­ the best customer care in the business Here at FINE, we believe that not only do our customers appreciate the best service in the field, but that they also need to be looked after in a very personal way. So, instead of selling only magazine subscriptions, we want to offer you more. A lot more. To be caring and supportive in all matters concerning top wines: that is our promise to you. When you become a FINE client by choosing a service package most suited to your needs from the subscription list, we will make sure that your knowledge and know-how in fine wines will quickly increase. You will stay ahead of the pack in terms of fine wines and be well informed as to how the best wines fare on the market and in the glass, as well as where to get them and how to tell fakes from the real ones. FINE WINE SUBSCRIPTION FINE WINE Subscriptions FINE CHAMPAGNE SUBSCRIPTION This package includes everything you will ever want to know about champagne and the effervescent lifestyle that surrounds it. It keeps you abreast of the world of champagne with the world's only champagne magazine, current newsletters, books and other services that are included in the package. When you want to gain access to the world of top wines and be among the first to learn about wine happenings, the most recent tasting experiences and vintage analyses, but you don't collect or invest heavily in wines, this is made just for you. This package reveals the fascinating stories behind the world's finest wines and makes sure that you stay up to date regarding top wines through the leading FINE Wine Magazine, newsletters, books and other services that are included in the package. For more information click here For more information click here FINE RARE SUBSCRIPTION If you are wine enthusiast, FINE RARE includes everything you need and more. We will make sure that you will be the first to hear about what happens in the world of fine wines, as well as telling you every week which wines are at their best right now and how their prices are developing. In addition, we will also warn you about the fakes on the market. The package consists of the leading magazines concerning fine wine: FINE the Wine Magazine and FINE Champagne Magazine, all our wine guides, The 1000 Finest Wines Ever Made book ­ which is considered to be the Michelin Guide of the wine world ­ and a unique array of other services. FINEst SUBSCRIPTION We have designed this package for wine collectors, investors and professionals. It offers the most current knowledge of the world's best wines, their drinkability today, price developments and the handling of the wines ­ all on a daily basis. The package includes everything you can imagine, including the world's only Wine Investing Magazine, FINE Champagne and Wine Magazines, books and guides, a professional tasting tool and community, the world's only FINE Wine Auction Index, and invitations to events around the world. This is a package that only the world's leading FINE Wine Media can offer you. We will ensure that you stay immersed in everything related to the top wines of the world on every single day of the week. For more information click here For more information click here W O R L D ' S O N L Y C H A M P A G N E No. 8 £ 2 5 · 3 0 · U S $ 3 5 · C a n $ 3 5 · A u s $ 3 5 M A G A Z I N E History of Champagne · Gérard Basset · Maldives · Ruinart · Perrier-Jouët 200 years · Maserati GranTurismo BEST ROSÉS FOR 2012

Page 14 FINE Best Rosés Page 34 FINE Legend 2 Page 50 FINE Champagne & Food Page 58 FINE Rarity Page 62 FINE Event Page 24 FINE Personality

Page 102 FINE Destination Page 84 FINE Vintage 11 14 24 28 34 48 50 58 62 68 74 84 101 102 112 Fine Avellan Editorial Fine Champagne Best Rosé Champagnes for 2012 Fine Personality Gérard Basset Fine Restaurant TerraVina Fine Legend Ruinart ­ The World's First Champagne Page 68 FINE History Brand ­ only for experts? Fine Gadget The Secret of Everlasting Champagne Fine Champagne Champagne's Favourite Food ­ Lobster & Food Fine Rarity Doyard' s Historical Classics Fine Event Perrier-Jouët: 200th Anniversary Fine History The Story of Champagne ­ Part 2 Fine Discovering Montagne de Reims Champagne Fine Vintage 1996 Vintages Fine Juhlin Guided by the Nose Fine Destination Paradise Island in the Maldives Fine Design Maserati GranTurismo Page 112 FINE Design Fi n e C o n t e n t s 3 Fo ni t nn tes C e

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extraordinary chefs are now among Blackberry Farm's most anticipated guests. some of the world's most Situated in the Tennessee foothills of the Great Smoky Mountains, Blackberry Farm's Relais & Châteaux property -- recently named #1 Resort in the Continental U.S. and Canada by Travel + Leisure -- is celebrating its 35th anniversary by bringing back some of their favorite guest chefs, vintners and artists for this year's schedule of unforgettable events. From its 180,000-bottle Grand Award-winning wine selection and renowned cuisine to countless opportunities for wellness and adventure across 9,200 protected acres, Blackberry Farm is home to enriching, one-of-a-kind experiences all year long. To reserve your place at one of our special events, contact our Reservations Team, or visit us online for a complete calendar of upcoming events. Walland, Tennessee 00.1.865.984.8166 blackberryfarm.com WORLD'S BEST AWARDS 2011

The award-winning chef and owner of Momofuku Restaurant Group brings his renowned talents to Blackberry Farm. David Chang APRIL 1-4, 2012 featuring pastry chef François Payard and vintner Jenne Lee Bonaccorsi of Bonaccorsi Wine Company DECEMBER 4-7, 2011 Delicious Decadence a celebration of some of the best Rhône varietals -- and the people and wineries behind them MARCH 15-18, 2012 Hospice du Rhône featuring award-winning chef, cookbook author and restaurateur Michael Mina of Mina Group APRIL 30-MAY 3, 2012 Michael Mina

H A C K E T T. C O M E S S E N T I A L LY BRITISH

CHAMPAGNE MAGAZINE Editor-in-Chief Pekka Nuikki pekka.nuikki@fine-magazines.com Editor Essi Avellan MW essi.avellan@fine-magazines.com Publisher Meri Kukkavaara meri@fine-magazines.com Copy Editor Craig Houston craig.houston@fine-magazines.com Creative Director Teemu Timperi teemu.timperi@fine-magazines.com Art Director Jouna Stern jouna.stern@fine-magazines.com Graphic Designer Aija Sutinen aija.sutinen@fine-magazines.com Cover art & illustrations Minna Liukkonen Senior Adviser Charles A. Banks Contributors Oumy Diaw, Andreas Larsson, Peter Liem, Debra Meiburg MW, John Kapon, Jan-Erik Paulson, Amanda Regan, Philip Tuck MW, Martin Williams MW, Jukka Sinivirta Photographers Michael Boudot, Pekka Nuikki, Elvi Rista Translator Eva Malkki, Tomi Snellman Communications Director Markku Vartiainen markku.vartiainen@fine-magazines.com Sales Martine Mäkijärvi martine.makijarvi@fine-magazines.com Marketing Assistant Sanna Vihervaara sanna.vihervaara@fine-magazines.com Financial Manager Noora Mähönen noora.mahonen@fine-magazines.com Printing House Edita Prima Subscriptions and queries www.fine-magazines.com subs@fine-magazines.com +358 (0)10 289 1000 Publisher Oy Fine Publishing Ltd, 100 Pall Mall, St James London SW1Y 5HP, UK © Copyright: FINE Champagne Magazine Ltd ISSN: 1797-433X FINE Magazines does not keep nor return illustrations or other materials that have been sent in without request. The opinions of contributors or interviewees presented in this magazine do not necessarily correspond to the opinions of the publisher or editorial staff. We withhold the right to make any modifications in texts and pictures published in FINE Champagne Magazine. We reserve the right to refuse or suspend advertisements. 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. Mr Nuikki is also an award-winning photographer, who has exhibited his artwork all over the world and he has worked as creative director of advertising agency group. He is also the luckiest man in the world, having hit seven hole-in-ones. Essi Avellan MW Editor Essi Avellan is the first Master of Wine from Finland and second ever from the Nordic countries. She was awarded the Lily Bollinger Medal as the best taster and the Tim Derouet Memorial Award as the best overall student in the Master of Wine examination. In addition to writing champagne books and wine buying guides, Ms Avellan contributes to several newspapers and wine magazines internationally. She judges at several wine competitions, such as the Decanter World Wine Awards 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 Editorial Adviser Juha Lihtonen is the editor of FINE ­ The Wine Magazine and its American & Scandinavian editions and manyfold Finnish sommelier champion. He was selected as the best sommelier in the Nordic countries in 2003. Mr Lihtonen has worked as a wine educator, a wine host on a radio programme, as well as the wine buyer of a major cruise line. He has written books on combining wine and food. Andreas Larsson Contributor Andreas Larsson is 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. Martin Williams MW Contributor Martin Williams is a Yarra Valley-based winemaker and consultant. Originally from Sydney's northern beaches, Martin studied chemistry and biochemistry at the University of Sydney before embarking on an extended journey into the world of wine. In 1999, Martin became a Master of Wine, and in 2008 he won the Vin de Champagne Award, sponsored in Australia by the CIVC. He is currently continuing his wine consultancy, education and writing activities, while exploring his passions for flying, motorcycle touring, experimental music and the Australian landscape. Peter Liem Contributor Originally from California, Peter Liem emigrated to Champagne in 2006 in order to get an insider's view on his beloved wine region. In addition to being a staff writer and columnist for the Wine & Spirit magazine, Liem publishes the world's best and most comprehensive champagne blog, champagneguide.net. He is recognised as a spokesperson for the grower champagnes. Richard Juhlin Contributor Richard Juhlin is a world-renowned champagne specialist famous for holding the world record for the number of champagnes tasted. Up until today 6946 champagnes have passed his lips. He has also written several books on the subject; Champagneboken in 1995, 2000 Champagnes in 1999, The Great Tasting in 2000, 3000 Champagnes in 2002, 4000 Champagnes in 2004 and the Richard Juhlin Champagne Guide in 2008. In 2002 Juhlin received a "Merite de Agricole" from the French Ministry of Agriculture. 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. 10

T his autumn has constituted an era of uncertainty in Champagne. Despite the recovery in sales on many markets, Europe's mounting financial challenges are still causing restlessness amongst the champenois, too. The Christmas and New Year high seasons for fizz sales will be crucial. The 2011 harvest was by no means secure either, as the particularities of the growing season certainly had no historical precedent. Due to the early onset of flowering, a record early harvest was expected. Eventually, picking started on August 19th; only twice before, in 2003 and 2007, have the grapes been picked under the August sun. Fortunately, the grapes were not as ripe and full of sugar as in 2003, which allows us to expect a more classical style of wine. Some producers are very optimistic about what is to come, with Chardonnay proving particularly successful. However, we will be wiser in the spring, after the vin clair tastings. Difficult times often urge us to go back to our roots. Hence, in this issue we will delve into Champagne's glorious and eventful history; in the Story of Champagne we will learn how Dom Pérignon and the Sun King Louis XIV influenced the direction of this great drink, and we will also familiarise ourselves with the world's oldest Champagne House, Ruinart. Furthermore, Perrier-Jouët turned a very respectful 200 years of age this year, and FINE Champagne was present at the celebration festivities in Épernay. A toast of Belle Epoque to this house of great tradition! Now is a FINE time to let go of the weekday worries, forget life's uncertainties and indulge in both champagne and great company! Happy New Year! E ll Essi Avellan MW Editor Fi n e E d i t o r i a l 11 Editorial

"Le Dom aine Les Cr ayères" one of the most Today, more than ever before, Le Domaine Les Crayères reaffirms the desire and determination to be a living celebration of Champagne ­ the region, the beverage, and the lifestyle it embodies ­ both for Reims and for the world. What we have to offer is unique: our five-star hotel « Le Château », our gourmet restaurant « Le Parc », our new brasserie « Le Jardin », our superb setting so close to the city centre, in the very midst of Champagne and its consummate, celebrated beverage... Member of Relais & Châteaux Member of Les Grandes Tables du Monde Email: contact@lescrayeres.com www.lescrayeres.com

Philippe Mille brings out the natural best of les Crayères' at the gourmet restaurant «Le Parc» and the brasserie «Le Jardin»... At his side, the wine and champagne expertise of Head Sommelier Philippe Jamesse. b e a u t i f u l va c at i o n r e s o rt s i n t h e w o r l d . REIMS - CHA MPAGNE - FRANCE Domaine Les Crayères - 64 boulevard Henry Vasnier - 51100 REIMS - Tel : +33 (0)3 26 24 90 00 - Fax : +33 (0)3 26 24 90 01

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2012 Text: Essi Avellan MW Photography: Pekka Nuikki for Prestige cuvée rosés are the best of the best in the world of champagne. Hard to find and precious, they are the connoisseur's first choice when indulging. The veil of mystery and decadence covering them also drapes over the small but enchanting category of vintage rosés. Vinous, developed and gourmand, these are ideal gastronomic champagnes. The non-vintage rosés, on the other hand, possess a distinctively girly image, but there is a lot of choice of style and quality therein. There is guaranteed to be a rosé for every preference: it is only a question of finding them within the abundance of differing styles. FINE Champagne assessed the best champagnes on the market and provides you with our favourite rosés in each category. Fi n e B e s t R o s é s 15 Champagnes Best Rosé

B 16 est rosé champagnes for 2012 More popular than ever, rosé champagne still divides opinion. Some praise the charm of the pink bubbles while others consider white champagne to be the only real champagne. Despite its trendy image rosé champagne is by no means a newcomer. Veuve Clicquot has proof in its archives of having shipped rosé champagne as far back as 1775. In conjunction with the recent increase of rosé champagne's popularity, the quality has improved at the same pace. One's liking or disliking of rosé is no longer a question of quality but of style. Variation of style is both the rosé category's strength and weakness. The colours may vary from pale pink to nearly as dark as red wine, and some rosés show a youthfully bright red colour whereas the others may have evolved towards onion-skin or orange. The youthful rosés are fresh, straightforward and loaded with red fruit aromas. The cellared rosés, on the other hand, show champagne toastiness and burgundy-like vinosity. They possess enough power and structure to complement the heaviest dishes, including red meat. Within these wines the bubbles take a softened form and a side role, and, in fact, these rosés behave very much like red wine. Rosé champagne can be made in two alternative ways: by macerating dark grapes in the juice (rosé de saignée) or by blending in some red wine from the Champagne region with a white base wine (rosé d'assemblage). Most rosés are products of the latter method, which allows better control over the outcome, but neither of these methods can be raised above the other in quality. It is often impossible to determine the manufacturing method when tasting the wine, although sometimes a saignée wine can be recognised due to its more tannic nature. Small traces of tannins may help the rosé age even longer than the blanc version, even though not every rosé is made for maturing. The fruitforward non-vintage rosés are best savoured when the red fruit is still bright and the mousse energetic. But the queens of the category, Dom Pérignon Rosé, Cristal Rosé, Dom Ruinart Rosé, increase their appeal over decades. Rosé champagne is often approximately twenty per cent more expensive than white champagne, due not only to its trendy popularity but also to higher manufacturing costs. The production of high quality red wines for rosé champagne is difficult and expensive in Champagne. The significantly higher price of prestige cuvée rosés can, however, not be explained by cost but rather because of scarcity and the laws of supply and demand. different. The duo of Bollinger La Grande Année Rosé 2002 and LaurentPerrier Alexandra Rosé came very close indeed. There were only a handful of vintage rosés submitted, and amongst them the toasty Henriot Rosé 2002 and the elegant Louis Roederer Rosé 2006 were able to even challenge even the finest prestige cuvées. Our panel was charmed by Charles Heidsieck Rosé Réserve NV, which finished in a highly successful 10th position overall; other great nonvintage rosé producers included Laurent-Perrier, Henriot and Ruinart. The top performers of grower rosé champagnes were Veuve Fourny's Rosé les Rougesmonts and Pierre Paillard's Brut Rosé Grand Cru. The result Prestige cuvee rosés can function as eye-openers to many who have never considered rosé to be a serious wine. The representatives of this wonderful category unequivocally populated the top of our list of the best rosé champagnes to enjoy in 2012. The battle for first position was tough and the panel was not able to decide between the best two wines: the feather-light Cristal Rosé 2002 and the vinous Dom Pérignon Rosé 2000, as the cuvées were so even yet so very

Prestige Cuvée and Vintage 1 1 3 4 5 6 7 8 9 10 Louis Roederer Cristal Rosé 2002 Moët & Chandon Dom Pérignon Rosé 2000 Bollinger La Grande Année Rosé 2002 Laurent-Perrier Alexandra Rosé 1998 Armand de Brignac Rosé NV Veuve Clicquot La Grande Dame Rosé 1998 Ruinart Dom Ruinart Rosé 1998 Krug Rosé NV Henriot Rosé 2002 Taittinger Comtes de Champagne Rosé 2004 Points 93p 93p 93p 93p 92p 92p 91p 91p 90p Fi n e B e s t R o s é s 17 90p The world's best rosé champagne today Our aim was to identify, for our readers' benefit, the rosé champagnes that are at their best right now. When making our list, the most important criteria were the quality of the wine and its accessibility today. This was a rather extensive endeavour, as it meant spending almost a year tasting and assessing champagnes that are currently available internationally ­ from prestige cuvée and vintage champagnes to non-vintages. For the shortlist we chose the hundred rosé champagnes that we had rated highest during the year, and carried out a blind tasting where we rated the champagnes using the 100-point scale. The panel consisted of the editorial team of FINE Magazines. The ranking is based on the mathematical average points taking into account two decimals. For the final ranking, the points are rounded to whole numbers. The entire list of the best champagnes for 2012 (blanc and rosé) will be published in February 2012. Non-vintage 1 2 3 4 5 6 7 8 9 10 Charles Heidsieck Rosé Réserve NV Laurent-Perrier Cuvée Rosé Brut NV Henriot Rosé NV Ruinart Brut Rosé NV Perrier-Jouët Blason Rosé Brut NV Veuve Fourny & Fils Rosé les Rougesmonts Extra Brut NV Moët & Chandon Rosé Impérial NV Pierre Paillard Brut Rosé Grand Cru NV G.H. Mumm Brut Rosé NV Billecart-Salmon Brut Rosé NV Points 91p 90p 88p 88p 88p 88p 88p 88p 87p 87p

Best Rosé Champagnes 2012 for 1 3 18 BEST ROSÉS 2012 Colour: Pale onion-skin 93p Louis Roederer Cristal Rosé 2002 1 93p Moët & Chandon Dom Pérignon Rosé 2000 Colour: Deep salmon Nose: Delicately fragrant, red fruit purity, mineral Palate: Wonderful acid line, fresh and vivacious Ending: Long and pure In a nutshell: So elegant Buy or not: If you have a thick wallet When to drink: 2012­2025 Final verdict: One of the finest Nose: Fragrant and fruity, chalk, gunpowder Palate: Round and firm Ending: Long and intense In a nutshell: Pure delight Buy or not: Pricey but worth of every penny When to drink: 2012­2026 Final verdict: A grand champagne 93p Bollinger La Grande Année Rosé 2002 Colour: Medium-deep cherry with onion-skin hues 4 93p Colour: Deep onion-skin Nose: Red fruit, toast, spice Palate: Lacey, round, lively Ending: Long, vinous Laurent-Perrier Alexandra Rosé 1998 5 92p Colour: Pale pink Armand de Brignac Rosé NV Nose: Wide and vinous, fresh and energetic Palate: Long and intense Ending: Long and intense In a nutshell: Beauty Buy or not: One of the best values When to drink: 2012­2028 Final verdict: Firm and fine Nose: Fresh and elegant, forest berries, spice Palate: Light-weight with nice intensity Ending: Medium-long and fruity In a nutshell: Enjoyable Buy or not: For the bling When to drink: 2012­2016 Final verdict: Fine fruit In a nutshell: One of its kind Buy or not: Worth the money When to drink: 2012­2018 Final verdict: Enticing 6 92p Veuve Clicquot La Grande Dame Rosé 1998 Colour: Deep orange-hued 7 91p Nose: Vinous, pinot-dominant nose of forest floor, red berries and spice Palate: Wide and velvety Ending: Long and intense In a nutshell: A character Buy or not: If you love the style When to drink: 2012­2018 Final verdict: Vinous Colour: Medium-deep cherry with onion-skin hues Nose: Overt, perfumy, seductive, spicy Palate: Fresh, vinous, smooth Ending: Long, delicious and fresh In a nutshell: Satin-like Buy or not: Buy & keep When to drink: 2012­2030 Final verdict: Supergood Ruinart Dom Ruinart Rosé 1998 8 91p Colour: Pale peach-hued Nose: Refined, gently toasty, ripe apricot, vanilla, forest floor, spicy Palate: Evolved, vibrant, fresh, light Ending: Medium-long and complex In a nutshell: Classy Buy or not: Do not hesitate When to drink: 2012­2018 Final verdict: Delicious toast and fruit Charles Heidsieck Rosé Réserve NV

