional, unbalanced aftertaste. The wine has a good backbone but seems to lack the flesh needed to balance it. Worth cellaring for another six years. >

Text: Essi Avellan MW Photos: Michael Boudot I 76 magine, if you will, the scene that is unfolding. Whilst browsing for a bottle of bubbly, one encounters a deliciously mature wine made from premium quality grapes. You are immediately drawn to the sumptuous bottle, that is both sophisticated and enticing. Add the fact the price tag is more than a little inviting and this, surely, is every champagne lover's nirvana! This mouthwatering paradox is what Champagne Lanson pursues with its recent launch of Extra Age. The house's long-term cellar master Jean-Paul Gandon masters the impossible by combining the best features of the different champagne categories: the vintage or prestige cuvée fruit quality and ageing with the non-vintage style's consistency and approachability. He explains that: "We limit the cuvée to Grand Cru and Premier Cru wines only. True to the house style the majority, sixty per cent, is of Pinot Noir and the remaining part Chardonnay. As it is a blend of older vintages, we do not include any Pinot Meunier that has lesser ageing capacity." The Grand Cru villages of Verzenay and Bouzy provide the red grape backbone, while the main villages for white grapes are Chouilly, Avize, Oger and Vertus. A maximum of twelve crus are used in each blend.

Quality-wise, Extra Age is a vintage level product that is constructed by blending together three vintages for complexity and consistency. Gandon specifies: "Sixty per cent of the blend for this first cuvée comes from 1999, thirty per cent from 2002 and the final ten per cent from 2003; all successful vintages." The minimum ageing time in the Lanson cellars is five years, however, the oldest wines are ten years old. The best thing is that the wine is ready to drink at launch and is evolved, round and gastronomic. Priced at the level of Lanson's vintage champagne, this new launch is in line with the house's consistently rising quality. > 90p Lanson Extra Age NV Deep lemon yellow colour. Gentle toasty nose with apple jam, spice and honey. On the palate it is both firm and round at the same time. Mature fruit with wax and apricot. Bright acidity and a long, dry finish. A fresh and vibrant wine that is open and enjoyable now but possesses further maturation potential of 5 to 10 years. Jean -Pa ul G and on Fi n e N ov e l t y 77

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Text: Juha Li hto nen Photos: Pekka Nuikki 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. H owever, 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. Fi n e c h a m pa g n e 81

82 One wine from one grape variety, from one village and from one year ­ all for one man

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 perogative. 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! 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 friends. Of course, that was before his creation became Maxim's house champagne in the 1920s. 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. The winegrowing is based on Eugène-Aimé Salon's traditional method. The grapes are produced in an area of 10 hectares on 19 grand cru plots, in the village of Le Mesnil-sur-Oger. Nine hectares are managed by 20 growers, on a long-term contract, and the remaining one is Salon's own Le Jardin de Salon vineyard. Today, the average age of the Salon vines is 40 years. Export Assistant of Delamotte and Salon, Audrey Campos, says: "The soul of Salon wines is concealed within the clean-featured, mineral tones and sharp acidity. That soulfulness comes from the soil at Le Mesnil-sur-Oger, which is the most acidic in Côte de Blancs. The old vines extend their roots deep into the earth, where they benefit from the mineral riches that abound there. Unfortunately, Le Jardin de Salon had to be completely replanted in 2002, due to a disease that killed off the old vines. The recovery period is significant and it will take many years before the vineyard can yield quality grapes for Salon." A unique concept Champagne production was not new to EugèneAimé. In his early years, he had helped his brother-in-law produce champagne at the small Clos Turin vineyard in the village of Le Mesnilsur-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. Fi n e c h a m pa g n e 83

84 Although the wine was originally made to please just one man, Eugène-Aimé Salon, he was not alone in his predilection. Salon under Laurent-Perrier Laurent-Perrier's chef de cave, Michel Fauconnet, says there were a few changes made to the way Salon was produced after they bought the estate. Greater attention was paid to cleanliness and tidiness in the vineyards, as well as in the winery. The most significant change, however, was the transferring of the entire Salon production to Laurent-Perrier, where they had up-to-date production facilities and equipment. The grapes are pressed at Laurent-Perrier in Tours-sur-Marne, which is also where the initial fermentation takes place. For the second fermentation, the bottles are returned to Salon where they will stay until completion. "When working with Salon, all the classic Champagne rules are left aside. The philosophy of Salon sets it apart from all other brands; grapes from a single village, Le Mesnil-sur-Oger, and a single grape variety, Chardonnay, are used and the selection of the harvest year is made. No blend of years, no blend of different grapes and no blend of different villages ­ Salon is absolutely unique. Each spring, we decide if Salon will be produced from the previous vintage or not. If the answer is no, we just use it for Delamotte, or if not for Delamotte, then for L-P. When processing Salon, I know it is a big challenge, because I have to accept or refuse a whole vintage depending on its respective potential for ageing. The challenge here is completely opposite to that of the main task that I accomplish for L-P Brut or Delamotte Brut, for instance. With Salon, I cannot just rely upon reserve wines or previous vintage years to balance the quality of the current harvest. That is why Salon vintages are only released if their natural balance of sugar versus acidity is perfect," Fauconnet remarks, before adding that: "The wine never undergoes malolactic fermentation. With the high malic acidity involved, the wine has a long ageing potential and maintains its youthful green colour for a very long time." According to Michel Fauconnet, there is no special procedure required in Salon winemaking itself, just the respect of the grape and the purest extraction of the terroir. This is maintained by using indigenous yeasts and vinifying the wine in stainless steel tanks, instead of wooden barrels. Subsequent to this, the wines are delivered back to Salon for a second fermentation process. The wines rest on their lees in the Salon cellars for an average of ten years before disgorgement. After disgorging, a low dosage of only five to six grammes of sugar per litre is added. Since the bottle shapes are unique, all of the labelling is done by hand. In the Salon cellars When visiting Salon, it is easy to see why they decided to move some of the production processes to Laurent-Perrier, as the Salon facilities are very small and modest. The garage-size bottling, labelling and packing room is a charming sight. The workaday garage atmosphere, however, is

salon experiences We have been fortunate enough to try a number of Salon vintages, although getting hold of the older wines is rather difficult. They all commonly share a fresh, youthful quality. Their light green-yellow colour makes them look younger than they really are. As for taste, their clean lines, profuse mineral tones and high natural acidity provide them with their character. There is no point looking for lightness or creaminess in them and, because of their tight acid structure and obvious mineral notes, they benefit from being decanted before serving. 97p 97p 94p 94p 94p 1959Salon 1976Salon 1979Salon 1925Salon 1997Salon 2001/now 2009/now 2006/now 2001/now 2008/2024 D15min/G30min D25min/G1h D20min/G1h D­/G15min D1h/G3h in stark contrast to the Salon bar in the modernised section, which looks like the reception desk of a state-of-the-art designer hotel. Behind a glass wall, thousands of bottles of Salon mature, awaiting the right moment to be launched onto the market. "We produce approximately 60 000 bottles of Salon per vintage. Every vintage is evaluated when it is ready for release to the markets. We might release a younger vintage before an older one if we consider the older one to not be ready," Audrey Campos stresses. Narrow staircases located beside the reception desk lead to the labyrinthine cellars. Deep in the silence of the cellar is the Salon wine library. Within are more than 20 vintages, from six decades. The rarest wine is the estate's first official vintage, Salon 1921, of which there is just one bottle left. Salon's managing director, Didier Dupond, has even been buying back different Salon vintages for the library, a project which continues to this day. 93p 93p 1971Salon 1996Salon 2001/now 2008/2025 D15min/G30min D1h/G2h Pale, green-yellow colour. Reserved, intense creamy nose reveals some green apple and fudge notes. Dry and crisp palate, creamy mousse and a long, lingering mineral finish. Very refined and delicate style, but still closed. Tightly packed fruit intensity and a great acidic spice. The wine needs to be cellared for at least 10 to 12 years before it starts to deliver its nuances. 92p 92p 92p 92p 92p 1934Salon 1973Salon 1982Salon 1985Salon 1990Salon 2001/now 2001/2015 2001/2015 2001/2020 2007/2020 D­/G30min D15min/G30min D15min/G1h D30min/G1h D1h/G2h The importance of history Salon's reputation relies heavily on its history. Its success at Maxim's belongs to the past, but its commercial success lies just ahead. The fascination that surrounds it is still based purely and simply on EugèneAimé Salon's initial concept: one village, one variety and one vintage. Today, it is enjoyed by tens of thousands of people. Salon, if anything, is a terroir champagne without an equal. Its limited availability and unique concept help to create the myth that surrounds it, which continues to lure lovers of champagne in ever-greater numbers. However, does the quality of the wine, with its clean lines and sharp acidic tones, live up to the expectations of consumers? When young, perhaps not, but when mature, definitely! Although the wine was originally made to please just one man, Eugène-Aimé Salon, he was not alone in his predilection. Salon may be an interesting entry in the history books and Salon's owners may have changed over the years, but today Salon is one of the most sought-after and difficult champagnes to acquire.> Deep golden colour shows significant development. The nose is mature as well, with bruised apple, honey and spiciness. Complex and ripe fruitiness with some jammy apple tones. The rich, voluptuous mouthfeel is broad and dense. The pungent acidity still dominates the palate. Yet another 1990 that seems overly developed for its age. Aromatics are more developed, whereas the structure still has great potential. Ageing is recommended. 91p 1995Salon 2007/2020 D1h/G2h Rich, ripe fruity nose. Floral notes, waxy notes and elegant toastiness. The refreshing yet voluminous palate is minerally and smoky. This ripe vintage does not possess as firm an acidic spine as most vintages, but this vintage is enjoyable sooner. Elegant mousse and long fruity length. 90p 1969Salon 2008/now D-/G30min Clear, golden colour and no bubbles. Reserved, moderately strong nose, with dried apple aromas. Crisp and dry yet with a concentrated mouthfeel and fresh fruitiness. Delicate structure and lingering, long finish with citrus flavours. The wine has passed its peak, but is retiring respectfully. 89p 86p 1951Salon 1964Salon 2001/now 2001/now D­/G15min D10min/G30min Fi n e c h a m pa g n e 85 Bright, greenish yellow colour with energetic bubbles. Pronounced complex nose with intense ripe kiwi fruit aromas, hints of toffee and almonds. Dry and crisp on the palate with a rich mousse, lovely mineral character and balanced ripe fruitiness. Long, lingering finish, with refined and persistent, elegant style. Drinks surprisingly well already, but will improve in the next 10 to 15 years.