BEST ROSÉS 2012 9 91p Colour: Medium-deep cherry Nose: Toasty, vinous, spicy Palate: Full-bodied, soft, fresh Ending: Fine and long In a nutshell: Masculine and feminine at the same time Buy or not: To impress When to drink: 2012­2023 Final verdict: Pure seduction Krug Rosé NV 10 90p Colour: Medium-deep peachy Nose: Deep, fruity, elegant, light spicyness Palate: Firm, focused and tight-packed Ending: Long and fresh In a nutshell: Classy Buy or not: Yes, despite risen price When to drink: 2012­2020 Final verdict: Benchmark Laurent-Perrier Cuvée Rosé Brut NV 11 90p Colour: Medium-deep, evolved, peach-hued Nose: Very toasty, coffee, charred, sweet, vanilla Palate: Concentrated, full-bodied, rich, massive Ending: Long and powerful In a nutshell: Massive attack Buy or not: A great buy When to drink: 2012­2017 Final verdict: Give me more Henriot Rosé 2002 90p Taittinger Comtes de Champagne Rosé 2004 Colour: Deep cherry 90p Pannier Egérie de Pannier Rosé de Saignée NV 88p Nose: Elegant, deep, cherry, fragrant, evolving Palate: Fresh, firm and intense Ending: Long and juicy In a nutshell: Deep fruitiness Buy or not: Yes When to drink: 2012­2020 Final verdict: Intriguing combination of lightness and intensity Colour: Medium-deep peachhued Colour: Pale cherry with onion skin hue Nose: Refined, perfumy, ripe peach, sweet toastiness Palate: Beautiful mousse, youthful, vivacious, silky smooth Ending: Long and juicy In a nutshell: Pure and fragrant Buy or not: If Cristal Rosé is out of your budget When to drink: 2012­2020 Final verdict: Pure pleasure Louis Roederer Rosé Vintage 2006 Nose: Evolved, sweet toasty, strawberry, toffee Palate: Silky smooth, creamy mousse, voluptuous Ending: Long, delicious and fresh In a nutshell: Generous Buy or not: Highly recommended When to drink: 2012­2015 Final verdict: Impressive 15 88p Colour: Pale peach-hued pink Nose: Sweet, gently toasty appetising, cooked peaches, smoky minerality Palate: Lean, juicy, fresh and smooth with gentle mousse Ending: Medium-long and elegant In a nutshell: Beauty Buy or not: In volumes When to drink: 2012­2015 Final verdict: Seamless Henriot Rosé NV 16 88p Colour: Medium-deep cherry Nose: Straight-forward, red berries, youthful, pure Palate: Nice intensity, vibrant, lovely acidity Ending: Medium-long and clean In a nutshell: Red fruit potpourri Buy or not: Yes When to drink: 2012­2017 Final verdict: Solid, enjoyable and enticing Ruinart Brut Rosé NV 17 88p Colour: Medium-deep peachy Nose: Stylish, layered, gently toasty, cherry Palate: Fine creamy mousse, lifting acidic spine, silky Ending: Long and refreshing In a nutshell: Classy Buy or not: Yes When to drink: 2012­2020 Final verdict: Smooth and fresh Perrier-Jouët Blason Rosé Brut NV Fi n e B e s t R o s é s 19 12 13 14

Best Rosé Champagnes 2012 for BEST ROSÉS 2012 18 88p Veuve Fourny & Fils Rosé Les Rougemonts Extra Brut NV Colour: Deep cherry-red with evolution 19 88p Colour: Medium-deep cherryred Nose: Soft, youthful, berried, sweet, strawberry, lemonade Palate: Fresh, light and lively, a bit coarse mousse, fruit-driven Ending: Medium-long and appetising In a nutshell: Classy Buy or not: A safe purchace When to drink: 2012­2015 Final verdict: Simple but fun Moët & Chandon Rosé Impérial NV 20 88p Pierre Paillard Brut Rosé Grand Cru NV Colour: Pale cherry pink Nose: Soft, simple, berried, ripe, spicy Palate: Full, firm, structured, fleshy Ending: Vinous and persistent In a nutshell: Burgundy with bubbles Buy or not: If you manage to find a bottle When to drink: 2012­2016 Final verdict: A personality Nose: Straight-forward, mild, clean red cherry Palate: Fruity, lightbodied, etheral Ending: Medium-long, pure In a nutshell: Understated elegance Buy or not: Yes When to drink: 2012­2018 Final verdict: Refreshing 21 20 87p Colour: Pale onion skin Nose: Elegant, restrained, cherry, apricot Palate: Fine mousse, crisp, focused Ending: Long and refined In a nutshell: Elegant Buy or not: Yes When to drink: 2012­2018 Final verdict: Easy-going refinement G.H. Mumm Brut Rosé NV 22 87p Colour: Delicate, elegant, bright red fruit Nose: Some complexity, refined, focused, creamy mousse Palate: Refreshing Ending: Long, delicious and fresh In a nutshell: Refined Buy or not: Without risk When to drink: 2012­2017 Final verdict: Youthful but delivers Billecart-Salmon Brut Rosé NV 23 87p Colour: Very pale, peach-hued Nose: Delicate, mineral, smoky, ripe peach Palate: Crisp, vivacious, elegant, touch of bitterness Ending: Lean and lingering In a nutshell: Fine-tuned Buy or not: Gladly When to drink: 2012­2015 Final verdict: Style Canard-Duchêne Charles VII Rosé NV 24 87p Colour: Deep cherry Piper-Heidsieck Rosé Sauvage NV Nose: Smoky, berried, simple, primary berry fruit Palate: Unrefined foamy mousse, forward fruit, a touch heavy Ending: Long and wide In a nutshell: Unchampagne-like Buy or not: If you like a high red fruit impact When to drink: 2012­2014 Final verdict: Different

AT P I P E R- H E I D S I E C K , T H E M O S T N OT EWO RT H Y C O LO U R IS NOT THE RED, BUT THE GOLD. Piper-Heidsieck's Winemaker is elected Champagne Winemaker of the Year*. For the sixth time in eight years, Régis Camus has been crowned by the prestigious International Wine Challenge UK. Beyond the talent of the man, it is the uncompromising quality of the Piper-Heidsieck wines, awarded year after year, that dazzles. www.piper-heidsieck.com * Winemaker of the year in Champagne category, Septembre 2011.

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Gérard 24 Sommelier One of a Kind Text: St uart Geor ge Photos: Gér ar d Bas set I t takes vision and a good deal more to have accomplished what Basset has. He is the only person to have the letters MS, MW and MBA after his name. In April 2010, he was crowned in Chile as the World's Best Sommelier, beating 53 competitors from 51 countries to win the accolade.

Bas set G é r a r d T he training process for the World's Best Sommelier Competition was gruelling. "I spent a lot of hours revising and tasting blind, with lots of mock exercises. I went to work in some other restaurants, including the Waterside Inn and Gordon Ramsay's. For the last two months, I worked the floor here and created a team of top sommeliers that would coach me twice a month." Many of those sommeliers, such as Xavier Rousset and Dimitri Mesnard, were themselves tutored by Basset. He also practiced in front of less familiar faces to "create a more stressful situation... You have to put yourself under a lot of pressure." Just to qualify for the World's Best Sommelier competition is a considerable achievement, as entrants need to have won national selection beforehand. At the competition itself, the sommeliers are filmed all the time. There is a questionnaire, then a white wine, a red wine and a spirit to describe aloud. The top 12 in this qualifying stage go through to the next round, where they are challenged with more wine descriptions, food and wine matching, menu designs and blind tast- ings. A bottle of Champagne must be poured perfectly for seven people and then a bottle of red wine has to be decanted properly: the tests are endless and every aspect of the sommelier's abilities is examined closely. Basset became a Master of Wine in 1998 and completed the Bordeaux Wine MBA in 2007. Despite the challenges of sommelier competitions, "the MW was the most difficult because it was not natural for me", he admits. "It's very academic ­ and I left school at 16! MS is based on what you do in a restaurant, so I was better prepared. The MBA syllabus seemed interesting so I applied. I wanted to carry on my education and learned a lot. When we opened TerraVina, it was a good thing to be able to say that I had the MS, MW and MBA." orn in 1957 in Saint-Étienne in central eastern France, Basset first visited the UK in 1977 to watch his local team play a football match in Liverpool. He fell in love with England and found work as a kitchen porter. After a brief stint work- Liverpool 1 ­ 0 SaintÉtienne B ing in an Isle of Man hotel, he returned to France and trained as a 25 chef in Beaujolais before working in restaurants and hotels in Lyon and Marseille. Wine had always been a part of his life. "My father drank wine every day, and when I was young I drank it in a glass with water." He did a correspondence course on wine in France and then began entering competitions and working towards the Master Sommelier qualification, which was achieved in 1989. He was then spotted in a competition by Chewton Glen's management and began working there in 1988. The competition wins kept coming, including UK Sommelier of the Year title in 1989 and 1992 and the Best Sommelier of Europe award in 1996. At Chewton Glen he worked with its Managing Director Robin Hutson, who had interviewed Basset for his role. He met his wife Nina there, too. "We worked closely together and two weeks later we were together!" "Later on, Robin came to see me and asked if I wanted to run a hotel with him. I was taken aback because it wasn't part of my plans ­ and I Fi n e P e r s o na l i t y

26 didn't have any money! But my wife Nina said we should do it and we found all the money we needed." otel du Vin was intended to fill a gap "in the top of the mid-market: competitively priced but high in quality. Everything was good quality but we cut down on services like valet parking and shoe cleaning. We wanted to allow people to be able to drink better and better wines... It was also important for people who sold the wines for us ­ the sommeliers ­ to be in control of buying the product. It meant that people wanted to work for us ­ and that enthusiasm meant that people wanted to come to the hotel." Hard work is the biggest factor in Basset's success, but luck has played its part, too. Within two TerraVina and Terra Incognita H weeks of opening the first Hotel du Vin in Winchester in October 1995, the town became the location for the trial of serial killer Rosemary West. Journalists and film crews needed somewhere to stay, and the hotel was fully booked for a month. From an initial investment of £25 000 (28 140), the chain expanded to six hotels before it was sold in October 2004 to MWB Group for £66 million (74 286 700). Basset's share was £2.4 million (2 701 330), part of which he used to open the 11-room TerraVina hotel and restaurant with his wife Nina. Having worked in some very prestigious hotels and restaurants, Basset now has a mixed view of Michelin ratings. "It can be good and bad, although if I were a chef I would want it! It's like a sommelier competition. We are flirting with Michelin, which creates publicity for customers and makes it easier to recruit staff. On the downside, it creates a lot more costs ­ you have to play the Michelin game with customers, who expect appetisers and pre-desserts and so on. Michelin is quite traditional but we don't even have any tablecloths." aving had an outstanding career as a sommelier, restaurateur and hotelier, Basset is now something of an elder statesman within UK wine circles. "It's nice to know that I have inspired people," he acknowledges in his typically modest way. As somebody who has won multiple sommelier competitions and passed three extremely demanding sets of examinations, he has valuable ideas on the role of the sommelier. Le Bon Sommelier H "A good sommelier should do many things. Some people only see the tip of iceberg, which is serving wine, but the sommelier also needs to be a good businessman to buy wines. Quality is important but so is the price... You almost need to be a psychologist to understand what people want. If I had to choose one thing that a sommelier should have, it would be good people skills. I've seen sommeliers who knew their wine but people didn't like them. If you are a good taster but don't understand the business or the people within it then it won't work. The sommelier is a link between the customer and the producer, but he's no more important than either of them. You need to be a good ambassador for the wines you're going to sell." In February 2011, Gérard featured in the BBC2 programme

"Michel Roux's Service", in which the great chef of Le Gavroche restaurant in London "sets out on a personal mission to train eight young people as front-of-house superstars". The Academy of Food and Wine Service, of which Gérard is a board member, approached Michel Roux to make a TV programme, through which it would offer two of its scholarships. Having just won the World Championship, Gérard taught the eight youngsters ­ some of whom had never tasted wine ­ how to serve wine in a restaurant. Having accomplished so much, he could opt for an easier life and enjoy the rewards of his success. But instead he continues to work hard at TerraVina, serving wine on Friday and Saturday nights when it is busy, as well as always wondering what is next. "There's no rush but I'd like to do something else eventually." > Name: Gérard Francis Claude BASSET OBE Date of Birth: 7th March 1957 Place of Birth: Saint-Étienne (France) Family: Married to Nina; one son: Romané Nationality: French and British (the latter since 1990) Bas set G é r a r d Catering and Wine Qualifications: 1989 Master Sommelier (London) 1998 Master of Wine (London) 2007 MBA (Bordeaux Wine MBA) Gaining Best Student and Best Thesis (Bordeaux) 2010 1st in ASI Best Sommelier of the World (Santiago, Chile) Special Awards: 2010 IWC Wine Personality of the Year 2010 2011 Drinking Out Excellence Awards (Harpers Wine & Spirits) 2011 Wine Personality of The Year 2011 Imbibe Industry Legend 2011 (Imbibe Magazine) Miscellaneous: Since Nov 2008 (for 2 years) World Wide President of Court of Master Sommeliers Since 2007 The only person in the world to be a Master Sommelier, Master of Wine and Wine MBA 2011 Awarded an OBE in the Queen's Birthday Honours List Hobbies: Reading, walks in the forest with his dog (Merlot), music (1970s and 1980s), cinema (comedies and thrillers), chess Fi n e P e r s o na l i t y 27

28 On the Terroir of a Master Sommelier Terra Text: Es s i Avel l an MW S ince winning the World's Best Sommelier title in 2010, Gérard Basset has become one of the most closely followed names in the wine world. His career so far has been a succession of titles Vina Photos: Gér ar d Bas set and awards; not only has he received an OBE, but the International Wine Challenge (IWC) also named him their Personality of the Year. So how is this success reflected in Gérard and Nina Basset's boutique hotel in Hampshire's New Forest? Has little TerraVina become a place of pilgrimage for wine geeks?

I arrive at the tiny railway station of Ashurst, close to Southampton, on a sweltering July day. As Gérard promised, the taxi journey to TerraVina is not long. The country road winds through the New Forest, giving me a good fright when the taxi driver has to brake suddenly after a bend to avoid a herd of ponies crossing the road. The freely grazing horses and sheep reinforce my impression of having arrived in the middle of nowhere. I wonder how a fine dining restaurant with a 450-strong wine list can make it here, as the taxi turns onto the driveway of the Bassets' friendly-looking mansion. A warm welcome T The host and hostess are both present and give me a warm welcome, before Gérard leads me to my first-floor room, which is known as Vin Santo. After asking whether I could stay in a room called Champagne, I am told that all the rooms are named after sweet wines. The medium-sized room, decorated in cranberry hues, continues onto a roomy roof terrace, while any friend of a long, hot soak would immediately fall in love the clawfoot bath in the living room. Before dinner I stretch my train-numbed legs on a jog in the national park that spreads out from the hotel's garden gate, before a quick dip in the hotel's backyard swimming pool freshens me up just in time for a champagne aperitif with my travelling companion. Fi n e R e s tau r a n t 29

30 HOTEL TERRAVINA 174 Woodlands Road, Woodlands, Netley Marsh, New Forest, near Southampton, Hampshire SO40 7GL, United Kingdom www.hotelterravina.co.uk info@hotelterravina.co.uk Puh. +44 (0)2380 293 784

e decide to start our meal on the mansion's large terrace, where the summer evening sun still feels warm. We taste TerraVina's house champagne, the luscious and fruity Lenoble Cuvée Intense (86 p). While sipping, we ask for the hotel's wine list, eager to know the choices of the World's Best Sommelier; at least we are certain not to find any spelling mistakes, as Basset has had to practise the correct spelling of wines for hundreds, if not thousands, of hours, in order to get through sommelier competitions. At first sight, it is clear that the world champion has wanted to include the entire wine world on his list, as he has dozens of unusual labels from countries such as Slovakia, Japan, Greece and even Uruguay. In addition to the most common grape varieties, the list mentions rarities such as Falanghina, Dolcetto, Agiorgitiko and Arneis. Loyal to his homeland, however, Basset places the greatest emphasis on French wines, both classics and lesser-known small appellations. This would be paradise for wine students, and Basset has in fact turned numerous young, promising talents into star sommeliers. ly. Some of the standard champagnes found on the list are LaurentPerrier Brut L-P NV (£70.75) and Charles Heidsieck Brut Réserve NV (£75), while the luxury choices include Dom Pérignon 2000 (£175) and Louis Roederer Cristal 2002 (£280). Given the backg- round of this place, I find myself wishing there were more single-vineyard champagnes on this list. Extravagant wines are not the be all and end all for Basset or TerraVina's clientele; instead, the emphasis is on enjoyment and learning. The wines are reasonably pri- ced, especially when it comes to the higher-end products. D ue to the breadth of the wine list, champagne is not particularly accentuated. I am surprised that, apart from a few high-quality small-scale producers, the list is populated by mostly mainstream names ­ although classy ones, natural- aving had our appetites awakened by the house champagne and the unique and interesting wine list, we move indoors for dinner. In the cosy candle-lit dining room, we take a seat at a small window table for two. The host is occupied at a wine tasting for a large group, so we get to test the wine proficiency of the rest of the staff. Happily, it is nothing but praiseworthy. Our sommelier, Laura Rhys, knows the list inside out, and we are happy to rely on her recommendations. We feel like trying wines previously unknown to us, and therefore start off with Mosel legend Egon Müller's Australian Kanta Riesling 2008 (90p). The streamlined and sweetly petrolscented Riesling is an excellent match for the Hampshire asparagus on my plate. Served with radish, eggs and hazelnuts, the asparagus in itself is not particularly exciting (88p), but it is well complemented by the wine. My companion's "comfort food", on the other hand ­ smoked haddock with quail's eggs, ham, carrot and cumin ­ is absolutely delicious (93p). As an entrée, the kitchen serves us scallops with traditional English black pudding, pancetta and apple purée. Although the combination of scallops and black pudding sounds A symphony of flavours H Fi n e R e s tau r a n t 31 W

Terra ina V rather exotic to our foreign ears, it is surprisingly successful ­ although the apple purée is a bit overpowering (89p). For the main course we go for the recommended southern French Leon Barral Faugerès 2007 (91p), whose soft spiciness is a great accompaniment to my companion's "Head to Toe" New Forest pork, served with potato, apple and sweet mustard (90p). My own warm beetroot salad with local goat's cheese and watercress works very well in all its simplicity (91p). The velvety mellow goat's cheese melts in the mouth and the dish complements the earthy wine surprisingly well. By dessert, Gérard Basset has finished his tasting session and is 32 ready to serve us Alain Brumont's Les Larmes Célestes 2005 Pacherenc du Vic Bilh Blanc Doux (92p). The delicious combination of Petit and Gros Manseng grapes goes like cannot save the day (87p). Luckily, there is enough of my friend's delectable carrot cake for two. The Bassets' TerraVina is a delightful place for gourmands to spend a weekend. The main reasons for visiting are the interesting wines, competent service and genial hosts. Anyone who experiences TerraVina once is very likely to come again, given that the uncomplicated, far from arrogant attitude towards wines is attractive. The welcoming and cordial Gérard Basset sounds pleased when he says that more than half of his customers come to TerraVina for the wines, but that at least 80 per cent leave with wine on their minds. TerraVina is still a relatively unknown destination, but for wine lovers it is an unmissable opportunity to get to know the fascinating dimensions of the wine world under the tutelage of one of the legends in the field. > a dream with the nearly impeccable carrot cake, which is accompanied by orange gel, rosemary sorbet and orange cream (98p). My own dessert is a slight disappointment: the stewed peaches are good, but the white chocolate ice cream is just too sweet ­ even the caramelised hazelnuts

34

Ruinart THE WORLD'S FIRST CHAMPAGNE BRAND ­ ONLY FOR EXPERTS? Text: Juha Lihtonen Photos: Maison Ruinart I n the world of luxury products, the brands that were the first to launch their exclusive items onto the market have often been able to maintain a leading position and pioneering image to this day. Examples abound, such as Mercedes-Benz in the automotive world, started by the father of modern cars, Karl Benz. Louis Vuitton did the same for luxury bags, being the first to market designer bags, and Breguet, whose founder and developer Abraham-Louis Breguet is known as the father of the auto- matic clock winding mechanism, did it for watches. Champagne is different. e world's first champagne brand, Ruinart, is still relatively unknown to the greater public. However, for top sommeliers and champagne experts, Ruinart represents the choicest of champagnes. How has it achieved this position among connoisseurs while failing to obtain a market-leading position like other luxury pioneers? Fi n e L e g e n d 35

36 he over 280-year-long history of this champagne house is unknown to the greater public, and seems to be appreciated mainly in sommelier circles. ose who know Ruinart and its champagnes swear by it, especially its prestige label, Dom Ruinart, and its rosé version. Many top sommeliers and oenophiles agree that these are two representatives of the champagne elite. But why is the house so little known outside of professional circles? To discover the answer, one needs to look over the great history of the champagne house, its key persons and the actions they have taken in their quest to achieve global success. Nicolas Ruinart 1728 is known as a revolutionary year in the history of the Champagne region. It was then that word was received in its capital, Reims, known as the centre of France's textile trade, that Versailles had opened up the export market for champagne by allowing sparkling wine intended for exports to be packaged in bottles. It meant that vendors could now sell their sparkling elixir in bottles rather than barrels. e 32-year-old Nicolas Ruinart, heir to a long-standing family of textile traders, was the first to spot the new market opportunity. He believed that champagnes, offered on the side of his clothes and labelled with his own brand, would set him apart from competitors and help him get his textiles sold to the royal courts of Europe. Little did he know when establishing the Ruinart house of champagne in autumn 1729, that in just a few years his business idea would replace the family's centuries-old textile manufacture and, in fact, revolutionise the whole world. T CHAMPAGNE VS. CLOTHES T he idea of starting a champagne house was not completely fortuitous for the young Nicolas; after all, he had observed the French court's delectation for the sparkling drink produced in his home region. Secondly, his family owned some vineyards close to Reims, whose fruits were going unused. irdly, the alleged stories told by Nicolas's uncle, the Benedictine monk ierry Ruinart, about the Abbey of Hautvillers, where his fellow monk Dom Pierre Pérignon dedicated his efforts to champagne, might have made the young man consider the new profession. When the new bill was passed in 1728, Nicolas wasted no time, establishing the first commercial champagne house in Reims in late 1729. anks to the success of his champagnes, he was able to develop his textile sales, but in the next few years he realised that demand for the former surpassed that of the latter. Nicolas reacted swiftly and significantly increased his champagne production from a meagre 170 bottles in 1730 to 3,000 just one year later. Ruinart's profitability improved dramatically, as the margin on champagnes was many times higher than that of clothes. In 1735, Nicolas Ruinart gave up the textile trade completely in order to focus on producing and selling champagne. He marketed his products in France and its neighbours, Belgium and Germany. It was impractical for the father of four to take his marketing further, as these markets already kept him away from home for seven months of the year. In 1764, Nicolas was finally joined in the business by his son Claude. ree years later, Claude was managing the business so well that Nicolas was able to retire. Having lived to the age of one hundred, Nicolas was able to observe his son leading Ruinart to success and great esteem, not only amid Europe's royals but also among the public. hen Claude took over the company, the estate's annual production of nearly 40,000 bottles demanded larger storage facilities. Claude realised that Reims's large underground limestone caves, called crayères, offered excellent opportunities for aging wines, so he moved the business closer to the caves on the edge of the city. Claude's son Irénée Ruinart joined the company at a young age. He focused on international exports, and, having married the Briton Marie Elisabeth Brigitte, obtained access to the British market. Irénée led Ruinart in the early 1800s, while also dedicating himself to a political career. He had close relations with Europe's royal houses and aristocracy, and although he was more active as a politician than as a champagne producer, he did a good job leading Claude Ruinart Ruinart and making the brand known around Europe. Of Irénée's nine children, Edmond Ruinart was the one to assume responsibility for Ruinart after his father. Like his father, this fourth-generation leader of the champagne house relied on increasing exports. He decided to focus on the as yet undiscoverd, more distant markets of Russia and the United States. Edmond spent a lot of time in St. Petersburg and Moscow marketing his champagnes to the Russian court, and in 1842 and 1846 he received large orders from there. He also spent time in the United States laying foundations for Ruinart's sales in the west. Here his efforts were less successful, and the US market never really opened for the house. Edmond's focus on the Irénée Ruinart more distant markets proved fateful for Ruinart, as with less attention, orders from the European market faded and sales struggled. en, when the Russian market collapsed as a consequence of the Crimean War, Edmond Ruinart retired, embittered, handing over the business to his sons Charles and Edgar. e younger son, Edgar, called the tune and was able to reconquer the lost European market. Edgar led the house successfully but passed away prematurely at the age of 52, leaving the company in the STICKING WITH TRADITION W Clos de la Maréchale ­ Vin exceptionnel and the world's first single-vineyard champagne A quality classification system was already in place before Ruinart was established, dividing Champagne wines into the categories vin vieux, vin nouveau and vin ordinaire. As the popularity of champagne grew, a new top quality level was added: vin exceptionnel. Of Ruinart's products, this title was awarded to a champagne produced from Nicolas Ruinart's own parcel in the village of Sillery. e wine was named after the parcel, Clos de la Maréchale, and it can be considered the world's first prestige single-vineyard champagne.

37 Fi n e L e g e n d

Dom Thierry Ruinart (1657­1709) It is the year 1696. A slim, lightly built monk wanders in the gardens of the Benedictine Abbey of Hautvillers. It is Dom ierry Ruinart, who has stopped by on his way past. He observes with great interest a monk working in the abbey's vineyard; it is Dom Pierre Pérignon, of whose accomplishments in developing champagne Dom Ruinart has heard already on his first visit to Hautvillers, a decade earlier. He introduces himself, and the men exchange a few words on vine-growing. Later that evening, Dom Pérignon discloses to Dom Ruinart some of his insights into the secrets of making wine. e next time the men will meet is in the chapel of the abbey in August 1709. Dom Ruinart has stopped by on his way to Paris. e visit proves fateful, however, as Ruinart falls ill with a terrible fever to which he eventually succumbs. He is buried at the abbey and a tombstone is engraved in his memory. Only six years later it will be joined by another stone, reading Dom Pierre Pérignon. Apart from the tomb stones of the monks in front of the altar in Hautvillers abbey, there is no factual evidence of any meetings between ierry Ruinart and Pierre Pérignon. Stories of their conversations are pure speculation. However, the history books show that Dom Ruinart visited the Abbey of Hautvillers three times ­ in 1686, 1696 and 1709. At that time, the abbey's resident Dom Pierre Pérignon enjoyed great esteem thanks to his efforts in developing winemaking. It is very likely that the brothers met in Hautvillers, and considering that ierry Ruinart's family owned vineyards close to Reims, it can be assumed that they spoke about wine-growing and champagne production. is would have led to Dom Ruinart receiving valuable information from Dom Pérignon concerning the secrets of champagne; information which he later passed on to his family in Reims. 38 running a champagne house, and he coached his son André for the task. André did not take charge until the age of 20. Full of energy and enthusiasm, he made large-scale investments into production facilities and new equipment. To fund these, he sold off property, including the famous parcel of Clos de la Maréchal, which had long been in the family. hands of his brother Charles. Living in Paris, Charles had little interest in uinart had a leader in André whose like there has not been in the rest of the company's history. André had decided further to strengthen the important European market, while also making room for new contacts in the now more difficult competitive situation. He focused on the southern German market, which was significant for the company, on reinforcing demand for his champagnes within the Belgian court, and on ensuring distribution to eminent Russian officers, who would open doors to the court there. In addition to these central and northern states, he turned to the south ­ Spain and Italy ­ where he worked actively to improve Ruinart's prospects. Contrary to his predecessors, André Ruinart considered communication to be an essential factor for success. He advertised his brand and was also willing to sponsor events in exchange for visibility and image. When the Wright brothers rocked the world in 1903 with their first flight, André decided to create an event centred around aviation that would give Ruinart plenty of publicity. It led to the birth of the Ruinart Père & Fils Cup, which was a competition for flying across the English Channel. In addition to active marketing, André strengthened his delivery agreements around the world André Ruinart NEW ALLIANCE R to ensure that Ruinart champagnes could be found at all the premium holiday destinations, such as the French Riviera. It all seemed very promising, and by 1915 the 53-year-old André had created a strong market for Ruinart, reaching as far as Sweden and South Africa. e First World War dealt a fateful blow to the most innovative leader of the champagne house, however. Having avoided fighting all of his life, André's destiny was sealed in the cellars of Ruinart, where he lived and conducted the company's affairs for four years during the war. e cold, damp cellar conditions destroyed his lungs and he died in 1919. CRASH LANDING A t the time of André's death, his son Gérard was only 17, and would only take the helm six Bertrand Mure years later, in 1925. Until then, and even afterwards, the company's operational management was in the hands of long-term managing director J. Max Leroy. He played a major role in the continuity of Ruinart's operations, because Gérard lacked both the leadership and the business vision of his father. Ruinart's difficulties began in the 1930s, as the country sank into depression. e American Prohibition, the stock exchange crash and the oil crisis accelerated the downward spiral, and finally the Second World War seemed to seal the destiny of the world's world first house of champagne. Gérard Ruinart was at a loss. Managing director and Ruinart's advocate, Leroy, fought to keep the company going, but Gérard could see no future in the operation. His cousin Bertrand Mure came to the rescue.

Bertrand had grown up in the champagne business. Related to Charles Ruinart through his mother, Bertrand's father was at the helm of the Roederer champagne house. Gérard and Bertrand shared a flat and became close in German-occupied Reims during the Second World War, and Gérard decided to ask Bertrand to consider taking over Ruinart. Bertrand thought about it for eight years. When J. Max Leroy died in 1947, Bertrand finally decided to take the step. RUINART ­ MOUTONROTHSCHILD'S CHAMPAGNE B ertrand Mure faced a huge challenge. He had to travel around the world to rebuild distribution channels for Ruinart champagnes. In addition, the estate, mutilated by the war, needed urgent repairs and finding financing was essential. After extensive negotiations, the owner of the esteemed house of Mouton-Rothschild, Baron Philippe de Rothschild, bought half of the shares in Ruinart in 1949. is relieved Ruinart of its financial plight and allowed it to get back on its feet. For the next fourteen years, Ruinart chugged forward under the leadership of Mure, who worked to make the brand popular among the elite. One strategy was to hold numerous luxury dinners for select celebrities. Mure also decided to cement the brand's popularity by launching two prestige champagnes: Dom Ruinart Blanc de Blancs and Dom Ruinart Rosé. When Rothschild expressed his wish to abandon the company, Mure offered the shares to Moët & Chandon director Robert Jean de Vogüé. Vogüé accepted the offer and took charge of the house in 1963. With Moët & Chandon merging, first with Hennessy Cognac in 1971 and then with Louis Vuitton in 1987, Ruinart ended up as part of the LVMH Group. champagne market. From 1979, when the house was celebrating its 250th annversary, the Trophée Ruinart sommelier competition became a way to increase the brand's esteem among sommeliers around Europe. is was achieved, first in France and from 1988 onwards also in the rest of Europe. Experts such as Serge Dubs, Gérard Basset, Enrico Bernardo and Andreas Larsson, who were crowned as Europe's top sommeliers in the competition, have later become some of the most renowned authorities in their fields, and have spread the word about Ruinart. However, decades of investment into the competition, striving to turn Ruinart into the "sommelier's champagne", did not have the desired effect and the international Trophée Ruinart was discontinued in 2006. THE CHAMPAGNE OF THE WORLD'S BEST SOMMELIERS U nder its new ownership, Maison Ruinart has been overshadowed by the other large champagne houses in the group, such as Moët & Chandon and Veuve Clicquot. Ruinart has been seeking its niche on the t is Ruinart's incomplete image that seems to stand in the way of success. is is evident in the product's advertising, which has failed to create mental pictures around the brand. Consumers find it difficult to position Ruinart in relation to other brands. While Veuve Clicquot enjoys the prestige of a champagne directed at women, Moët & Chandon is known as the party champagne, and Krug is the drink for the true connoisseur, Ruinart has no clear message about its target audience. is lack of a profile has been seen as a problem for the brand throughout its history. For centuries, Ruinart was led on the principle of creating the "everyman's champagne". e various generations at the helm of the house have focused on one market or another, forgetting to build a brand with a long-term vision. e house has also been short of strong personalities who would have been able to create an image for the brand through inventions or campaigns. Since the company's establishment, only André Ruinart stands out as a man who sought to set apart the house from its competitors. Taking into account the high quality of Ruinart's champagnes, the company's history as the world's first champagne brand, and the fact that it is owned by the world's leading luxury goods group, LVMH, Ruinart certainly possesses all the ingredients for cooking up one of the world's most desirable luxury champagnes. > References: Ruinart ­ Patrick de Gmeline (1996) & Archives Maison Ruinart NEW DIRECTIONS I Fi n e L e g e n d 39

Ruinart's champagnes Ruinart is known for a creamy, champagne style, characterised by the generous use of Chardonnay in the blend. R de Ruinart Brut NV Appearance: Aroma: Taste: Aftertaste: Character: Serving glass:: Temperature: Drinkability: Price/quality ratio: Recommended with: General description: Ruinart Blanc de Blancs NV Appearance: Aroma: Taste: Aftertaste: Character: Serving glass:: Temperature: Drinkability: Price/quality ratio: Recommended with: General description: 40 Ruinart Brut Rosé NV Appearance: Aroma: Taste: Aftertaste: Character: Serving glass:: Temperature: Drinkability: Price/quality ratio: Recommended with: General description: Dom Ruinart Blanc de Blancs 100% Chardonnay 65% of the grapes come from Côte de Blancs Grand Cru parcels and 35% from Montage de Reims Grand Cru parcels For the best vintages, see Richard Juhlin's tasting notes on page 42. Dom Ruinart Rosé 84% Chardonnay 16% Pinot Noir For the best vintages, see Richard Juhlin's tasting notes on page 44.

Text: Richard Juhlin uinart launched its first prestige cuvée from the house's 230th-anniversary vintage, 1959. Named after the famous Benedictine monk Dom ierry Ruinart, it was produced from Chardonnay grapes grown in the estate's grand cru vineyards. e wine was presented in an old-fashioned, broad-beamed bottle with a narrow neck, which was practically identical to those used by the monks. It has been accompanied by Dom Ruinart Rosé since the 1966 vintage. e fantastic Dom Ruinart and Dom Ruinart Rosé, based on the same blanc de blancs cuvée, are born in stainless steel tanks, protected from oxidation. e approximate 15-percent portion of red wine in the rosé comes from the house's own Pinot Noir vineyards in Sillery and Verzenay, as well as from the unknown grand cru village of Puisieulx. It differs from other top blancs de blancs, such as Taittinger Comtes de Champagne, in that some of the Chardonnay grapes used come from Montagne de Reims, which is traditionally a Pinot Noir region. Of these Montagne de Reims villages, Sillery with its tough, smoky minerality and well-structured body stands for the lion's share. is makes Dom Ruinart unique and individual. Also, it should be noted that since Ruinart was incorporated into the LVMH Group, the same yeast has been used for it as for Dom Pérignon. e two labels share some characteristics, and Dom Ruinart is in fact considered by some to be a Dom Pérignon Blanc de Blancs. is has also been my conclusion in a number of blind tastings, even though LVMH do not actually aim for this. With regard to the personality of the wine, it is interesting to note how quickly Frédéric Panaïotis, who was initially earmarked for the post of cellar master at Veuve Clicquot ­ a house with a completely different character from Ruinart's ­ has managed to assimilate Ruinart's typically creamy and crisp style. e readjustment for Fred was great and dramatic, but it feels as though he, as one of the most talented winemakers I've met, has R very quickly found his way in terms of style. I had the pleasure and great honour to taste quite a lot of Dom Ruinart vintages with Frédéric during his first months as Ruinart's cellar master. We conducted deep analytical discussions based on my tasting experience, so that he would be able to understand the style of Dom Ruinart as rapidly as possible and make champagnes that respected the house's tradition. Frédéric has tried to refine the wines' purity and minerality by blending the most elegant Chardonnay from the Côte des Blancs with the more powerful version of the same type of grape from the northern Montagne de Reims. He sees the rosé version as being a "blanc de blancs rosé" that offers a unique and paradoxical complexity through its long storage, a complexity in which the nose is distinctly reminiscent of a great red Burgundy, interwoven with an unbelievably pure and invigorating taste. For consumers who enjoy elegant champagne with chalky minerality, a citrus aroma and stringent acids backed up by a toasted character reminiscent of Charles Heidsieck, Belle Époque and Dom Pérignon, Dom Ruinart Blanc de Blancs is going to be a big favourite. For those who love the most feminine of the Burgundy red wines such as Chambolle-Musigny Les Amoureuses from Roumier, or Griotte-Chambertin from Ponsot, while not having anything against gentle creamy silkiness and a splash of bubbles inflated with minerality, a twenty-year-old Dom Ruinart Rosé should be a heavenly experience. Tasting history W hat is the quality like, then, today seen from a historical perspective? In August 2011, I updated my already voluminous tasting register of this fantastic label at an extremely comprehensive Dom Ruinart vertical at the eminent and star-winning oasis of Søllerød Kro, north of Copenhagen. is was the sixth year in a row that we gathered togeth- Fi n e Ve r t i c a l 41