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· fine reads · fine reads · fine reads · fine r ­ a guide To The BesT Cuvées, houses and groWers by Michael Edwards Champagne's image is simple and cheerful, but the world behind the divine drink is remarkably complex and in constant change. Michael Edwards' new book The Finest Wines of Champagne (2009) by Fine Wine Editions is an invaluable guide for those champagne lovers who wish to know the drink, its region and makers intimately. The series' purpose is to unveil "the wines most worth talking about", whilst simultaneously leaving a great deal of room for the author's personal preference and insight. Edwards' 20-year experience with Champagne makes him the perfect guide, as he visits over 90 producers, from renowned champagne houses to up-and-coming grower producers. The book's most significant contribution is, however, its outlook on champagne's specific terroirs. As a blended wine, the enthusiasts find it difficult to grasp the appellation's subregional differences and particularities. Michael Edwards, having lived in the region, provides both depth and breadth of information in abundance. The high-quality standards and rigorous approach of Fine Wine Editions ensure this publication is a fine read. > The FinesT Wines oF Champagne Champagne & Chandeliers hampa ­ grand dining CeleBraTions by Bernadette O'Shea occasion and picks a champagne to suit every dish. In addition to the numerous tasting notes accompanying the collection of tales, O'Shea profiles thirty notable champagne producers from their beginnings to their present standing. Carried by O'Shea's expertise and celebration of champagne, Champagne & Chandeliers is a delightful perusal into fêtes of the past; it inspires adventures of mind and palate, and encourages the reader to consider champagne a wonderful gastronomic wine. The book is beautifully bound and would be a welcome addition to any book collection or coffee table. > For all lovers of bubbly, champagne is an integral part of a great occasion has been so for the past two centuries. Ever present, it seems, at the great dinners in history, champagne has marked treaties and trade relations, royal weddings, and advances in Cold War diplomacy. Bernadette O'Shea lifts the curtain of secrecy and takes us to dinner. In her new book Champagne & Chandeliers (2009 Hardie Grant Publishing), the Australian champagne consultant and educator introduces 35 memorable moments in history where champagne has been, or indeed should have been a part. She recreates the menus of each Fi n e R e a d s 89

90 B es down from a cloudless almy September sun shin ampagne, but here, at y. It is vintage time in Ch sk er ims, we couldn't be furth racetrack of Gueux in Re the r harvest. Some 40 000 ca m the atmosphere of the fro a1 age to the historical Formul lovers have made the pilgrim eekend of Automobile enjoy the third annual W track to old and new cars, legendary llence, with its magnificent Exce pagne. drivers, and, of course, cham