er with the Danish enthusiast Bjørn Leisner for a legendary vertical tasting. e champagnes that we had previously enjoyed and analysed were Dom Pérignon, Cristal, Comtes de Champagne, Krug and Salon, and now it was Dom Ruinart's turn. e event was brilliantly organised and the group enjoyed yet another wonderful weekend with colossal amounts of first-rate food, and Dom Ruinart in just as copious quantities. irty-two different Dom Ruinarts were lined up with marvellous dishes composed by one of the most congenial chefs in Denmark, Jan Restorff, from caviar, sweetbreads, truffles, duck liver, turbot, salmon, chicken, ceps and fillet of veal. All dishes were accompanied by a half-blind trio of Dom Ruinart. The performance I t was difficult to draw any general conclusions about the stage or age at which the wines ought to be consumed. Neither did we manage to agree on whether the Blanc de Blancs or the Rosé was the most brilliant star. We were unanimous, however, as to the drinkability of the rosés, which are best at an age of about twenty years. ey provide an amazingly unique wine experience that should really be enjoyed personally. Generally speaking, one can probably say that it is a criminal act now to drink bottles of Dom Ruinart Rosé from younger vintages than 1990. e 1980s are a delightful era at present, while the beginning of the 1970s and the 1960s feel more uncertain, despite the fact that the 1969 Dom Ruinart Rosé is charming and one of the absolute best. e same can be said for the 1964 Blanc de Blancs. Which ones are my own favourites? As always, that is very much a question of in what shape both the wines and myself are on that day. On certain occasions, I have placed the oily 1990s above the classically elegant 1988s, but when everything is particularly in tune in the magnum and in the vinothèque format, then it is of course only 1979 that can beat the 1988s. is is only my personal opinion, and the choice is actually much more a matter of style than of quality. I have full respect for anyone who highlights the oily vintages of 1990, 1982 and 1964, just as I have for those who find themselves somewhere in the middle and vote for 1996, 1981 or 1978. Here you can read my assessments of almost all the vintages of Dom Ruinart that have been produced. In order to maintain a degree of incompleteness, the collection is missing one wine: the 1966 Dom Ruinart Rosé. It is unfortunately a wine that no one I know has ever caught a glimpse of, and I would love to hear about it if you manage to unearth this rare treasure. Below are Richard Juhlin's best experiences of Dom Ruinarts. e scores in brackets are the potential points awarded by Juhlin to the champagne at its optimal age and maturity. 42 DOM RUINART BLANC DE BLANCS 1996 Dom Ruinart 90p (95p) Very light and youthful appearance. A mellow nose with elements of mint and vanilla along with blossoms. e flavour is actually also mellower than usual in a polished, modern, beautiful style. Almost completely without toasty tones for now. A fine harmonious whole. 1993 Dom Ruinart 87p (87p) If this wine does not come straight from the producer in the Vinothèque version, it is not at all that fresh and light. In the normal vintage format, it ages far too fast in spite of its rather youthful colour. 2002 Dom Ruinart 87p (95p) e ultimate French chef in the Disney film Ratatouille chanted "anyone can cook". In my book Champagne I assert that anyone could have made champagne in 2002. e person who failed with this vintage, blessed as it was by nature, should immediately change his vocation. Of course the 2002 Dom Ruinart was also a blessed creation. 72 percent of the fruit comes from Avize and Chouilly in Côte des Blancs and 28 percent from Sillery and Puisieulx in Montagne de Reims. is wine is colossally young, but already completely harmonious. Everything is there in small portions, that are going to increase their scope in due course. White blossoms, citrus, coconut, butterscotch, nut cookies and steely minerality direct the tone. 1996 Dom Ruinart Vinothèque 1990 Dom Ruinart 95p (95p) Wonderfully good and completely mature, but perhaps a touch less fine-tuned than when it has been stored a few extra years at the producer's cellars. In the magnum there is masses of development potential. 93p (95p) Such delectably toasty and sublimely stony champagne with promise of eternal youth. Starting, however, to move on with a slight element of caramel and layers of toffee. More developed and at the same time more elegant than in the regular edition. 1990 Dom Ruinart Vinothèque 95p (95p) 1993 Dom Ruinart Vinothèque 92p (93p) 1998 Dom Ruinart 90p (94p) Very pleasant, but too tiny at present. e lovely subtle spectrum is there, however, that will bloom so beautifully in maturity. So hold on and allow the faintly flowery tones to develop into more interesting tones, and wait for increased concentration and intensity. e toast could already be discerned in February 2009, and is even more apparent today. A light, fine, chalky champagne with interesting shades, that provide lovely Francophile enjoyment. Pure as a mountain stream, the lightest edition I have tasted of this prestige cuvée. It will gain of course in complexity as well as in concentration through storage, something that is unique to all fine champagne. 65 percent of the grapes come from Côte des Blancs and 35 percent from Montagne de Reims. Keeps very well and is now displaying a rather oilier side alongside a classical, reductive toastiness. A lovely aroma of nut and toffee develops when the wine has stood open a while. At the end of 2005 several bottles had reached their full, creamy maturity in a similar way to many oily 1982s. Still great similarity with the 1982. 1988 Dom Ruinart 96p (97p) Still as good as the Vinothèque version and I hope and believe that it will remain so. 1988 Dom Ruinart Vinothèque 96p (97p) Surprisingly developed and generous already, with massive tropical opulence of mango and

orange. ere is also a lovely attack here, and a sophisticated, multifaceted, long aftertaste. A super Dom Ruinart! Of course very toasty in the same style as Dom Pérignon. Now a seductive acacia tone has appeared similar to 1979, and the wine is fabulously beautiful. Still too immature in the magnum. 1983 Dom Ruinart 92p (92p) Lovely green-hued yellow colour and persistent, fast mousse. Large, smoky, enormously toasty aroma that is gorgeous but somewhat over-dimensional. e ripe currant-like fruitiness is first noticeable in the mellow aftertaste. Powerfully gunpowdery nowadays. 1979 Dom Ruinart 97p (97p) is glorious vintage seldom disappoints one. Ruinart's 1979 is very unique despite its classically toasted overtone. e aroma is outstandingly floral with an extremely fine-tuned spectrum of all nature's most beautiful nuances. e fruitiness is composed of aromas very much like tomato and red currant. e tannins are gorgeous and the length monumental. Perhaps the best Dom Ruinart I have tasted. e world's second best blanc de blancs according to the jury at the Millennium Tasting. 1986 Dom Ruinart 90p (90p) As a young wine, it had a special, currant-like tone that was backed up by toasted chestnuts and a careful element of acacia honey. is wine has kept well and will remain on top form for a few years more. e toasting is fine but the taste is rather too neutral and short to be able to lay claim to greatness. 1982 Dom Ruinart 94p (94p) is once coarse, unbalanced wine has become so unbelievably lovely and classical. Oily and sublime with vintage-typical maturity and harmonious freshness. Profile with liquorice aroma. Reminds me today of the wonderful 1979 in a more syrupy and somewhat simpler version. 1978 Dom Ruinart 95p (95p) A great, overwhelming wine right from the beginning with an individual bouquet of overripe oranges and yeast. Massively mellow taste of ripe fruit and low tannin. At 33 years of age, fantastically lovely and perfect to drink. A lot of fried butter and a profound opulence. Elusive elegance despite its maturity. 1985 Dom Ruinart 87p (87p) When I recently looked through my old notes of Dom Ruinart, I felt that the points awarded to the 1985 must have been too low. I was actually very querulous over its all too pronounced currant tone and its unusually tight, unstructured initial costume. I asked Frédéric Panaïotis to get out a new bottle in 2011 to see what had happened to the wine, and I must unfortunately state that I was not that wrong after all. e wine has passed its relatively low prime quite recently, but is nonetheless interesting with a strong tone of straw, lake water reeds, marzipan and cigars. A feeble Dom Ruinart. 1981 Dom Ruinart 94p (94p) As superbly delectable, discreetly toasty and beautifully flowery as the Cuvée Baccarat from the same vintage. e mousse is exemplary and the colour is luminously brilliant and shimmering green. e wine is lighter than usual, which leaves space for greater elegance than in other years. e fruitiness is dominated by white currants and raspberries. At the age of 24 the wine had changed shape and gone over to being a syrupy, honey-drenched essence with toffee and nutty undertones. Nowadays more rustic and mellower than expected. 1976 Dom Ruinart 92p (92p) Reminds me slightly of the magical 1976 Comtes de Champagne, but is a size smaller in every way. Less oily and concentrated and at the same time not at all as multilayered. Fi n e Ve r t i c a l 43

1975 Dom Ruinart 70p (70p) What happened at Ruinart in 1975? Hollow and at best a wine rich in mineral. Mean and fishy in aroma. A new tasting is needed here, but alas, Ruinart has no bottles left. shells and rubber. On the tongue, the impression is more classical and lime-flavoured. Fullbodied, oily and long. DOM RUINART ROSÉ 1966 Dom Ruinart 95p (95p) A sluggishly flowing essence with good mousse and lovely sweet aromas. Vanilla, syrup, liquorice and butterscotch are easy to note. A real duck liver wine for those of us who love the Chardonnay grape when it has matured. Dom Ruinart is as good as always, one of the true stars. 1998 Dom Ruinart Rosé 87p (93p) A blanc de blancs based rosé with 66 percent of grapes coming from Avize, Cramant and Le Mesnil and 34 percent from Sillery, Puisieulx and Verzenay, and red wine from Sillery and Verzenay. Only 5 g/l of sugar in the dosage which is rather too mean in the wine's young days, but since Frédéric Panaïotis has learnt to appreciate the DRR's magical ability to age with beauty, he has calculated the dosage with a view to future harmony. e wine is elegant and a touch reserved, with fine floral tones of geranium and roses mixed with currants, blackberries and wild strawberries. Slender and polished. Do not touch before 2015. 1973 Dom Ruinart 91p (91p) 44 For a long time, there was a complex bouquet in which almonds, brioche and spices dominated. Medium-bodied, fresh taste with perfect balance and generous citrus fruitiness. Smooth aftertaste and on the whole a very easily drunk champagne for all tastes. Nowadays this wine is unbelievably oily and syrupy with a lovely dominance of toffee, but many dimensions have been lost. Hurry up! 1964 Dom Ruinart 96p (96p) Almost sluggish in its oily concentration. Reminiscent to some degree of the 1976 De Venoge Des Princes with its broad, minty and butterscotch-tasting charm. Sweet citrus, vanilla and pastry-like tastes caress the tongue. An extremely luxurious champagne in very good condition, voluptuously stimulating. 1973 Dom Ruinart Anniversary Cuvée 93p (93p) Only 5 000 bottles were produced of this exemplary blanc de blancs. It is very probable that this is exactly the same wine as the 1973 Dom Ruinart, but the bottles of Anniversary Cuvée I have tasted have been extremely consistent in style. e toasty aromas have been toned down to the benefit of a marvellous perfume of English butterscotch and lemon. Still extremely elegant. 1996 Dom Ruinart Rosé 92p (95p) Surprisingly accessible and mellow right from the beginning. A lovely aroma of ripe wild strawberries and cultivated strawberries caresses the romantically minded consumer. Long, creamy and compact with fine freshness in the finish without revealing any typical 1996 acidity. 1961 Dom Ruinart 93p (93p) Still very fresh with gorgeously lively acids. e nose hints of leather, vanilla and molasses. e taste is somewhat short, but very compact and impressively pure. 1971 Dom Ruinart 94p (94p) is is the real stuff! A powerful bouquet of toast and overripe lemons. A full-bodied, intensive taste with the same aromas. Delightfully elegant and florally seductive with acacia tones in certain bottles. More uniform and full-bodied in the second bottle. 1959 Dom Ruinart 93p (93p) e first vintage of this fantastic blanc de blancs. If the House has any bottles of this wine left, then one must simply congratulate them. My specimen came from a warm Italian cellar and had a number of tiring characteristics, not least the dark colour. I got carried away nonetheless by the blast of taste that came towards me even on the first gulp. e dimensions are heroic! 1990 Dom Ruinart Rosé 95p (95p) Well-matured bottles are just as good as the Vinothèque version. Deep and creamy with a radiant vitality and Burgundy-like authority. 1990 Dom Ruinart Rosé Vinothèque 95p (96p) Now they have succeeded again! Perhaps as well as with the 1988, which was the foremost rosé champagne Ruinart had ever produced when it was launched. Fantastic Burgundy-inspired nose. White or red, one may then ask oneself? Well, actually both. Here we find the wonder- 1969 Dom Ruinart 93p (93p) Extremely lively and youthful considering its physical age. Decadent, cold nose of sea, oyster

fully erotic, mouldering truffle-like aroma present in red wines from Vosne-Romanée, while at the same time the buttery and coffee-roasted aromas carry one's thoughts to barrel-impregnated Puligny-Montrachet. 1982 Dom Ruinart Rosé 94p (94p) A disappointment for a long time, but now it does not disappoint anybody with its delightfully inviting, refreshing, ice lolly-like style. Full of luxuriously sweet raspberry and blackberry aromas. Fluffy, creamy, oily but yet perhaps a bit shorter than the best of them. 1971 Dom Ruinart Rosé 90p (90p) No fresh note here either I'm afraid. A deep orange colour, feeble, slow mousse. Intensive bouquet of cognac, cointreau, leather and jam. Concentrated and full-bodied on the palate, a fluffy taste of cherry jam. e oxidative tones grew invasive after fifteen minutes in the glass, so the wine is probably too old nowadays. 1988 Dom Ruinart Rosé 96p (96p) A sensational super wine! Perhaps also the foremost Dom Ruinart Rosé that has been produced up to now. is champagne smells delightful and is reminiscent of Dom Pérignon Rosé. Lovely, mature, glossy light-orange colour. Delectably mellow aroma spectrum with sun-matured, replete fruitiness and coffee tones in the best Burgundy style. Mellow, harmonious and caressingly tingly on the palate. A sophisticated great house style. e red wine comes from Verzy and Verzenay. Fantastic. 1981 Dom Ruinart Rosé 89p (89p) Nowhere near the Vinothèque version in the magnum. Delicious and full-bodied, but slightly oxidative and past its prime. 1969 Dom Ruinart Rosé 95p (95p) Still a wonderful Burgundy-like champagne with deep aromas of black truffle, roses, leather and Brie de Meaux. On the palate more orange and a fantastically vigorous 1969 tannin and a feminine length. 1981 Dom Ruinart Rosé Vinothèque 96p (96p) An utterly fantastic wine in magnum. Extended cellaring at the house and the large bottle format increase the points compared to the regular version. Silky, light, mellow, elegant, creamy and aristocratic in a heavenly way. 1966 Dom Ruinart Rosé e first vintage of this wine, which I have never tasted, alas. 1988 Dom Ruinart Rosé Vinothèque 96p (97p) Certain bottles are rather too tense, but the majority are a smiling coffee roastery with the highest possible enjoyment factor. e magnum has potential for 97 points. 1986 Dom Ruinart Rosé 92p (92p) e colour is tinted with orange. e bouquet is pleasant, with mature tones and a hard-to-define berry tone. It is therefore surprising that the taste was youthful for so long, and characterised by minerality and austere acids. Nowadays a fully mature wine with a great bouquet reminiscent of sensual red Burgundy. A deep orange colour. Took its time, but is now a fantastic, utterly typical Dom Ruinart Rosé with the whole crackling colour spectrum that bombards the senses in an ethereal way. 1978 Dom Ruinart Rosé 94p (94p) An outstandingly fine 1978 that my photographer Pål Allan has as his favourite rosé. e bouquet offers a high-class toastiness and the taste is long, fresh and extremely exotic. Even deeper today and still madly delectable. 1986 Dom Ruinart Rosé Vinothèque 93p (93p) Languorously full-bodied and creamily gorgeous with an extra intensity from storage in Ruinart's cellar. Often 94 points in magnum. 1976 Dom Ruinart Rosé 92p (92p) Brilliant for many years. e aroma is reminiscent of mature, high class red Burgundy. e strong bouquet is followed by a sweet ice lolly-like, round and mild raspberry taste. Mature, perhaps even going somewhat downhill nowadays. 1985 Dom Ruinart Rosé 92p (93p) is wine had a vinous style for a long time with tones of tobacco and leather. A powerful taste of bitter chocolate and tobacco, but a touch too short to be completely satisfactory. Nowadays there is certainly some remaining tannin attack, but it behaves quite like other 1985s such as Pommery and Veuve Clicquot. A trifle dry and austere, perhaps, but stylish and exciting. 1975 Dom Ruinart Rosé 92p (92p) I unfortunately have no recent tasting notes but for a long time this wine was balanced and correct in every way. Perhaps somewhat less charm than usual and almost Bordeaux-like with its tones of stables, lead and cigar tobacco. 1973 Dom Ruinart Rosé 85p (85p) I had higher hopes for this dark, opulent wine. Mousse and freshness are almost completely lacking, and oxidative tones come creeping in the more one empties the bottle. e first glass had a fine explosive raspberry attack that led the wine straight over the 90 mark for a few seconds. en it was a slow trip downhill. Alberto Lupetti, my amiable Italian colleague, has bumped into a 97-point specimen, so don't hesitate if you happen to see one. 1983 Dom Ruinart Rosé 94p (94p) Sensationally good and a magically roasted coffee style with an exemplary orange-splashed sensual colour. Burgundy-ishy enjoyable. A superb 1983! Fi n e Ve r t i c a l 45 1979 Dom Ruinart Rosé 95p (95p) Dom Ruinart l'Exclusive 94p (95p) is millennium magnum's appearance and presentation are to say the least spectacular. ose who drank this shockingly expensive bubbly on that magical New Year's night were probably disappointed with its youthful, immature taste. e concept is that several vintages of Dom Ruinart were blended into a super cuvée. e wines included were: 10 percent 1985, 10 percent 1986, 15 percent 1988, 40 percent 1990 and 25 percent 1993. Tasted side by side with the 1988 and 1990 Dom Ruinart, it felt tied and tense. Its elegance and purity are however not to be mistaken. In 2011 it was completely integrated, very youthful still, but with a compact vanilla-like mellowness and breadth that is different from the vintages. More fullbodied, fruitier and with less of a mineral character and less toasty than the others. Magically grand to drink from this lovely magnum bottle.

© C o py r i g h t C l i ve C h r i s t i a n P L C , A l l r i g h t s re s e r ve d .

F U R N I T U R E F O R L U X U R Y H O M E S O F T H E W O R L D · W W W. C L I V E . C O M

FINE GADGET This section introduces fine wine lovers' must-have gadgets 48 PERLAGE SYSTEM

The Perlage System Text: Pekka Nuikki The Secret of Everlasting Champagne: Most of us enjoy champagne ­ its bubbles, its character and its taste. Its positive associations with celebrations of special occasions and successes does nothing to lessen its desirability, although it does make the threshold higher for opening a bottle. Usually, a champagne cork is popped only for a special reason. Unlike many other wines, it is not done just for its excellent taste but due to the nature of the occasion. The openability of champagne is also significantly reduced by the fact that, just as when opening the bottle you can literally hear and feel the liveliness and fizz of the drink, you simultaneously realise that it is already passing and dying out. Champagne loses its best qualities very quickly ­ its structure and nature fade partly or completely in just a few hours. But although the dream of eternal life is thus far unattainable for us humans, it no longer is for champagne. Its secret has been divined. A glass of champagne is one of my favourite pleasures. This is why I often favour half-sized bottles: one wouldn't want to open an ordinary bottle just for one glass, as the rest will no longer be enjoyable the next day. I am not alone with my problem; it is an annoyance for many people, not least restaurateurs. Many solutions have been presented over the centuries, from placing a silver spoon at the mouth of the bottle to the spring-loaded pressure cap. For me, one of the best solutions so far is the Perlage system. It doesn't just keep champagne artificially alive overnight, but gives it an "everlasting" life. The secret to the sparkling nature of champagne are its millions of bubbles. They consist of the carbon dioxide caused by fermentation, which bind with the wine to endow champagne with its most important, refined quality. The carbon dioxide evaporates quickly out of an opened bottle, gradually depriving the drink of its signs of life. The Perlage System acts simply, quickly and easily to prevent this from happening. The basic process is simple: an opened bottle of sparkling wine is locked into a bottle-shaped safety enclosure, the bottom of which is removable via a quickrelease "twist break". A threaded cap on the top of the enclosure is tightened to create a seal against the lip of the bottle. High-pressure carbon dioxide from a refillable gas cylinder with a regulator is then injected through a one-way valve in the cap, pressurising the headspace of the bottle. From experience, I can tell you that this process only takes about fifteen seconds. This is not the first time that I have tried to find a solution to champagne's longevity problem, but so far this has been the most effective. After two months of trialling the product, I can testify that it works as promised. Perlage is not perfect, but I feel that it is not only the most effective of the solutions currently on the market, but also the easiest to use, as well as being safe, because the re-pressurised bottle is protected by a transparent foil. Perlage is most effective on young vintage champagnes, and least on the ordinary, low-priced sparkling wines. The quality of a wine is always a factor in its durability, and this is also true of sparkling wines. If the wine is modest in character, it will lose what few properties it has in one day. Naturally, Perlage ensures that it still sparkles after that time, but the bubbles are, in a way, empty. However, the best vintage champagnes, such as Krug, Dom Pérignon and Cristal, can retain a large part of their properties for up to a week. I have found that Perlage will also significantly increase the life of more mature vintage champagnes that have already lost some of their bubbles, from a few hours up to a few days. Although the Perlage System is effective, it cannot completely stop the lethal effect of oxygen on wine and the eventual oxidisation of the drink. But, depending on how often the bottle to be is opened, Perlage can keep the champagne alive from two days up to two weeks. In theory, if a bottle is only opened once, it will keep "forever" inside its "time capsule". But, as we all know, champagne is at its best enjoyed, not preserved. My recommendations for the use of the Perlage System are as follows: Basic sparkling wine: 2­3 openings, stored for max. three days Non-vintage champagne: 3­5 openings, stored for max. one week Vintage champagne, not oak-aged: 5­7 openings, stored for max. 10 days Vintage champagne, oak-aged: 3­5 openings, stored for max. five days Mature, 25-50-year-old vintage champagne: 2­3 openings, stored for max. two days Fi n e G a d g e t 49

50 L ter CHAMPAGNE'S FAVOURITE FOOD

Te x t : E ssi Av e lla n M W C h e fs: R e i n o Sa r k a , A n ssi L a h d e n si v u P h o t o s: E lv i R i sta U Whenever lobster, the king of shellfish, is brought to the table, its self-evident companion is almost always champagne; only the queen of wines is refined enough to accompany the crustacean's generous, smooth and gently aromatic meat. Within the spectrum of champagne styles a perfect complement to any lobster dish is guaranteed to be found. And if the menu can be built entirely around these two ingredients, the decadence is complete. nless you live by the ocean, fresh lobster is a rare treat. The long-lived, large arthropod is never better than when it has just been caught and quickly boiled or grilled. A skilled chef can conjure up highly imaginative delicacies out of it, always respecting the valuable ingredient and using up every available part. Generally, the intense and sweet but marine taste of lobster should be given the leading role in the dish, taking care not to overpower it with the flavours of accompaniments or the cooking method. Correct cooking is the most crucial element, as the succulent flavour and meaty mouthfeel of lobster will quickly fade with over-cooking. After that, it is a matter of taste. Some prefer to have the giant in a Thermidor crust, where eating the meat directly from the shell forms a large part of the pleasure. The meat from the massive claws, served whole, is an appetising sight. On the other hand, there are also opportunities for the more imaginative handling of the flavours and textures of the flesh, shell and roe of the lobster. Fi n e C h a m pa g n e & Fo o d 51

Washed down with bubbles The fine-tuned and clean taste of lobster requires a wine that lets it shine in its full glory. In this sense, champagne is the ideal choice, because its own aromas are seldom overpowering. The mineral flavour palette of champagne is well suited to oceanic aromas, while its acidic, light and sparkling nature refreshes the palate even after the strongest seafood. Although champagne is a diverse complement to lobster dishes, those seeking a perfect union of food and wine must choose from a very wide variety of champagne styles and types. Lobster plates with the purest tastes are rounded off best by a fresh, youthful blanc de blancs, which emphasises the maritime aromas of the ingredients. The more intense the flavours of the food, the stronger and deeper a champagne should be chosen. For example, some of the older vintages of a luxury champagne such as Dom Pérignon are refined, but also powerful and resolute. The autumnal blancs de noirs, with their notes of mushrooms or red fruits, are more difficult to pair with lobster, as the latter may emphasise any latent bitterness. The most baked or burnt flavours should be left to accompany gratinated or barbequed lobster meat, as they run the risk of overwhelming milder flavours. Lobster, being a valuable ingredient, deserves a worthy wine. For the fine wine to also be at its best, the dish should leave room for its multidimensionality to shine through. The main course of our suggested menu, with its plethora of ingredients, demands an equally refined, nuanced and distinguished champagne, such as Roederer's 2002 Cristal Rosé. Lobster meat is naturally slightly sweet, and many cooking methods, such as simmering in cream, only accentuate this characteristic. A very dry champagne would make the taste of the food too harsh; only an off-dry or medium-dry champagne will make the palate sing. The use of champagne in the actual cooking of lobster will add the final touches to this heavenly combination. 52 Lobster and Champagne Menu Lobster Carpaccio with Champagne Tagliatelle Mumm de Cramant Blanc de Blancs NV Mango and Champagne Sorbet with a Chargrilled Lobster Tail Henriot Demi-Sec NV Lobster Palette Louis Roederer Cristal Rosé 2002 Petit Fours "Homard" Veuve Clicquot Rich Réserve Demi-Sec 2002

53 Fi n e C h a m pa g n e & Fo o d

Lobster Carpaccio with Champagne Tagliatelle The braised and frozen lobster is thinly sliced, before it thaws, onto a plate. Inspired by vitello tonnato, the dish is completed by a mayonnaise made from lobster oil and lightly flavoured with capers. In keeping with the Italian theme, tagliatelle-like strips are cut out of champagne and dill jellies to complement the main ingredient. The plate is topped off with deep-fried capers. Mango and Champagne Sorbet with Chargrilled Lobster Tail This intermediate sorbet course brings together the salty and the sweet, and refreshes the palate for the main course. A sweet sorbet made from mango purée is flavoured with champagne. The lobster tail is cooked on a hot gas flame, partly charring the surface. The charred taste rounds off the sweetness of the mango sorbet. The final touches are a champagne vinaigrette flavoured with toasted sesame seeds, and vanilla salt. 54 Lobster Palette This platter, which plays on the combination of lobster and champagne in many forms, is like a painter's palette. A lobster roll contains the claw meat inside, which is wrapped in a creamy layer of minced tail meat mixed with pike-perch. Served on the side are pasta coloured with lobster roe, a velvety cauliflower purée, spinach and cauliflower jelly, fluffy cubes of cauliflower foam, champagne-roasted shallots and champagne-marinated tomatoes. The sauce is a lobster and champagne foam. Petit Fours "Homard" These semi-sweet petit fours ­ a macaron, a marshmallow, a cheesecake and a crumble ­ are a play on the sweetness of lobster. The main ingredient in all of these is a powder made from dried lobster flesh. The macaron is filled with coconut crème pâtissière.

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58 Historical Doyard' s Classics Text: Essi Avellan MW Photos: Michael Boudot am taken aback when Yannick Doyard, the head of Champagne Doyard, declares to be a libertine right at the start of our discussion at his small winery in Côte des Blancs. I recall that libertines, of whom the best known is Marquis de Sade, accept no unnecessary moral restraints, especially those sanctioned by society. Instead, they emphasise life's physical and sensual pleasures. I

oyard's epicurean nature comes through unmistakeably as we tardily sip the house's pristinely made champagnes in the spacious and stylish reception room, with Mozart playing in the background. I am curious about Doyard's unusual wine and life philosophy and urge him to explain. "Wine is not vitally important in life, but when the necessities of survival are met, champagne has a lot to give to people when it comes to pleasure. This is especially true when it comes to socialising." Pleasure has also been Yannick Doyard's starting point when creating the house's wine style, where highest possible grape quality is combined with pedant winery work and extended bottle ageing. One additional seductive element in his champagnes is their lower than usual pressure, which makes them taste deliciously smooth and gentle. Doyard may select only the best for their cuvées because they only use a fraction of their ten hectares of grape production themselves, whereas rest are sold. The viticulture is sustainable, in fact it is oyard's vine growing history in the region dates back to 1677. It was Yannick's father Maurice who started his own production in the 1920s. Maurice also left his mark on the region's history, as he was one of the founders of the champagne syndicate CIVC. He also held the important position as manager of Syndicat Général des Vignerons de la Champagne for many years. Today, Yannick Doyard, who took over the management of the company in 1970 when he was only 20 years old, reveres the past glories of the champagne style. In order to travel back in time to D Influences from a long history eil de Perdrix is not the only historical wine style of the house. In fact, the innovative and spirited Yannick Doyard was so inspired by the libertine era that he decided to create a special champagne, O Champagne for the libertines Fi n e R a r i t y 59 close to organic. Sulphur dioxide is the only substance added during vinification. A part of the wine ferments and ages in oak barrels but Doyard does not welcome a noticeable oak impact. "Wood aroma in champagne is a fault to me." the libertine era, he has revived the ancient style of rosé champagne, Oeil de Perdrix, or Partridge's Eye, which lends its name from its extremely pale, peachhued colour. This style of champagne is a relic from the 16th and 17th centuries when wine made from red grapes automatically had a tinge to it. Doyard's home village of Vertus is nowadays famed for its Chardonnay, but this was not always the case. "This was actually a red grape region, and with this 100 per cent Vertus mono-cru wine we wish to remind people of the village's past. This wine has, in fact, three-quarters Pinot Noir and one-quarter Chardonnay in it."

60 La Libertine, to commemorate it. "This cuvée is the outcome of more than ten years of research. Its aim is to approach the champagne style of the early 18th century." With 60 grammes per litre residual sugar, this wine is much sweeter than the rare doux champagnes encountered today. The difficulty in the making was to find the right balance between sugar and acidity. This prestige cuvée is a blend of three to five different vintages aged in the cellar for over ten years. As in the old days, it has a lower pressure only around four atmospheres. Additionally, the look of this bottle has been borrowed from the past. "Its colour and texture resemble the ancient bottles. In the early days the cork was secured to the bottle with string instead of a wire muzzle. We modified this slightly to make it resemble a feminine corset!" Doyard Collection de l'An I Oeil de Perdrix 2005 Doyard La Libertine NV Eye-catchingly, the bottle comes in a leather gift box lined with silk. The wine's libertine nature is highlighted in the box, which is decorated to resemble a catholic confession booth. R egardless of what one thinks of libertinism, Doyard has instant charm. With Yannick Doyard at the helm, the house has been able to build a soul and a fascinating story one simply must share when drinking one of his unique champagnes. >

1811 Perrier-Jouët: th 62 2011 200 Anniversary Maison Belle Époque's grandeur

Text: Essi Avellan MW Photos: Michael Boudot A twenty-strong group of wine experts gathers at Maison Belle Epoque in Épernay, along the Avenue de Champagne. The atmosphere is expectant. I doubt that anyone who received an invitation to celebrate the 200th anniversary of the Perrier-Jouët champagne house could have turned down the honour. Most of the invitees still have fond memories of the house's previous press conference, where they were offered delicacies spanning 177 years, all the way from the oldest surviving champagne, the 1825 Perrier-Jouët Grand Brut. In attendance are the very best champagne experts, including Tom Stevenson, Serena Sutcliffe, Michel Bettane and Peter Liem. The anniversary evening is full of celebration, happiness and excitement, with only hints as to the theme of the next day's tasting. The thrill of anticipation is somewhat alleviated by a gala dinner presented by celebrity chef Jean-Louis Nomicos of Les Tablettes and Maison Belle Epoque's own chef Michel Dubois, climaxing in the serving of the majestic, one-hundred-year-old 1911 Perrier-Jouët Grand Brut. Fi n e E v e n t 63

Tom Stevenson and Essi Avellan MW 64 T Michel Bettane he next morning, the same influential assemblage gathers to christen Perrier-Jouët's brand-new tasting room on the other side of the Avenue de Champagne. There, cellar master Hervé Deschamps reveals the theme of the tasting: we will be sampling nine vintages of Belle Epoque from Jeroboams, starting with the first vintage that was ever bottled in that format ­ 1975! It is vintages 1975 and 1985 that shine brightest in this unusual tasting. Tom Stevenson summarises this view: "They are exquisitely mature, with all the complexity that time only can bring, yet they are extraordinarily fresh for historic disgorgements, and still have a long life ahead. [The 1985] is unusually masculine for Belle Epoque, whilst the elegantly feminine 1975 is its polar opposite. So Cramant, so Belle Epoque." T he three-litre champagne giants all have a dosage of 7­8 g/l, and they were all disgorged after around eight years of bottle ageing. The grape blend remains largely unchanged from one vintage to the next: it is one half Chardonnay and nearly the same amount of Pinot Noir. The final five per cent consists of Pinot Meunier. The Belle Epoque in Jeroboam format is not identical to that of an ordinary bottle or a Magnum, however, because due to the fragility of the glass they are bottled with a slightly lower level of pressure. France's most influential wine critic, Michel Bettane, considers the lower pressure to be a benefit: "What's interesting with Jeroboams is that the wine presents better, as the senses are less dominated by the carbonic gas. One finds more `vinosity' and greater roundness: I was delighted to discover the wine itself." Jean-Louis Nomicos

espite the eminence of the champagne writers gathered here, it is evident that everyone is impressed by the Jeroboam vertical. Tom Stevenson is one of many to thank Hervé Deschamps profusely for the experience: "Even the most privileged of tasters do not get the opportunity to taste so many wonderful vintages in Jeroboams on a single occasion." D Tom Stevenson T o celebrate the house's 200-year history and the indisputable longevity of its champagnes, Perrier-Jouët is launching a new concept: The Living Legacy. This exclusive batch of 1998 Belle Epoque Magnums allows its buyers to leave behind a matchless inheritance. The first Magnum is enjoyed now, but a second is left in Perrier-Jouët's purpose-built cellar to await future generations for up to a century. Fi n e E v e n t 65

96p Perrier-Jouët Belle Époque Jeroboam 1975 hue 93p Belle Époque Jeroboam 1978 Colour: Deep golden Nose: Developed, roasted, Palate: earthy, pastry shop, fudge Full and powerful, mature, chewy, some oxidation, concentrated Velvety vinous and long Overwhelming Not one of my favourites of the tasting In 2009 I gave it the same 93 points in magnum-format. 30 minutes Ready but can last five more years Roasted guinea fowl and cepes polenta The same in magnumformat A big boy that is ready to drink 94p Belle Époque Jeroboam 1982 Colour: Deep golden Nose: Mellow, mushroom, Palate: Ending: gunpowder, aromatic wood, spices Firm with fresh acid, lacks completeness Long, with some sweetness Youthful and tight Yes, if 1985 or 1975 jeroboam is not an option Just tasted this once, rated 95p from a magnum in 2009 30 minutes From now until 2020 See story in Champagne 1 Colour: Deep golden, peachy lightly mushroomy, dried apricots, coffee Palate: Fairly lean, spicy, perfectly integrated, feminine Ending: Long, mellow and fresh In a nutshell: Understated elegance Nose: Developed yet fresh, Ending: In a nutshell: Buy or not: Tasted: Glass time: When to drink: Food pairing: Or try this: Final verdict: In a nutshell: Buy or not: Tasted: Buy or not: A jero of this is always a good idea Tasted: Just this once 45 minutes Perfect today but can effortlessly take time Crème of capes There is only one jeroboam of this left in Perrier-Jouët's cellars! Or try this: Dom Pérignon 1975 Final verdict: Fresh, lively and finetuned Glass time: When to drink: Food pairing: Inside information: Pinot Noir 46%, Pinot Meunier 5%. Or try this: Belle Époque Rosé 1982 Final verdict: Interesting but not perfected Glass time: When to drink: Food pairing: Grilled lobster Inside The exact blend is information: Chardonnay 49%, 66 97p Perrier-Jouët Belle Époque Jeroboam 1985 Colour: Deep golden Nose: Wonderfully toasty 93p Perrier-Jouët Belle Époque Jeroboam 1989 Colour: Deep golden Nose: Sweet toast, honey, ripe fruit, pastry, burnt sugar, confectionary Palate: Full and concentrated, vinous, silky Ending: Long and powerful 92p Perrier-Jouët Belle Époque Jeroboam 1990 Colour: Deep lemon-gold Nose: Overt, creamy, lactic, Palate: Ending: sweet, ripe fruit characters Full, round, viscous and powerful, lacking vivacity Long and concentrated A monster of a Belle Epoque There are better 1990s out there Just this once from a jeroboam 30 minutes Now through 2020 and reductive, coffee, sweet ripe fruit, tropical, peach, gunpowder Palate: Full and energetic. Rich but with focus, vinous, velvety, complete, concentrated Ending: Tightly packed and lingering In a nutshell: Charisma In a nutshell: A serious wine Buy or not: If you manage to spot Tasted: Just this once from a Glass time: When to drink: Food pairing: Inside information: jeroboam 30 minutes Now through 2023 one In a nutshell: Buy or not: Tasted: Buy or not: Do not hesitate Tasted: Just once, sadly. drink: Food pairing: Fried arctic char with Inside The exact blend is information: Chardonnay 48%, Worth the same points in magnum-format, though Glass time: 45 minutes When to Now through 2025 creamed chanterelles Pinot Noir 47%, Pinot Meunier 5%. Or try this: Tough to replace but Roederer Cristal is a good contender Final verdict: Chapeau! Crayfish risotto Belle Epoque was made from the superior, earlier harvested grapes of 1989. Or try this: Philipponnat Clos des Goisses 1989 Final verdict: A typical Belle Époque, with impressive intensity Glass time: When to drink: Food pairing: Pan-fried sole with truffle and potato purée Inside The 1990 harvest was information: divided in two parts, with the earlier harvest providing fresher and more elegant wines. Belle Epoque is largely a result of the first part of the harvest. Brut Millésime 1990 in magnum-format Final verdict: Too ripe and vinous to capture the essence of Belle Epoque Or try this: Perrier-Jouët Grand

Perrier-Jouët 200th Anniversary: 1811-2011 92p Perrier-Jouët Belle Époque Jeroboam 1995 Colour: Deep lemony Nose: Developing, ripe, sweet tropical fruit, peach, honey, mineral notes Palate: Full and voluptuous but lacks spine Ending: Medium-long only 95p Perrier-Jouët Belle Époque Jeroboam 1996 Colour: Deep lemony Nose: Toasty, mineral, gunPalate: powdery with charred elements Linear and intense, bursting with power, very high acidity, no signs of oxidation Fresh, long and lemony Pure energy Yes, for further cellaring Several times from different formats 30 minutes 2015­2030 skagen One of the slowest ageing 1996s Dom Ruinart 1996 Still youthful and tight, have patience 93p Perrier-Jouët Belle Époque Jeroboam 1998 Colour: Medium-deep lemonNose: Lovely toast, charred, lively, smooth mousse, seamless and balanced Ending: Silky and charming green lemony, floral, mineral Palate: Very dry, fresh and In a nutshell: Crowd-pleaser Buy or not: Yes, for further cel- Ending: In a nutshell: Buy or not: Tasted: of Hervé Deschamps, the current cellar master Or try this: The same, but in a 75 cl bottle Final verdict: Giving and charming drink: Food pairing: Paella Inside This was the very first information: Belle Epoque vintage laring Tasted: Only this once from a Jeroboam but I valued the regular bottle at 93p Glass time: 25 minutes When to Now through 2020 In a nutshell: Balance Buy or not: Yes Tasted: Just once, from Glass time: When to drink: Food pairing: Inside information: Glass time: When to drink: Food pairing: Smoked salmon Inside information: Or try this: Final verdict: a jeroboam 25 minutes Now through 2025 Blinis with vendace roe Hervé Dechamps chose this vintage as the living legacy champagne due to its extraordinary ageing potential: "Alive with pure, mineral energy, it has all the marks of a wine with a long and happy future ahead of it." Or try this: Equally good in magnum-format Final verdict: Still going up Fi n e E v e n t 67