Essi Avellan MW and Tattinger's Maxime Andriveau Fi n e C h a m pa g n e We e k e n d 91

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Giacomo Agost in i I am in the right place to discover more about organisational challenges, given the very two men who have made this event possible are standing right next to me. The father of the idea is Frans Hummel, a former Le Mans pilot whose father used to compete in Gueux in the 1960s. He explains his motives for initiating the show: "This race track is legendary. Amongst other things it hosted Formula 1 for sixteen years from the very beginning of the series. It has first class heritage value. I wanted to bring the race track back to life and rediscover its former glory." To get support for his idea, Hummel went to an old childhood friend of his, Pierre-Emmanuel Taittinger, president of Champagne Taittinger, who quickly became enthused by the notion and helped tremendously with bureaucracy and financial aspects. Taittinger also aided in establishing connections to the other house involved, Champagne Pommery. "Well, they are good friends at Pommery", PierreEmmanuel Taittinger reasons and continues with a playful smile: "On Friday, at the opening night festivities at Champagne Pommery, I made my first ever welcoming speech in the competitor's cellars, which felt a bit strange!" Champagne's role in the event is a minor but visible one, indeed it is the undisputed social lubricant of such an event. There are champagne bars and the wine is also being offered on many of the stands, while both of the sponsoring houses have VIP lounges for entertaining their guests. If it is Taittinger's and Pommery's support that have made organising the event possible, Pommery President Paul Bamberger Fi n e C h a m pa g n e We e k e n d 93 The stands slowly fill up, as spectators wander in to see the fifteen-time world champion of motorcycling, Giacomo Agostini, and eight-time world champion Phil Read show off their famous 1973 MV Agusta motorbikes. After the nostalgic demonstration, I make my way towards Agostini's stand. Born in 1954, he still looks distinctly handsome and charismatic, possessing just the right amount of celebrity panache. To my surprise, his signature seems to be in just as high demand now as in the old days and I decide to wait for a better moment to talk with him. Luckily, I soon get my chance when Agostini comes over to the Champagne Taittinger booth for lunch. "The race track was all right", Agostini says to me with a slight hint of frustration in his voice, as we sit down to aperitifs. "There were too many chicanes that slowed me down." The "old champ" is indeed in form and as excited as ever about driving fast. However, it has been an organising necessity to install several chicanes on the 7.1 km track to keep the speed and safety in control. After all, the track is part of the route system in the village of Gueux. In fact, some main roads have had to be closed for the occasion, which has demanded serious bureaucratic battles.

94 Tylien Pachot drives a Fiat 500 Abarth

95 Fi n e C h a m pa g n e We e k e n d

Frans Hummel it is essentially Hummel's contacts in the racing world that have lured the copious antique cars and famous drivers, such as Giacomo Agostini, Phil Read, Henri Pescarolo and Jürgen Barth, to attend. Altogether it adds up to a formidable happening that attracts both locals and foreigners. The mix of people is fascinating and it seems that eighty per cent of the attendees are male. However, it is not only petrolheads that are in attendance, this is also a family occasion, with fathers and sons a common sight. Most of the crowd seem to be there to enjoy the weather and the outdoors, entertained by the sight of gorgeous cars, roaring engines and the smell of petrol and exhaust fumes. 96 "Reims is `La Belle en Dormi' ­ Sleeping Beauty", explains Philippe Michelot, vice president of the departmental council of La Marne. "Due to the success of champagne, life here has been plentiful. We have become a bit lazy when it comes to working on the culture of our cities." What you would expect from Reims, a champagne capital, is a town that is bubbling with joie de vivre. The truth is, however, not as sparkling and Michelot thinks the Weekend of Automobile Excellence is exactly what the region needs: "This event is important for our economy and the tourism industry. I respect that fact that the likes of Pierre-Emmanuel Taittinger are taking risks and investing money. After all, by fact, twenty per cent of the attendees are in Champagne-Ardenne for the first time and forty per cent come from outside the Marne department. The weekend is breathing life into the region!" Entry to the event is free of charge from late afternoon onwards and people spend the early evening there, listening to live music. Hotel rooms are in high demand and the city of Reims seems much livelier and feels more international during the weekend. I find it hard to believe that a region as prosperous as Champagne has not been more successful when arranging major touristic events. Michelot explains: "There have admittedly been many projects but nothing with a long-term following." This unfortunate pattern is due to change, thanks to the heads of two champagne houses: Pierre-Emmanuel Taittinger of Taittinger and Paul Bamberger of Pommery. These men are wholly committed to this event and they feel that as the champagne region gives them so much in natural resources, this is their way of giving something back. The audience bursts into applause when Pierre-Emmanuel Taittinger promises at least fifteen more years of Weekend de l'Excellence Automobile de Reims. Now the only thing left to do is to stand back with a glass of champagne and glare hypnotised at the sky. 15 000 people's eyes are locked on aero acrobatics world champion, Lieutenant R. Ecalle, as he performs unimaginable loops and rolls in his singleseater Extra SC 330. After the breathtaking solo air show, a three plane "Cartouche Doré" display team takes over and provides us with a memorable culmination to the show. I couldn't agree more with Clovis Taittinger, son of Pierre-Emmanuelle, when he turns to me and says: "It is a lovely, lovely, lovely weekend." >