68 c A hampagne Part 2 Text: Jukka Sinivirta could pray. But it was two such di erent men who laid the foundations for the development and reputation of champagne. They were exact contemporaries, both having been born in 1638 and dying in 1715. However, they never met. The Story of The ascent of champagne to become the preferred drink of the world's powerful, rich and famous was long and tortuous; it was challenged at many points, for example by wines from Burgundy. A er the dizzying success of champagne, for a moment it seemed that all other French wines were keen to adopt its sparkling nature. The great champagne revolution, which originated in France but had roots in Britain, was engineered by two very di erent men, who came from two very di erent sides of the social divide. powerful monarch dressed in an ermine cape and showing o his long, silk-stockinged legs in a dance could hardly inhabit a more di erent reality than a monk garbed in a rough habit, whose life's work was to collect funds for his monastery so that the brothers

CENTRE OF THE WORLD T he Sun King, Louis XIV, was the epitome of autarchy and the centre of the civilised world in a way which is di cult for us today to comprehend. He was known as Louis-Dieudonné (Louis God-Given), and one benevolent word from him would be the high point of a person's entire life. To be allowed to ride in his hunting party, one had to have a rank of nobility reaching back more than three centuries. The Sun King got a taste for champagne at his coronation. Over the next ve decades, he would seldom drink any other wine. Everything Louis XIV did and, especially, all he ate and drank during his grand, theatrical dinners was keenly watched. Any food or drink he happened to favour was soon known to all of Versailles, and instantly all those who could a ord to ­ all the way to the royalty of other countries ­ would emulate the celebrated king. This is what happened to champagne. At a certain reception the centre of the world's attention stated, presumably on his private physicians' advice, that champagne was the only conceivable drink. Champagne was no small matter for the Sun King. Once, when ghting William of Orange in the Franco-Dutch War, it was noted that the French king was not responding to cannon re, although he was at a disadvantage. Suddenly, re from the French side ceased altogether and a messenger appeared at William's tent to inform him that the Sun King was out of wine. The messenger asked for safe passage through the lines of battle to fetch more champagne for the royal table. He was granted it. Fi n e H i s t o r y 69

NO SPARKLE FOR THE MONK I n 1668, at the age of 29, the monk Dom Pierre Pérignon was appointed treasurer of the 1000-year-old Abbey of Hautvillers. During his time at the Abbey, he would become the single most in uential developer of champagne. Through 47 years of unstinting, systematic e ort, Dom Pérignon amassed a large amount of know-how on champagne production, most of which is still applicable today. In addition to having its own vineyards, the Abbey of Hautvillers had the right to receive tithes, which it did its best to obtain as grapes or wine. The vineyards also grew in size through bequests and con scations. This gave Dom Pérignon the key to the blending of wines, which still lies at the heart of champagne-making. Some of the achievements of the hard-working monk included advanced harvesting methods and a way of pressing that made black grapes give white wine instead of the vin gris, or grey wine, which was common at the time. At a later age Dom Pérignon acquired stronger bottles and improved their sealing by replacing wooden plugs surrounded by oily rags with pliant corks. He is not, however, the inventor of sparkling champagne. Champagne spar- kled naturally before Dom Pérignon's tests in the northern parts of the wine-growing region; the cold winter would halt fermentation and as temperatures rose in the spring the wine would bubble in its container. Dom Pérignon wanted to prevent this, as he considered it a fault. Dom Pérignon was a rst-rate winemaker with a great reputation that was already cemented during his lifetime. According to his contemporaries, he had an amazing ability to determine the origin of grapes just by tasting them. Dom Pérignon knew the value of his knowledge and competence. Only two letters written in his own hand survive; one of them is addressed to the Mayor of Épernay, and accompanied a champagne delivery. In it, Dom Pérignon does not hesitate to a rm: "Monsieur, I have sent you twenty-six bottles of wine, the best in the world." In the very last years of the good monk's life, sparkling champagne was becoming the fashion in Paris and London. The man who knew how to prevent champagne from sparkling also knew how to do the opposite if required. 70

HELP FROM THE ENEMY ome of the major impulses for the development of sparkling champagne came, surprisingly, from Britain. In 1661, the Sun King banished a renowned epicurean, Charles de Saint-Évremond, from France due to his sharp tongue. He lived in exile in London for forty years, an in uential man and an expert on France and all that was fashionable. He was also a true spokesperson for champagne. In a letter to his friend, Count d'Olonne, in 1671, he enthuses: "No man of good taste values Burgundy wines any longer. They only manage to preserve their old reputation thanks to traders. There is no other region like Champagne that can produce such excellent wines for all seasons." All wines consumed in Britain were imported, and not all wines at the time withstood transport very well. Without exception, the wines had to be doctored in many ways for them to be saleable. To achieve a sparkling wine, sugar had to be added in the form of either juice or syrup, as Christopher Merret demonstrated to the Royal Society in December 1662. The British decided to bottle the wines to keep them fresh for longer, and when they were opened a few months or years down the line, fermentation had caused them to sparkle. The British fell in love with sparkling wine, which St-Évremond and the other true experts despised. They considered sparkling champagne to be suitable only for the many wanton courtiers and dandies in the palaces. Unfortunately, the pressure caused by bottle fermentation led to exploding bottles. However, the solution came from an unexpected direction. The admiral Sir Robert Mansell had expressed concern to the King of England over the depletion of the country's forests; there would soon not be enough wood to build warships. Some of the culprits of large-scale wood consumption were glassblowers, who were ordered by royal decree to melt their glass using coal res, rather than the more tra- S ditional wood alternative. Conveniently, the higher temperature that was achieved in this way gave the glass a better quality and made the resulting bottles more durable. THE BIRTH OF CHAMPAGNE HOUSES T he popularity of champagne among the world's great and good really took o a er it began to sparkle; the rst champagne house, Ruinart, was established in 1729. Formerly a fabric trader, Ruinart had previously given wines as business gi s, but he now began trading in them. Today's largest champagne house, Moët & Chandon, was established in 1743. The house's illustrious clientele began with Madame de Pompadour, who each year ordered 200 bottles of Moët champagne for the Palace of Compiègne, where Louis XV and his court spent the summer. The Marquise had her own extensive wine cellars in Bellevue and Paris, where she kept Aÿ champagne among some of the most highly regarded wines in the world. At a time when elocution was considered an art, the intelligent, beautiful and highly in uential mistress of Louis XV stated that "champagne is the only wine that leaves a woman beautiful a er drinking it". The road for champagne was paved with gold. On one occasion, the French postal service received a letter addressed to "France's greatest poet in Paris". Vacillating at rst between delivering it to Victor Hugo or Lamartine, the post o ce clerk nally opened the letter and read: "To France's greatest poet, Monsieur Moët, maker of champagne, with the greatest regard." It was signed "Prince Zirov of Russia". The royals had discovered sparkling champagne. > Fi n e H i s t o r y 71

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Discovering Champagne Montagne de Reims Text: Essi Avellan MW Photos: Michael Boudot 74 Just south of the city of Reims lie the forest hills of Montagne de Reims, home to many idyllic villages that produce wine with the coveted Grand Cru status. It is here that you will find villages such as Verzenay, Verzy, Bouzy and Ambonnay, all of which are known for their top quality pinot noir grapes. In addition to producer visits, it is well worth a look at the Le Phare de Verzenay Champagne Museum, which is located in an old lighthouse. For the adventurous traveller, Verzy Forest and the cosy Perchingbar champagne bar, built up in its winding tree tops, is a must! FINE Champagne will publish extracts from Essi Avellan's new champagne book, Matka Champagneen (Discovering Champagne), in the forthcoming issues. In her book, Avellan visits 50 of the most interesting producers in the wine region. Furnished with maps, the book is also an opportunity for champagne lovers to discover the epicurean's dream location for themselves, as Avellan opens doors to the region's best restaurants, hotels and wine stores. In this issue we will feature Avellan's top recommendations for Montagne de Reims.

chartogne-taillet S CHamPaGne CHaRtoGne-taillet Rm www.chartogne-taillet.typepad.fr 37, Grande Rue, 51220 Merfy Tel. +33 (0)3 26 03 10 17 annual Production (bottles): 80 000. Cellarmaster: Alexandre Chartogne you can visit Chartogne-taillet daily between 8am and 5pm by pre-reservation. the visit and tasting are free, and champagnes can be purchased according to availability. Previously, the grapes from the ungrafted vines of the Les Barres vineyard were used to make Chartogne-Taillet's flagship wine, Fiacre. However, as of the 2006 vintage, we now have the possibility to enjoy the wine from these unique vines. When employing the traditional provigneage planting method, the vines grow very densely, and even in a disorderly manner to the naked eye. Instead of the usual 9000 vines/hectare, this method has 30 000 vines growing in the same area. The planting is constantly renewed by growing new vines from the branches of the older ones and then burying them in the ground. A good example of the amount of work needed is that Bollinger's 0.52 ha provigneage plantings are managed by four people; Alexandre Chartogne is alone with his 0.7 hectares, though. The house's tendency of fermenting the wine with natural yeast instead of cultivated yeasts also speaks about the pursuit of maximum authenticity; and if this is not enough, Alexandre's ambitious goal is to isolate a natural yeast for each individual plot. After all this trouble, it is understandable that Alexandre Chartogne does not want sugar to mask the nuances of the wine. Les Barres is thus a completely unsweetened champagne, or non-dosé. The production amount is minimal, at approximately 700 ­ 2000 bottles depending on the vintage. Wine production: The wine is fermented in 4 ­ 9 -year-old barrels with natural yeasts isolated from the plot in question. The lees are removed after a good two years of bottle ageing, but no sugar is added to the wine. After disgorgement, the wine is no longer cellar-aged. style: Strong, toasty and creamy aromas with bruised apple, vanilla and tropical fruit. The vinous palate is wide and freshened by a lemony acidity. A very vinous champagne, with light oak aromas rising from behind the fruit. Balanced and creamy mousse, and a long and dry but fruity aftertaste. chartogne-taillet les barres 2006 43 43 serving temperature: 10°C drinkability: 0 ­ 10 years 93 p. Cuvée sainte-anne Brut nV 89 p. · Brut Rosé 90 p. Brut Vintage 2000 91 p. · fiacre nV 93 p. Grapes: Pinot Meunier 100% Fi n e D i s c ov e r i n g C h a m pa g n e 75 ometimes it is good to turn from the glamour of big champagne houses to the more earth-bound approach of a pragmatic peasant. Chartogne-Taillet in Merfy, which is located in the northern part of Montagne de Reims, is a paradigm of an enthusiastic and innovative grower-producer. Working side by side with his father Philippe and mother Elisabeth, Alexandre Chartogne acquired his knowledge from the legendary Avizebased Anselme Selosse, and is open to new experiments and quality improvements. Talking with Alexandre, who is dedicated to cultivation and production, takes one deep into the mysteries of champagne production. Most of the vineyards of Montagne de Reims can these days be found south of the city of Reims. The northern vineyards have given way to the expanding city, and, in addition to the damage done by Phylloxera, war has also complicated cultivation in the area. The hills of Montagne de Reims have a strategic view straight to the city of Reims, and this has turned them into battlefields more than once; the planted area in Merfy has decreased from 105 hectares to 45 as a result. Despite its small size and rather unknown status, the south-facing plots of Merfy are able to produce exceedingly interesting wines. Alexandre Chartogne characterises their style as stronger and richer in nuances than those of the wines of southern Montagne, but not quite as fruity. Organic cultivation and the concentrated yield of old vines are key elements to the rich and strong style of Chartogne-Taillet. Their whole repertoire, from the non-vintage standard Sainte-Anne champagne to the prestige cuvée Fiacre, is first-rate, as is their rosé champagne. The most impressive experiences, I have to say, have been derived from the new Les Barres single-vineyard champagne. Chartogne-Taillet owns two plots of rare and ungrafted Pinot Meunier vines, covering only 0.7 hectares. When Phylloxera raged in the area during the 19th century and destroyed almost all the vineyards in Champagne, these vines, which grow from sandy soil, survived the extinction. Alexandre Chartogne tends to these laborious, en foule-planted vines by hand, and is even experimenting by planting 0.5 hectares in a similar fashion, in the hope that the new vines will also be resistant to the pernicious Phylloxera. The 2006 Les Barres was the first interesting single-vineyard champagne from Chartogne-Taillet. Upcoming champagnes are the 100 per cent Pinot Noir Les Orizeaux and the Pinot Meunier Les Allièes.

nicolas maillart I t is worthwhile to drive a bit further outside the mainstream champagne areas to Ecueil, mainly because Nicolas Maillart knows what he is doing and what he wants from his champagnes. The enthusiastic and visionary Maillart politely answers the inquisitive visitors' endless questions, and the house wines differ from the typical champagnes in an interesting manner. Maillart's champagnes are very vinous and extremely well made; any friends of oaky champagnes are sure to be thrilled with these offerings. The producer was previously known as Michel Maillart, but since Nicolas Maillart took over from his father in 2003, it has gone through a complete transformation. The first thing the well-educated and well-travelled Nicolas did was to detach the vineyard from the village's cooperative, where the grapes used to be crushed. Maillart, who follows sustainable development's almost organic methods, owns vineyards in three Montagne de Reims villages: Ecueil, Villers-Allerand and Bouzy. The house's 11 hectares consist exclusively of Premier Cru and Grand Cru vineyards. In addition to this, Maillart buys grapes. In the production process, Maillart sorts the grapes according to the soil and age of the vines. Part of the wine is fermented in oak barrels, which Maillart buys both new and used, from Chassagne-Montrachet among others. If needed, Maillart lets the wine undergo malolactic fermentation. The wines are then fermented with natural yeasts, and are neither filtered nor cold stabilised. Nicolas Maillart also produces two single-terroir champagnes, where the emphasis on the substrate has been taken even further. Of these, Les Francs du Pied is 100 per cent Pinot Noir, whereas Les Chaillots Gillis consists of purely Chardonnay; the latter in fact comes from several south-facing Chardonnay plots of old vines from Ecueil and Bouzy. Well concentrated and notably oaky, it resembles Chardonnays from Burgundy. The non-vintage standard champagne Platine is faultless, deeply fruity and vigorous. This wine is dominated by Pinot Noir, with a fifth of the grapes being Chardonnay. The proportion of reserve wines is 45 per cent. A quarter of the wine has been fermented in oak, which brings along richness but not overwhelming oak aromas. The amount of sugar is a moderate 7 g/l. The house's vintage champagne these days follows the same Pinot Noir-dominant style. Maillart's Brut Rosé Grand Cru is very exceptional. This wine, from the Grand Cru village of Bouzy, is extracted for a good two days in skin contact, then 30 per cent Chardonnay is added. A part of the red reserve wine is aged in Château Margaux's used oak barrels, which brings a clear oak aroma to the champagne. My favourites are Maillart's first-rate and less oaky standard champagne and the single-vineyard champagne Les Francs du Pied, which can take even an abundant use of oak without being overpowered by it, thanks to its massive fruit. 76 CHamPaGne niColas maillaRt nm www.champagne-maillart.fr 5, rue de Villers aux Noeuds, 51500 Ecueil Tel. +33 (0)3 26 49 77 89 annual production (bottles): 100 000 Cellarmaster: Nicolas Maillart maillart receives visitors on weekdays 9 ­ 12 am and 2 ­ 5.30 pm, by advance booking only. the cellar tour is 5/person, and it includes a tasting consisting of two champagnes. Champagnes can be purchased from the winery. Les Francs de Pieds, produced from the grapes of the Les Coupées plot in Ecueil, is an exceptional single-vineyard champagne. After Phylloxera destroyed vines in Champagne, this plot was also replanted with vines grafted to American roots. However, Nicolas Maillart's father Michel noticed that the vines still with their original roots were doing better, so in 1973 the plot was once again replanted ­ this time with original root vines. These are planted separately in rows, instead of the earlier and more prevalent en foule method, with dense planting and constant renewing. The reason why this 0.27ha vineyard has the unusual ability to resist Phylloxera probably originates from the heavily sandy soil. This south-facing plot in the middle of the hillside produces an extremely concentrated and impressively individual champagne, of which the 2003 is the first vintage. Wine production: The wine is both fermented and aged in oak barrels, on regularly stirred yeast lees. Only natural yeasts are used in the fermentation, the wine is not filtered or cold stabilised, and it doesn't undergo malolactic fermentation. No sugar is added during the disgorgement stage, which occurs after long cellar ageing. The wine is then rested for three months before it is released to the markets. style: Deep, lemon-yellow colour. The nose is pro- fuse and rich in nuances with red fruit, spices, vanilla and butter, and on the palate there is a clear but well integrated oak aroma. As the aromas develop, they turn towards toastiness. The intensively fruity palate is mouthfilling without being heavy. The bubbles give a gentle feel to this strong and broad wine, and there is a long, fresh, fruity and balanced aftertaste. nicolas maillart les francs de pied blanc de noirs extra brut 2003 65 60 serving temperature: 12°C drinkability: 0 ­ 10 years Grapes: Pinot Noir 100% 90 p. Platine Brut nV 88p. · Brut Rosé Grand Cru nV 85 p. · millésime 2005 89p. · les Chaillots Gillis Blanc de Blancs extra Brut 2003 87p.

Sights, Restaurants and Bars in Montagne de Reims Golf de Reims Château des Dames de France, 51390 Gueux Tel. +33 (0) 3 26 05 46 10 www.golf-de-reims.com "I have always liked driving through the celebrated villages of the Montagne de Reims - especially Verzy and Verzenay, with their rolling hills and sweeping views. I am also fond of visiting Trépail and Villers-Marmery, as these villages are very special to the house and to the elaboration of our Piper-Heidsieck Rare." Régis Camus, Cellarmaster of Champagne P&C Heidsieck faux de VeRzy Verzy, free admission throughout the year The mystical trees of the Faux de Verzy Forest, beautiful in their "deformation", are fascinating to see ­ a true gift from nature. A stroll in this natural park is the best way to awaken the appetite at any time of the year. l'esCaRGot des GRands CRus Route de Louvois, 51150 Bouzy Tel. +33 (0)3 26 52 26 56 www.escargotdesgrandscrus.com Reservation needed. Le Phare de Verzenay lighthouse is a beacon in a sea of vineyards. musée le PHaRe de VeRzenay 51360 Verzenay Tel. +33 (0)3 26 07 87 87 Open Tuesday ­ Sunday 10am ­ 5pm, on weekends until 5.30pm. An entrance fee is required. www.lepharedeverzenay.com A lighthouse in the middle of vineyards with no sea in sight ­ one simply has to see that! Built next to a historic lighthouse, Le Phare de Verzenay is one of the few champagne museums in the area. The tour starts with a film on the basics of champagne, from history to cultivation and production, and afterwards the visitor can tour the museum independently with headphones. The museum offers good basic knowledge for new champagne enthusiasts, whereas a more experienced champagne traveller can glean interesting information regarding villages such as Verzenay. A fascinating plus to the visit is the opportunity to climb up to the top of the lighthouse and see the beautiful landscape of Montagne de Reims open up before one's eyes. "I recommend a visit to a very extraordinary place: in my home village of Bouzy there is an excellent snail hatchery worth exploring between champagne house visits." Chantale Bara, Champagne Paul Bara Fi n e D i s c ov e r i n g C h a m pa g n e 77 Golf de Reims is a sympathetic golf course, located just outside the city of Gueux. As one might presume, champagne houses sponsor the course, so, naturally, they have their own tournaments as well as holes named after them. The course resembles a big park and is very nice to play; although the castle-like club house surrounded by a moat is particularly imposing. The best thing about the course is, however, its direct link to champagne; you can easily end up playing a round with the nearby area's cellarmasters and champagne personalities.