Clovis Taittinger and Essi Avellan MW enjoying the air show Fi n e C h a m pa g n e We e k e n d 97

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no. 178 of The 1000 finesT wines ever made 1959 Champagne pol RogeR BRut Vintage Text & photo: Pekka Nuikki At that moment half my life rushed before my eyes. My face changed from cold pale to bright red and my grip on the bottle of Pol Roger 1959 tightened even more. on a live TV show, on Sunday night prime time, I had just managed to break the cork in two in front of hundreds of thousands of viewers. nevertheless, I quickly and without thinking ­ what if my finger had got stuck ­ thrust my forefinger brutally inside the neck of the bottle and tried to push the remaining cork into it. I succeeded and while I was pouring this very beautiful, liquid gold-like wine into the glass the camera was filming, luckily for me, a very tight close-up of the rising bubbles, full of vitality, and not my face, whose mouth was letting out a silent sigh of relief. This all took only six seconds, but it felt like an eternity. I was talking about wine investment on Finnish TV, and had brought a bottle of Pol Roger with me as an example of a well-aged champagne. The bottle was in perfect condition and proved to be an excellent choice, not least for the show itself. At Pol Roger, the year 1959 was notable for quite exceptional conditions. The budding was excellent and the flowering took place over an extended period but was free of problems. Healthy, well-formed bunches were able to profit throughout the summer from long hours of sunshine. The harvest started on September 10 under ideal conditions. The 1959 was a wealthy vintage of the highest standard. It was rich, lively and much-renowned; an exceptional year in the history of Champagne, which was hailed at the time as the finest vintage since 1893. Very fine quality wines, with hope from the outset of above-average longevity: a year that compensated fully for the three successive lean years between 1956 and 1958. 100 97p 1959 Pol Roger Brut Vintage Champagne 2008/now D15min/G1h A very honeyed, rich, full-bodied and perfectly balanced wine. Surprising energy and tight fruitiness complemented this elegant champagne, which was so soft and silky on the palate. A grand wine to drink now.

Surprising energy and tight fruitiness complemented this elegant champagne. 101 178 no. Th e 1 0 0 0 Fi n e s t W i n e s

Bubbly Splendour Prestige Cuvée Champagnes The Irish author Oscar Wilde once said: `I can resist everything except temptation'. In accordance with his life philosophy, he was in the habit of enjoying ice-cold champagne before the clock had struck noon, which was strictly against the advice of his doctors. This great writer merely served to prove that temptation is uniquely intertwined in prestige cuvée champagnes. After all, these wines have been produced from the vintages of only the best lots for centuries. After the first fermentation and bottling, the wines are matured for years ­ still in the region's chalk cellars ­ allowing them to bring out the drinks' finest potential and eloquence. Prestige cuvées do lead to temptation; they form an intriguing market share in which prices are never discussed. One either pays the asking price for the bottle or one does not: it is the embodiment of simplicity. The distinctiveness of prestige cuvée champagnes is also clearly seen in their exclusive and expensive-looking bottles and labels, whose styles are reminiscent of the 18th and 19th centuries. These glorious drinks symbolise splendour and are an inseparable part of the tradition and history of the champagne houses at Dom Pérignon, Dom Ruinart and Pommery. We have therefore selected nine prestige cuvée champagnes that we feel epitomise the splendour of the vintages throughout the years. To accompany our tasting notes, we have a stunning gallery featuring current releases that we feel will someday drink as beautifully as the Dom Pérignon 1976 or Comtes de Champagne Rosé Tattinger 1971, both of which have developed into real classics. Text: Christian Göldenboog / Recommendations: Pekka Nuikki Photos: Oliver Rüther Model: Victoria Schmidt Location of shoot: Kurhaus Wiesbaden Makeup: Sarah Zeitschel Stylist: Huidi Lauhoff Dom Ruinart Rosé Ruinart 1979 94p 2007/Now · D 10 min / G 30 min 102 Deep, developed, orange-hued colour. Delicate small-sized bubbles that lasted a long time in the glass. Elegant nose of ripe red berries, rich toastiness and earthy, spicy notes. The wideopen nose, with its layers of emerging aromas, is consistent with the harmonious palate: great minerality, lively, firming acidity and adequate fruitiness. Silky smooth and vinous texture. Persistent finish. At its peak today, but will keep for a number of years without great degradation.

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Model: Vladislava Zvonkova 105 93p Cuvée Louise Pommery 1990 2008/2020 · D 15 min / G 1 h A stylish nose with a toasty autolytic character, white flowers and fudge. A very well made, balanced and faultless wine from this excellent vintage. Elegant yet intense and persistent. Fine mousse and a smooth, velvety texture. Still in a very youthful state but already very enjoyable. Fi n e G a l l e r y

Salon 1976 97p 2009/2015 · D 25 min / G 1 h The 31st vintage of this charming wine. Fine looking bottle. Beautifully bright yellow colour with golden tints and refined, energetic bubbles. Very intense nose with hints of mushroom aromas, but still youthful with green apples, bread and creamy tones. The crisp, medium-bodied taste has an elegant creamy mousse and persistence, with a lemony bite on the palate that has great length. A superb champagne for today. 106 Boxer: Sargon Sheiko of ABV Kohlheck

107 Model: Florian Süss, Stylist: Huidi Lauhoff 92p 2009/2020 · D 20 min / G 1 h Cuvée Sir Winston Churchill Pol Roger 1986 Deep maturing golden colour with fine, lively bubbles. The nose is super-rich and exotic in style. Heavy, leesy, autolytic tone and attractive tropical and spicy fruit. Very concentrated and open on the palate, with enormous depth, length and density. A monstrous wine that is refreshed significantly by the stylish and pronounced acidity. Blockbuster wine that manages to be extremely nuanced and stylish at the same time. The mousse is smooth and highlights the creamy, rich style. Very long finish with lively acidity. Very good to drink today. Fi n e G a l l e r y

108 Belle Epoque Perrier-Jouët 1985 92p 2007/2010 · D 10 min / G 1 h Model: Verena Herbert Deep maturing yellow colour with fine bubbles. Elegant and vibrant nose of toast, cream and ripe fruit. Apples, white flowers and stone fruits. Rich and round harmonious mouthfeel that integrated well with the bubbles. Long taste and a refined mousse. A great wine, currently peaking. The first experiences were from normal sized bottles but the last bottle tasted was a magnum. There was quite a difference with the magnum, which held on very well and was worthy of more than 92 points.

Comtes de Champagne Rosé Taittinger 1971 109 97p 2008/2010 D 15 min / G 20 min Models: Rieke and (horse) Kati Bottle in excellent condition. Tasted once with champagne expert Richard Juhlin at his home. According to him, this is supposed to be one of the best rosés ever made, and he was so right ­ as usual. Bright, salmon-rose colour with plenty of slowly climbing bubbles. Intense toasty nose with brioche and creaminess. Lovely tones of strawberries. Very gentle and intense rosé. Dry and crisp on the palate with a wonderful mouth watering mousse and creamy strawberry flavours that last in the lingering, harmonious aftertaste with depth and finesse. What a first-rate rosé from the best champagne vintage of the 1970s ­ Drink now! Fi n e G a l l e r y

110 Dom Pérignon Moët & Chandon 1976 97p 2009/now · D 20 min / G 1 h Fine bottle with good level. Decanted 15 minutes. The nose already had something magical about it. The intensity of the wine itself included ultralight seduction, the depth had something interesting on the surface, and the sensitive generosity was moving: in one word ­ magnificent. Underneath, a very balanced, tight and fruity structure started to reveal an endless amount of new layers that one could sense, but not one of us could determine them more specifically. One of the best Dom Pérignons ever, a true surprise and so ready now! Location of the shoot: SNZ Galleries, Wiesbaden

with a perfumed 112 design T exT : Meri Kukkavaara P hoTos : Clive Christian touch If Dom PérIgnon chamPagnes anD Is the Bentley of le PIn Is the ferrarI clIve of of reD wInes , then surely chrIstIan Is the rolls-royce kItchens; so Perfect anD luxurIous are they In DesIgn, qualIty anD style. clIve chrIstIan kItchens. Is Best known for the DesIgn of classIcal anD oPulent the DesIgner's vIsIon also extenDs to home furnIshIngs, anD In recent years the comPany has BrancheD out Into Perfumes. The Alpha Kitchen, also known as the "Moonlight Kitchen"