PaRC aRBoxyGene Forêt de Brise Charette, 51380 Verzy Tel. +33 (0)6 89 44 73 68 www.arboxygene.eu The opening hours of Parc Arboxygene vary, so it is recommended to check their website before visiting (the park is closed between January 1st and March 20th). Pre-booking is required for groups larger than ten persons. If the scrumptious lunches and dinners start to weigh you down, you can rid yourself of some calories by sweating in the Arboxygene climbing park. Parisian Olivier Couteaut built the park in the Verzy Forest five years ago, and the process was carried out carefully in order to avoid injuring the trees. The climbing tracks built up in the trees vary in difficulty, so even the most amateur of climbers can get started. And how could you celebrate a successful adventure up in the treetops better than with a glass of bubbly up in the Perchingbar champagne bar! "The Verzenay champagne museum is truly worth the visit, as it gives information on the Champagne region and champagne itself in a very comprehensive and concrete way. Its location guarantees a spectacular view over the vineyards of Montagne de Reims." mathieu Kauffman, Cellarmaster of Champagne Bollinger l'assiette CHamPenois 40, Avenue Paul Vaillant-Couturier Tel. +33 (0)3 26 84 64 64 www.assiettechampenoise.com "Bernard Pagès' sculpture La Terre welcomes visitors to the village of Mailly Champagne. You can reach the sculpture by walking through the vineyards; I thoroughly recommend this walk, as one can also enjoy a beautiful vista towards Reims and its cathedral while sipping from a glass of Mailly Champagne." Hervé dantan, Cellarmaster of Champagne mailly Grand Cru Arnauld Lallement, the chef of L'Assiette Champenois, confesses to be a "Krugist". Closed on Tuesdays for lunch and dinner, and on Wednesdays for lunch. L'Assiette Champenois is my absolute favourite fine dining experience in Champagne. This innovative and top quality restaurant has a touch of the molecular kitchen about it, and is located just ten minutes from Reims' town centre. The young chef, and member of the owner family, Arnauld Lallement has earned the restaurant two Michelin stars. A comprehensive wine and champagne list is amongst the best in the area. The prices for both food and drink are high, but at the same time appropriate. Connected to L'Assiette Champenois you'll find a small, cosy and stylish hotel, where the rooms are surprisingly affordable compared to the price level of the restaurant. My recommendation is to dine here and stay overnight at least once when touring Champagne. "Another well known landmark of Champagne, in addition to the La Phare museum, is the windmill of Verzenay. Champagne Lanson's first vineyards were acquired precisely here in Verzenay during the 19th century. We also have a press house in the village, which visitors can see in action during harvest time." Jean-Paul Gandon, Cellar master of Champagne lanson "Perchingbar, up in the treetops of the Verzy forest, offers champagne and a wonderful view towards Reims and Montagne de Reims; it is certainly a unique champagne experience!" nicolas Klym, Cellarmaster of Champagne ayala Fi n e D i s c ov e r i n g C h a m pa g n e 79

Key to symbols Winery Presentations I have rated each wine estate in two ways. Firstly, the glass rating refers to the general quality of the house's champagnes: I have awarded between one and five glasses. Second, I have given a star rating (one to five stars) to the organisation, setting and content of the visit to the estate, as well as the personnel and their language skills. These ratings are provided at the top right-hand corner of each estate's presentation page. No rating is available for the estates that do not accept guests. At this point I want to draw attention to the fact that each visit is unique. My evaluations are based on my own limited visits to the estates, so there may be surprises ­ both positive and negative. I give the essential details of each house, listing reasons for visiting it and tasting its champagnes on location. I also provide some background information on the estates and their protagonists, and provide an overview of the product selection. Contact details and information concerning visiting arrangements and opening hours are supplied to make it easier to organise a visit. These details may change, however, so I recommend checking in advance with the estate, either on its website or by email. I also offer production volume figures and the name of the cellar master. favourite Champagne The second part of each presentation is reserved for my favourite champagne, i.e. the wine that shows the producer at its best or that provides the best introduction to the house. I did my best to formulate a comprehensive catalogue of champagnes of different styles and prices, ranging from 15 to more than 200 euros. I write about my chosen champagne in greater detail. For each wine, I give the producer's recommended retail price and, if applicable, the price directly from the cellar. 80 top producer excellent producer Quality producer average producer Below-average producer top visit excellent visit Good visit average visit Basic visit I have awarded a star rating to restaurants as follows: top-class restaurant excellent restaurant Quality restaurant average restaurant Basic restaurant The price level of each restaurant is classified as follows: expensive restaurant, menu over 50 euros mid-priced restaurant, menu 25­50 euros inexpensive restaurant, menu under 25 euros I have awarded a star rating to hotels as follows: luxury hotel High-class hotel Quality hotel average hotel Basic hotel The price level of the hotels (overnight stay including breakfast) is classified as follows: expensive hotel, rooms over 180 euros mid-priced hotel, rooms 90­180 euros inexpensive hotel, rooms under 90 euros Vintage tables Vintages are also given a star rating, as follows: top vintage excellent vintage average vintage ordinary vintage Poor vintage R Recommended retail price C Cellar price

Other recommended visits in Montagne de Reims: While the majority of leading Champagne houses are located in town, Canard- Duchêne is situated on a hillside, firmly rooted in the very heart of the vineyards since 1868. Ludes, its birthplace in the Montagne de Reims National Park, epitomizes the magnificent quality of Pinot Noir. The Russian Imperial Family granted Canard-Duchêne the right to adopt its coat of arms, a crowned two-headed eagle. CHamPaGne CanaRd-duCHêne CHamPaGne foRGet-BRimont PeRCHinGBaR 1 rue Edmond Canard 51500 Ludes France Tel. +33(03)3 26 61 10 96 info@tcd-distribution.com canard-duchene.fr CHamPaGne Blondel 11 Route de Louvois 51500 Craon de Ludes France Tel. +33(03)3 26 61 10 45 contact@champagne-forget-brimont.fr www.champagne-forget-brimont.fr CHamPaGne Paul Clouet Forêt de Brise Charrette/Faux de Verzy 51380 Verzy France Tel. +33(06) 07 67 94 42 www.perchingbar.eu Domaine des Monts Fournois BP 12 51500 Ludes France Tel. +33(03)3 26 03 43 92 contact@champagneblondel.com www.champagneblondel.com 10 rue Jeanne d'Arc 51500 Bouzy France Tel. +33(03)3 26 57 07 31 contact@champagne-paul-clouet.com www.bonnaire-clouet.com Fi n e D i s c ov e r i n g C h a m pa g n e 81

Michelin Guide Three Stars San Francisco Chronicle Four Stars The Restaurant at Meadowoood Worth a Special Journey The Restaurant at Meadowood Chef Christopher Kostow

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

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1996 Vintages Text: Peter Liem Text: Peter Liem The year began with a dry, cold winter that saw temperatures drop as low as minus 20°C in February. Fortunately, the vines escaped major damage, thanks in part to a strong north wind that circulated the cold air. As is becoming increasingly more common in modern times, the weather fluctuated dramatically over the next few months: sunny weather in April saw temperatures climb to 26°C, yet May brought more frost, with a low of minus 5.5°C reported in the Vallée de l'Ardre. June was largely warm and sunny except for a brief period of cold around the 19th, which resulted in the bizarre combination of precocious growth along with millerandage, particularly in Chardonnay. The summer was mostly hot and dry up until the latter part of August, and the northerly wind continued to blow throughout the season. Cold September nights in the weeks leading up to the harvest preserved that famous '96 acidity; the harvest began as early as September 14 in some areas, and continued until mid-October under sunny skies. One thing to remember about 1996 is that it was essentially unique ­ nobody had ever seen a vintage with the same combination of high ripeness and high acidity. Producers were thrilled with the extraordinary phenomenon of "10/10" (10 degrees of potential alcohol and 10 g./l. of acidity), which involved sugar levels comparable to those of 1989 and 1990 but also acidity levels of vintages such as 1986 or 1980. On paper, this should be terrific, even ideal. In some cases, it probably is. But not all '96s have aged gracefully, and this has provoked a good deal of criticism. "Most of the 1996s will die before the complexity of the fruit balances out the acidity," says Charles Philipponnat of Champagne Philipponnat. Richard Geoffroy, chef de cave of Dom Pérignon, offers an explanation for the variability of the '96s. "Many Champenois don't think the same, but 1996 is about concentration from dehydration in the berries," he says. "The north wind concentrated the acidity, the flavours and the sugars in the berries. But the pitfall of '96 was that it concentrated the oxidative compounds in the bad grapes. Many people were seduced by these components at the time of blending, but they have evolved very rapidly. This is why some wines are not yet ready to drink, while others are already over the hill. This is also why there are not many rosés from '96, because of this oxidation in the Pinot Noir." Geoffroy notes that the wines of Burgundy show similar characters in this vintage, and have correspondingly suffered from similar problems. Of course, there are excellent champagnes from 1996, even if they have not always been entirely predictable. The best examples combine a powerful depth of fruit with a racy, incisive structure, and should continue to evolve in brilliant fashion. I am in no hurry to dispose of the 1996s in my cellar (and, in fact, I still wish that I owned more than I do). But there are also wines that are beginning to appear shrill and imbalanced in their acidity, and others that are even appearing to be alarmingly oxidative. Essentially, it boils down to individual wines -- it is difficult to make generalisations about 1996 other than the most obvious ones (i.e. high acidity), and the merits and faults of this unusual vintage are likely to be debated by champagne connoisseurs for decades to come. Fi n e V i n ta g e 85 One of the most controversial champagne vintages of the modern day, 1996, produced rich, powerfully-structured wines that were initially hailed as some of the finest that the region had ever seen. As time has progressed, however, the '96s have been the subject of intense debate, with both producers and consumers raising questions about their development and longevity.

How to read FINE's tasting notes: We open and taste more fine and rare wines than any other wine media in the world. As these wines are so special, we firmly believe that they deserve to be presented in the best possible manner, and in a way that will serve our readers well. This is why our tasting notes include lot more information than just a basic description of each wine. The topics we cover in our tasting notes, other than colour, nose, taste and finish, are: The given price is a six-month average paid in auctions run by major auction houses throughout Europe, the USA and Asia (FINE Wine Index) A short description of the wine Mentions if the wine is worthy of its price based on its rarity and our tasting experience 86 How many times we have tasted the wine and the most recent tasting Recommends the length of time each wine should be decanted before serving How long the wine lasts having been poured into the glass The year we believe each wine will reach its optimum drinkability The perfect dish to accompany each wine Calculates the risk of encountering counterfeit bottles. This is an estimate based on the FINE editorial team's experience Shares specific information about the wine or vintage, which will add value to the tasting experience Instead of this wine, another option is o ered that might be more a suitable investment Wraps up our opinion about the wine In our wine evaluations, the most significant factor is the scoring system. We score wines according the pleasure they deliver today, not according to their potential. Our purpose is to make sure you enjoy the wines when they are at their optimum, in order to ensure the wines not only deliver the greatest pleasure but also the best possible value. As one of FINE's fundamental values is to support excellence, we have made the decision to not publish wines that receive 79 points or below. We use a 100-point evaluation system, where the wines have been divided into the following categories: 99­100 A wine with the wow-e ect. Sheer perfection to all senses by every parameter of wine quality. A true gift from nature. 95­98 An outstanding wine that leaves an unforgettable tasting experience with its perfect structure, complexity and personality. 90­94 An excellent wine, that stands out by balance, intensity, complexity and character. 86­89 A good wine with balance and complexity. 80­85 An average, though well-made wine. Nose and palate are somewhat one-dimensional and impersonal. 50­79 A modest and straightforward wine lacking life and harmony. This wine is excluded from appearing in FINE Tastings.

1996 Vintages Grand tasting of the 1996 vintage Taster: Essi Avellan MW A group of passionate champagne lovers dedicated five October evenings to a comprehensive champagne tasting of the 1996 vintage. An unforeseen vintage of rocketing acidity and high sugar levels produced champagnes that have raised debate amongst wine professionals and amateurs for years; the accentuated acidity of the vintage has its fans as well as its opponents. Also, many experts have expressed concern over the prematurely oxidising nature of some of the wines. A certain variability of quality became evident in our marathon of tastings. Some champagnes clearly showed oxidative characters and other wines appeared unbalanced due to their dominant acidity. Despite some clear under-performers, the overall quality and development of the champagnes was a positive surprise, as was the sheer power and vibrancy of the vintage. The top names proved their pedigree in this challenging vintage, and their champagnes have lived up to their originally forecasted ageing capacity. However, this tasting raised concerns over the condition of the corks, at LVMH and Dom Pérignon specifically. We encountered corked bottles of Moët & Chandon Brut Imperial, Dom Pérignon, Dom Pérignon Rosé and Veuve Clicquot La Grande Dame. Deutz Cuvée William Deutz Rosé 1996 Louis Roederer Cristal Rosé 1996 Pol Roger Cuvée Sir Winston Churchill 1996 Fi n e V i n ta g e 87

1996 Vintages Taittinger Comtes de Champagne Rosé 1996 Bollinger La Grande Annee Rosé 1996 Bollinger R.D. 1996 88 Deutz Cuvée William Deutz 1996 Henriot Cuvée des Enchanteleurs 1996 Krug Vintage 1996

Louis Roederer Cristal 1996 Moët & Chandon Dom Pérignon Rosé 1996 Taittinger Comtes de Champagne 1996 Alfred Gratien Millésime 1996 Billecart-Salmon Clos Saint Hilaire 1996 Billecart-Salmon Cuvée Nicolas-Francois Billecart 1996 1996 Vintages Fi n e V i n ta g e 89

Champagne Nicolas Feuillatte tukuista. Lisätietoa tuotteista myynti.spirits@norex.fi tai numerosta 09-525 9370 · www.norex.fi

Charles Heidsieck Rosé 1996 1996 Vintages Krug Clos du Mesnil 1996 Krug Clos d'Ambonnay 1996 Moët & Chandon Dom Pérignon Oenothèque 1996 Salon 1996 Pol Roger Vintage 1996 Fi n e V i n ta g e 91

1996 Vintages Taittinger Millésime 1996 Billecart-Salmon Grande Cuvée 1996 Veuve Clicquot Vintage Réserve 1996 92 De Saint Gall Orpale 1996 Duval-Leroy Femme 1996

Jacquesson Aÿ Vauzelle Terme 1996 Jean Vesselle Le Petit Clos1996 Laurent-Perrier Vintage 1996 Lenoble Blanc de Blancs 1996 Moët & Chandon Dom Pérignon 1996 Pol Roger Extra Cuvée de Réserve Chardonnay 1996 1996 Vintages Fi n e V i n ta g e 93

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Alain Thiénot Grande Cuvée 1996 Bollinger La Grande Année 1996 Veuve Clicquot La Grande Dame 1996 Duval-LeroyBlanc de Chardonnay 1996 Dumangin Extra Brut Vinothèque 1996 Gosset Grand Millésime 1996 1996 Vintages Fi n e V i n ta g e 95

Lanson Gold Label 1996 Agrapart Avize Grand Cru 1996 1996 Vintages Billecart-Salmon Blanc de Blancs 1996 96 Charles de Cazanove Stradivarius 1996 Charles Heidsieck Vintage 1996 Henriot Vintage 1996

Lenoble Gentilhomme Blanc de Blancs 1996 Jean Vesselle Prestige Troisième Millenaire 1996 Nicolas Feuillatte Palmes d'Or Rosé 1996 Comte Audoin de Dampierre Reserve Familiale 1996 Fleury Millésime 1996 Bollinger Vieilles Vignes Françaises 1996 1996 Vintages Fi n e V i n ta g e 97

Fresnet-Juillet Special Club 1996 1996 Vintages Henriot Rosé 1996 Jacques Selosse Grand Cru Blanc de Blancs Extra Brut 1996 98 Jacquesson Vintage 1996 Nicolas Feuillatte Palmes d'Or 1996 Joseph Perrier Cuvée Royale 1996

Perrier-Jouët Belle Epoque 1996 Ruinart Dom Ruinart 1996 Ruinart Dom Ruinart Rosé 1996 Bruno Paillard Assemblage 1996 Doyard Collection de l'An 1 1996 Duval-Leroy Vintage 1996 Jacquesson Avize Grand Cru Extra Brut 1996 Martel Cuvée Victoire 1996 Pierre Paillard Millésime 1996 DeutzVintage 1996 Vilmart & Cie Cuvée Creation 1996 Nicolas Feuillatte Grand Cru Ambonnay 1996 Claude Cazals Clos Cazals 1996 E. Barnaut Millésime Grand Cru Bouzy 1996 1996 Vintages Fi n e V i n ta g e 99

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M any wine tasters fail to realise how much more "switched on" they are than others when it comes to smell and taste experiences, and the di erence in people's fragrance awareness recently dawned on me. I just completed the recording of a series called Nesevis for Norwegian television, in which I guided the Norwegian people through their beautiful and expansive country with the help of my nose. We conducted a variety of exciting experiments in which the sense of smell was tested in various situations. For instance, we changed the entire olfactory image of a petrol station to see how buying patterns changed; furthermore, we allowed a broker to sell apartments with the help of the smell of freshly baked bread one day and less successfully with the odour of sh the next. The e ect on people was clear, but very few of them actually realised that we had manipulated the scent picture. I know that my job is moving more and more towards becoming some kind of fragrance consultant, where I teach people to develop their neglected senses rather than towards immersing myself even further into the wine jungle. One question we asked everyone we met was their favourite smell ­ the vast majority responded along the lines of buns, vanilla, roses and chocolate. Richard Juhlin GUIDED BY THE NOSE In the wake of this question, I was asked to choose smells for a cookbook and analyse my eight favourite scents in the world of cuisine, and I will now give you a sneak preview of my research. an almost narcotic intensity. Despite this, and its impressive price of 7000­8000 euros per kilo, I would have to to gravitate towards its cheaper black cousin from France if I were forced to choose my favourite. Even if the intensity is close to unreal in the white variety, the composition of the black one is so much more harmonious and magni cent ­ at least in my opinion. When black tru es are at their best ­ and most preferably from the region of Vaucluse or Châteauneuf-du-Pâpe in the southern Rhône ­ I get goosebumps! In their aroma spectrum, one can o en nd traces familiar to complex red wines such as Château Latour from Bordeaux or Romanée-Conti from Burgundy. It is always a di cult challenge to describe the most amazing scents and wines, but if I were to attempt to dissect the key aroma components of the fresh, high-quality black tru e, it is not fungus I think of rst. Instead, there are notes of ne Moroccan leather, liquorice (the salty kind), black olive, tar, tobacco, earth, dark red roses and walnut shells. Imagine this mixture and add the most beautiful evening perfume that a Grasse perfumer can create, and you will end up pretty close to the unreal reality. Unfortunately, 90 per cent of the tru es we get in Scandinavia are barely more than a whisper compared to the perfect specimens available on the continent. 101 Passion fruit I love good fruits and berries! Imagine how wonderful it is to bite into a really juicy Gravenstein apple, drink homemade blackcurrant juice, or pick and eat your own raspberries or strawberries. The taste is so reminiscent of the freshness of summer and inextricably linked to a smiling child. But I like really nice mandarins, blood oranges, grapefruits, mangoes and pineapples, too; and in my world there is a fruit that combines all of the above. It is a fruit full of exoticism reminiscent of mango, coconut, vanilla and fresh pineapple; its fabulous, complex aromatic spectrum unparalleled in the world of fruit. There is, however, one small problem: the actual texture of the esh is far from ideal and its dominant nuclei disturb me. But if a top class chef tackles the fruit and captures its aromas in a harmonious composition, it does full justice to the fruit's wonderfully appropriate name: passion! > Lime peel There are few things that embody freshness as well as lemon and lime, and in my opinion lime has an even more complex scent than its citrus cousin. Lime peel in particular combines upli ing and mouth-watering acidity with a lovely deep nuttiness and sweetness, which in turn moves towards macaroons. The bright green colour matches well with its aromas and resembles bud burst and youthfulness. If you have a heavy and overloaded dish, lime peel is a safe bet to li and freshen all the components. Black tru e Given its high price and poor availability, the white Alba tru e is probably in the number one position when the world's favourite aromas are lined up; the white gold of Piedmont certainly has a unique, wild and sexually oriented animal aroma that displays Fi n e J u h l i n