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T The DesIGNeR The shoWRooM 114 Clive Christian is a prolific designer for I visited Clive Christian's showroom at whom luxury is a passion and whose the Design Centre Chelsea Harbour, in London. This huge exhibition centre, philosophy is to be `the best in class'. The brand is unique in today's high-end comprising three glass dome structures, market in the UK. Price and quality are is a comprehensive display of designs and the bywords, and the brand is not tied to furnishings where over 120 famous design houses show off the best of their skills the conventional quality standards of the industry. Clive Christian's products are not and expertise. Here, people come to look designed for mass production and have little around, pick up ideas and see what the to do with commercialism. The guiding design market has to offer. Some want their principle is simply small bathroom uncompromising remodelled; others quality. want their entire he guIDIng Clive was born, country manor PrIncIPle Is sImPly the eldest of redesigned. The exhibition space is four children, uncomPromIsIng a real cornucopia in Scotland. His qualIty father, a biochemist, of style, in which and his mother, an you could quite artist, decided to easily spend hours ­ it is the largest move the family to England, settling in Cheshire, where of its kind in Europe. Customers looking Clive grew up and went to school. Having for an enhanced shopping experience can graduated from college, he became a hire a personal shopping assistant to steer freelance interior designer and soon became them through the myriad design solutions interested in kitchen ergonomics. to find the right one. The company that he established in Clive Christian's exhibition is located in 1978, Clive Christian Home, focused the complex's southern dome. As I walk though its doors, I have the weird sensation from the outset on bold and classical interior design solutions. In the 1980s, that I have just stepped into another sort Clive Christian's famous Victorian kitchen of reality, wherein everything is imbued changed traditional ideas about kitchen with an aura of other-worldliness. Each space ­ it was not just to be a functional room is meticulously furnished from floor area for preparing food, but somewhere to ceiling and there is a sense of complete grand to spend one's time relaxing and harmony. Here, even the cutlery in the entertaining guests. He was also the first kitchen drawer seems to fit in with the designer to incorporate chandeliers into whole. They have their own design and the kitchens, an odd idea at the time, although same flamboyant style that pervades the rest of the exhibition. today it has been copied many times over in kitchen design. "t ."

Clive Christian was the f irst designer to incorporate chandeliers into kitchens. 115 Fi n e D e s i g n

My eyes settle on one of the famous chandeliers above the kitchen island. There are several options to choose from in this splendid range of light fittings, and here they really do fit in with the rest of the furnishings; even the bathrooms have them. For there are not only kitchens here: the visitor wanders through a palatial dwelling where each door leads to a more astonishing room. 117 The bedroom has a magnificent four-poster bed and at the touch of a button you can make a flat screen TV either appear or disappear into the huge, solid bed frame. Another touch of a button and you can turn the screen so that it can be watched by anyone seated on the bedroom sofa ­ of course! In the bathroom, you can keep the bather company while relaxing on a soft divan in the warm glow of glinting crystals. All the bathrooms are large and far removed from the functional, tiled surroundings in which people tend to wash. The unique atmosphere is created by the use of fine wallpaper, wooden panelling, heavy drapes and ornamental wall and ceiling lighting. There is a practical explanation as to why the bathrooms are so large: they are also dressing rooms, in which the solid, made-toorder wardrobes blend seamlessly with their surroundings. I return via the living room, library and dining room to examine the kitchens. The style is very classical and refined throughout, and much of the furniture is from the company's own collection. In the kitchens, the variations in style are more evident. You can choose between an elegant rustic look or something more classic ­ either lavish or more restrained. Fi n e D e s i g n

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The Alpha kitchen was inspired by Stanley Kubrick's movie Eyes Wide Shut. The hALLMARK KITCheNs Mark Harwood, who runs Christian's showroom, shows me around the kitchens and explains that nowadays there is a global demand for them, with the latest kitchen designs having just been sent off to Monaco and Norway. One of the most popular kitchens is the Alpha, which came onto the market five years ago. It has a more contemporary style and was inspired by the splendour of the Venetian Masquerade Ball in Stanley Kubrick's film Eyes Wide Shut. Its massive centre island stands on lion paws and a champagne bottle sink can be built into the worktop, if required. This kitchen apparently works best for parties, and the customers have nicknamed it the `Moonlight Kitchen'. All of the kitchens feature the latest technology and are ingenious in their planning. For example, the decorative panelling on the side of the worktop might turn out to be, if you press it lightly, storage space. To make life easier for the cook, the heights of the various worktops have been designed to suit the different stages of food preparation. It is this attention to quality, aesthetics and ergonomics that have won people over. More than one customer has started by having their dream kitchen built, only to be so impressed by its quality and sumptuousness that they have gone on to adopt the Clive Christian design throughout the whole house. PerfuMes No. 1 This luxury scent is famous for being the world's most expensive perfume. It contains very rare and valuable ingredients and can only be produced in very small quantities every year: just 1000 bottles for women and 1000 for men. Actress Katie Holmes chose this as the perfume to wear at her wedding when she married Tom Cruise. 1872 This perfume was created and named to celebrate the year in which Queen Victoria permitted the original perfumery to bear the crown on its products. The old perfume company's original fragrance was absolute English lavender, which is still found in the top notes of the 1872 perfumes for men and women. X These unconventional perfumes have been created using some of the strongest aphrodisiacs known. The women's scent contains Egyptian jasmine from the banks of the Nile. Cleopatra had the sails of her ship doused in jasmine scent when she sailed to meet Anthony, who then fell head over heels in love with her when she glided ashore. Fi n e D e s i g n 119 CLIVe ChRIsTIAN PeRFUMes The story behind Clive Christian's perfumes began when he and his daughter Victoria discovered an original 19th century perfume bottle in the floorboards of the family's country manor. The bottle came from a perfumery that had been crowned by Queen Victoria in 1872 as a token of its incomparable quality. When years later Clive Christian heard that the old perfumery was to cease trading, he decided to buy the firm and take it to a new level of luxury. Victoria Christian, who studied ballet and performing arts and had performed on London's West End stages, immediately gave up her theatrical career and joined her father's company to work in the world of perfumes she so loved. She studied perfume in London, Paris and Grasse, and in 1999 launched the definitive Clive Christian Perfume collection onto the market. Today Victoria travels the world as the proud and inspirational representative of Clive Christian perfumes. > "Perfume Is your InvIsIBle accessory ­ each DroP holDs a memory of a moment In your lIfe." Victoria Christian

WHAT IS IT ABOUT SCANDINAVIAN LUXURY THAT IS SO FRESH? Is it the beautiful woodwork, the luxurious leather upholstery or the pleasantly quiet passenger compartment? Or is it the numerous little details designed to appeal just to you? Even more, the Volvo S80 Executive purges the air before you step in ­ its inside atmosphere is the cleanest in the world of motoring. Aesthetically, the front seats are the best and most comfortable available with air-conditioning that keeps your body cool even on the hottest summer days. Volvo's Premium Sound audio system is one of the best ever installed in a car. Yet another touch of luxury is the refrigerator placed between the back seats and a pair of crystal wine glasses reserved exclusively for the back-seat passengers. Enjoy the highest standard of quality and the luxury of superior travel. 122 F I N E

www.volvocars.com Fi n e Po r t u g a l Click to view the new Volvo S80 film. THE NEW VOLVO S80. F I N E V O L V O I 123

With the Répétition Minutes Tourbillon GMT Antipode DeWitt is unveiling a world-premiere, giving a new and genuine meaning to the traditional minute repeater complication. This exceptional model, equipped with a highly inventive movement housing a tourbillon, a minute repeater mechanism and a GMT function, can be admired and worn on any of its two articulated sides. On the front side of the masterpiece appears the tourbillon carriage, alongside local hours and minutes and the minute repeater. On this side, the local time striking mechanism is triggered by a push-button located at 9 o'clock on the case side. The second side reveals the GMT function displaying the hour and minutes of the second time zone. The minute repeater mechanism can be activated at any time with the same push-button, allowing the owner of this masterpiece to hear the local time stroked while reading the second time zone. The time in the latter is set by means of a corrector at 1 o'clock. Representing the culmination of years of technological development, the Répétition Minutes Tourbillon GMT Antipode radiates a boldly virile sense of strength that is entirely in harmony with traditional watchmaking techniques.

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