PARADISE ISLAND 102

IN THE MALDIVES Text: Es s i Ave l l an MW Photos: Soneva Fushi and Es si Avel l an I'm on my way to paradise. After an overnight flight, we land in the early morning on the tiny airfield of the island of Malé in the Maldives. Waiting for transport to our final destination, Soneva Fushi, I look at the crowds. It's obvious which of the passing tourists are arriving, and which are leaving. Those strolling along with a copper tan and a relaxed smile have already spent their holiday in paradise. Mine is just beginning, as Soneva's reception staff lead me to the hydroplane serving as a taxi. 103 The tiny plane takes off with a thundering noise, leaving behind dozens of other hydroplanes, larger aeroplanes and finally the town of Malé itself, with its peculiar and colourful yet rustic architecture. From the air, one gets a tangible sense of the size of the Maldives. Stretching out 800 km southwest of the southern tip of India, the archipelago consists of 1190 islands and atolls, 200 of which are inhabited and 80 of which provide tourist accommodation. The lowness of the Maldives is striking. The archipelago has the lowest elevation in the world, with up to 80 per cent of the land area being less than one metre above sea level. Any rise in sea level due to climate change might be fatal to the Maldives. The extensive tourist business is in fact harnessed to finance the future survival plans of the country. Fi n e D e s t i nat i o n

104 After a 35-minute flight heading north, we reach the Baa Atoll and the privately owned island of Kunfunadhoo. We touch down on the softly rippling turquoise water and coast towards a small raft bobbing on pontoons. After the pilot has helped the passengers disembark, a fast motor boat pulls up to the jetty and takes us on. We quickly approach an island that seems straight out of Robinson Crusoe, and a young man who introduces himself as my very own Friday asks to take my shoes. "`No news, no shoes' policy, ma'am," he explains. The Slow Life concept of Soneva compels even the most die-hard workaholics to let go. I feel strange having to give up my shoes, but there is no time to dwell upon the fact as my man Friday is already placing a coconut with a straw in my hand. I'm on holiday now. ecoLogicaL LUXUrY Upon arrival at Soneva Fushi which is bathing in golden sunlight, Friday drives my companion and I in a golf buggy to our villa, one of the 65 on the island. Just a dozen metres from the beach, our whitewashed house is shrouded by vegetation, so that there is no sign of habitation from the shore. Yet each villa has its own private stretch of beach where you can sunbathe or read in the shade. In spite of the humidity, the 30-degree temperature is pleasant, although direct sunlight soon starts to feel uncomfortable. The inte-

105 rior of the villa is ecological and rustic, yet luxurious. My absolute favourite is the huge bathroom, much of which is outdoors. The contrast between the cool air-conditioned interior and the caressing warmth and humidity of the outdoor air is delicious. A snorkel and flippers await me in the room, and I cannot wait to take my first plunge into the crystal-clear water. The lapping, warm water embraces me, but a whole new world awaits below the surface. I swim away from the shore towards the coral reef and start exploring. Schools of fish in all the colours of the rainbow swim past or stop to watch me as I study the exotic colours and forms of the corals. Multicoloured reef triggerfish, small sharks and gigantic rays swim close by, undisturbed by my presence. The Maldives is a diver's paradise, and at Soneva Fushi you can take diving lessons ranging from beginners' courses to advanced levels. Biking in Paradise Before dinner I want to get a closer look at the island, which in the context of the Maldives is quite large at 1400 m long and about 400 m wide. The most convenient form of conveyance here is the bicycle, and every visitor has one waiting in front of the villa. The rear mudguard of my bicycle carries the number of our villa, but to my surprise I see hardly any numbered bikes on the meandering paths on the island. Nearly all the other Fi n e D e s t i nat i o n

106 bikes have initials, and I soon learn that those who return to the island receive their own personalised signs as a symbol of visitor loyalty to Soneva Fushi. Random encounters with the other holidaymakers reveal that most of them are regulars. Some visit Soneva Fushi once a year, and a Swiss-French group of friends I meet have been doing so ever since the resort opened in 1995. I'm checking out the island's main restaurant and its bar, Mihiree Mitha, before dinner, when the principal owner and CEO of the Soneva chain, Sonu Shivdasani, enters. He knows most of the regulars, and spends a while with us sipping champagne aperitifs. With an air of refinement and success, Shivdasani comes from an Indian background, but his flawless British accent reveals he has studied at the best universities in England. "My wife and I fell in love with the Maldives in the early 1990s. Apart from hard work, there was also an element of luck in that we made a success of Soneva Fushi," says Shivdasani. Sonu and Eva Shivdasani are pioneers of environmental luxury tourism in the island state, and Soneva Fushi still has a legendary reputation based on that. Subsequently, two more of these Six Senses resorts have been opened in the Maldives, Soneva Gili and Laamu. Six Senses paradise resorts are also found in Thailand, Vietnam, Oman and Jordan. "Our core values are sustainability, local

107 and organic sourcing, wellness and learning," Sonu says, describing the philosophy of the Six Senses chain. And Fushi does indeed offer many things to learn. The observatory has sessions in astronomy, and there are excursions led by a marine biologist to teach visitors about corals and other marine creatures. Sonu is a great wine aficionado, so there are many wine-related events. "We have had people like Frédéric Rouzaud, the CEO of Louis Roederer, and representatives of Champagne Billecart-Salmon and Champagne Louis de Sacy visit to let our clients in on the secrets of champagne." Admittedly, champagne does taste incredibly good on a dolphin cruise at sunset. However, alcohol in the Maldives is not cheap, so this is not a place to make champagne finds. The prices are high due to expensive freight and steep taxes. At the more inexpensive end of the scale of Fi n e D e s t i nat i o n

lands, introduces me to the wine list and the climate-controlled cellar where tastings can also be arranged. LocaL Food champagne cellars at Soneva Fushi is Louis Roederer Brut Premier (USD 135). The premium champagne of the house, Cristal, comes with such a dizzying price tag (USD 1100) that Krug Grande Cuvée seems almost a bargain in comparison (USD 580). Most of the clientele on the island is unfazed by the prices, however, so the consumption of champagne is considerable. The island's sommelier, Jesper Kok from the Nether- In the evening we mount our bikes and head along the winding jungle roads to the Fresh in the Garden restaurant. It serves modern Maldivian cuisine made from local produce, much of which comes from the organic gardens on the island. Fresh seafood, tuna and other local fish feature heavily on the menu of the kitchen led by the Dutch chef Björn van der Horst. Organically grown herbs and salads are truly tasty. The dishes are simple, with the pure taste of the ingredients preserved. We also try out cocktails made with fresh fruit juice, although organic wines are a speciality of the restaurant. By the time we reach the coconut ice cream dessert, how- 108

ever, we are running late, because we want to experience the island's outdoor cinema. We cycle along lantern-lit paths towards Cinema Paradiso. Built on the site of a former helipad, the jungle cinema consists of a large screen and a couple of dozen beach chairs. I order popcorn and a glass of Louis Roederer Brut Premier champagne, and recline under the stars to enjoy the classic movie The Great Gatsby. WhoLesome WeLLness soneva Fushi kunfunadhoo island Baa atoll, republic of maldives Tel: +960 660 0304 reservations: fushi@sixsenses.com www.sixsenses.com/soneva-fushi 109 Fi n e D e s t i nat i o n On my first morning on the island I wake up feeling so energised that starting the day at the gym and with a refreshing morning swim seems a natural choice. Later, I walk along the beach with my companion to Mihiree Mitha, to enjoy breakfast with the waves lapping at our feet. We select a table under the trees, right next to the beach. Most of the smiling staff are locals, and their helpfulness and warmth is striking. Under the guidance of Nicolas Messian, the French food and beverage manager at Soneva Fushi, we explore the breakfast buffet, which includes everything one could wish for, from several Asian dishes to European classics. I order an omelette with my choice of fillings and enter a room that has a huge selection of breads and pastries. I skip them this time, however, in favour of fresh exotic fruit, sliced to one's wishes, as well as freshly squeezed fruit juices. They are a must in a place like this! I have decided to dedicate the morning to the Six Senses Spa therapies for which Soneva Fushi is famous. I choose a classic 90-minute Thai massage. In the beautiful and luxuriously quiet spa, I dress in a white robe, because in Thai massage one remains dressed. The skilful male masseur works unhurriedly on my entire body with strong pressing motions and prolonged yoga-like stretches. I am truly beginning to relax, and can no longer be bothered to plan the rest of my day. I just go with the flow. The next days on the paradise island are spent swimming, eating and reading. I relish the sense of leisure, and find that I open my laptop less and less every day. I have not kept up to date with world events ­ the only things I'm interested in each day are the size of the waves and the sunshine. However, every holiday must come to an end. When I finally board the boat to the hydroplane that will take me back, I am reintroduced to the strange feeling of shoes. The holiday is over. >

Quality. When embraced doesn't need frills. Gerard Darmon, Paris 2011 KITON.IT

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113 It Will Steal Your Heart and Soul Text: Pekka Nuikki Photos: Maserati / Pekka Nuikki Italy's top modern wines, like Sassicaia and Masseto, just like the country's first legendary wine ­ the distinguished and historic Biondi-Santi ­ demand attentive and constant care. Without it, they cannot develop optimally and produce the highest possible levels of enjoyment for their owners. Carelessness can ruin even the best wine. The same is true of Italy's greatest source of automotive pride: the Maserati. It will only produce the highest joy of ownership and driving and the greatest internal satisfaction when it is cared for properly and regularly. But the rewards are incomparable. Just like a top wine, Maserati pampers us not just with excellent visual qualities and harmonious, complex properties, but also with the most exciting and lingering aftertaste, which leaves its mark on your life. Having experienced the feeling, many surrender to the temptation and buy their own Maserati. Fi n e D e s i g n

114 the maserati trident borrows its shape from the statue of neptune on Bologna's piazza del nettuno. It is a common fallacy that a Maserati is a difficult and cantankerous individual that is at its best on nothing more than a test drive. On the contrary, a Maserati is a car that can only be experienced fully by through ownership. Its ability to repay the attention bestowed upon it is incomparable and touches its owner's deepest feelings. A Maserati influences its driver perpetually, perceptibly and inexorably. My own love story with Maserati began with the 222 Biturbo. It was made as a kind of farewell gift from the small and exotic car manufacturer De Tomaso, in 1989. De Tomaso was forced to give up ownership of Maserati, which it had acquired in 1975, by selling it to Fiat. Before De Tomaso, the brand had fought for its survival under Citroën. Unable to succeed under the French car maker's wing, Maserati voluntarily went into administration in 1975, and De Tomaso was able to acquire it in partnership with GEPI, a representative of the Italian government. With De Tomaso at the helm, Maserati swiftly blossomed and its production batches grew in size. To begin with, De Tomaso dropped the exotic models Bora, Merak and Kyalami. They were replaced by the new Quattropor- Just like a top wine, Maserati pampers us not just with excellent visual qualities and harmonious, complex properties, but also with the most exciting and lingering aftertaste, which leaves its mark on your life. te, designed by Giugiaro and launched in 1979. The car became an instant sensation, not least because the Italian President chose it as his official vehicle. Next, De Tomaso came up with a new kind of Maserati: sporty, compact, luxurious and fast, but also ­ for a Maserati ­ really affordable. SucceSS without a turBo deLay The Biturbo collection specifically challenged the German competitors that controlled the market for medium-sized, fast, high-quality cars. Maserati got its branding, pricing and power outputs right, and began to receive

115 Fi n e D e s i g n

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orders. Production figures shot up and more than 30 000 Biturbos were sold in the first two years. The model would be modernised over the years, but my 1989 222Si for example still had no power steering or ABS. On the other hand, the interior was luxurious and the handling was perfect for a sports car. It had sufficient style and power, but the commonplace body design did not cause too much envy in one's neighbours. Although the Biturbo is considered unreliable and difficult to handle at high speeds, my car was beyond reproach and owning it was exceptionally exciting and unique. De Tomaso managed to turn Maserati's fortunes into profitability, but only temporarily. Fiat took over 49 per cent of the company in 1989, and then the rest a few years later. My next Maserati, a 1999 Ghibli GT, was built in the year that the marque became a part of Ferrari. Ferrari bought the outfit for the now modest-sounding sum of 15.4 million euros. For the greater public, the union of Ferrari and Maserati under the same roof sounded like a match made in heaven. Ferrari invested 40 million euros into Maserati by the late 1990s in an attempt to revive the brand. The Maserati factory in Modena was totally refurbished, and all the assembly line workers were replaced or retrained. "Maserati has to be a car with a few key characteristics. Firstly, very advanced technology. Secondly, a mix between Italian desire, flavour and sport ­ a car that you can immediately feel is Italian. And thirdly, a car with great performance but one that you can use every day in every condition and with enough room inside. If you want to drive just once a week, then you buy a Ferrari. But if you want a car for enjoyment that you can drive every day, but when you push it gives you 400 hp, then you buy a Maserati," says Luca di Montezemolo, CEO of the new Ferrari & Maserati Group. 117 Fi n e D e s i g n

118 The Ghibli GT was one of the last models made at the Modena factory, before Maserati's new plant was completed. It was also the last model built on the original Biturbo chassis. The car's 2.8-litre, double-turbo V6 engine with its more than 300 horsepower, combined with a German ZF four-speed automatic transmission, made it one of the fastest cars of its time. Its overtaking acceleration, at speeds of 80­120 km/h, was faster than that of any Ferrari of the time. The adjustable electronic suspension, ABS brakes and adaptive power steering, coupled with Connolly's full-leather interior, made this one of the most comfortable and luxurious Maserati coupés ever made. I fell in love with the car's simple, aggressive design and fabulous-sounding engine. The Ghibli GT also turned out to be good and reliable during the Finnish winter, and so far it has been the only Maserati I have fitted with winter tyres. To work properly, both the Ghibli and other Maserati models require proper, systematic maintenance. As with Ferraris, Maserati owners must remember to let the engine and gear oil temperature rise high enough before testing the car to its limits. Maserati's fairly short service intervals should also be observed. None of the Maseratis I have owned or driven has left me by the roadside ­ unlike many a Short hiStory oF GranturiSmo Maserati began manufacturing racing cars in 1914. Using the chassis of the A6 racing car, the company presented the A6 GranTurismo, which had been styled by Pinin Farina, at the 1947 Geneva Motorshow. It was the first Maserati road car and was produced in 58 units. The car was acclaimed by the automotive press for its advanced technical content and avant-garde-style solutions. Ten years later, in 1957, and once again at the Geneva Motorshow, Maserati presented its first standard GranTurismo, the 3500 GT. This was the car that transformed Maserati into a road car manufacturer, as production of standard cars began to take priority over that of racing models. A total of 1983 units of the 3500GT were produced over seven years. To continue the tradition and celebrate the 60-year anniversary of the A6, as well as the 50-year anniversary of the 3500GT, Maserati will once again choose the Geneva Motorshow to debut its new coupe, the Maserati GranTurismo. The choice of name is not incidental; once again the combined forces of Maserati and Pinin Darina have created a car that can excite and outperform the competition in terms of its design engineering and unique, inimitable style. other supercars. The biggest influence behind this is Ferrari. Ferrari With the transfer to Ferrari, Maserati's sales, which had taken a worrying plunge with only 518 vehicles sold in 1998, began to improve, as did the car's quality, and the next year the factory built 1 500 new cars. Ferrari's target was to reach an annual production of 10 000 units by 2005. A key to this growth was the planned reintroduction of the Maserati into the U.S. market, with a new two-seat convertible called the Spyder, slated to debut in 2001. The Spyder was an open-top version of the new 3200 GT, which was instantly recognisable thanks to its eye-catching "boomerang" LED tail lights. These were given up, however, when the new Maserati Coupé 4200 GT was presented to the world at the 2002 Detroit Auto Show. The Coupé's biggest novelty was under the bonnet. Both the Spyder and the Coupé were equipped with Maserati's first normally aspirated V8 engines for twenty years. My own Coupé was built in 2005, another year of ownership changes. My model was equipped with Cambiocorsa automated manual transmission, also seen in Ferrari, operated using levers on the steering wheel. The Ferrari-developed but Maserati-built 4.2-litre V8 had 390 horsepower and accelerated from 0 to 100 km/h in under five seconds. Recalling the thunder clap-like soundscape still sends shivers down my spine. In the same year that my Coupé and 5 658 other cars rolled out through the massive doors of the Maserati factory, ownership of Maserati was transferred from Ferrari to Fiat, which allowed the two marques to achieve important industrial and commercial synergies with Alfa Romeo. "This is a significant step forward for both Maserati and Alfa Romeo. The synergies between the two marques will bring benefits to both and will allow us to strengthen our portfolio offering in the sports car market," said di Montezemolo, now chairman of Fiat and Ferrari.

119 Fi n e D e s i g n

120 MASERATI GRANTURISMO 4.2 Maximum power output: 298 kW (405 CV) Peak torque: 460 Nm (47 kgm) DIMENSIONS AND WEIGHT Length: 4.881 mm Width without mirrors: 1,847 mm Height: 1.353 mm Wheelbase: 2.942 mm Boot capacity: 260 l PERFORMANCE Top speed: 285 km/h Acceleration 0-100 km/h: 5,2 s Acceleration 0-400 meters: 13.4s Stopping distance: 100 km/h - 0: 35 m

Behind the move was Fiat's need to list Ferrari on the stock exchange in order to improve its own finances. Ferrari had long been highly profitable, whereas its subsidiary Maserati was stuck in a loss-making rut, despite the near 23per cent growth in its sales in 2005. Maserati made a profit in 2007 for the first time in twenty years. The lines drawn by the Pininfarina studio are classically beautiful and clean but also threateningly aggressive and extravagant. two-door SenSation One of the main reasons behind Maserati's return to the black and its current renown is its latest GranTurismo. It is the climax of all the exoticism, sportiness, brilliance and desirability that built up over the years around the Maserati trident. The GranTurismo is a 2+2-seater large luxury-class sports coupé. It was introduced in 2007 as a follow-up to the former Coupé model. The lines drawn by the Pininfarina studio are classically beautiful and clean but also threateningly aggressive and extravagant. "Sinfully sensuous" is the description that comes to mind. The GranTurismo looks, and is, larger than its predecessor. The smooth lines hide a nearly five-metre-long coupé. In terms of its dimensions, the GranTurismo is within a small but desirable niche. It has few competitors, mostly perhaps the Bentley GT and the new Ferrari FF. Inside, the driver is surprised by an atypical spaciousness for a coupé, with light and unusually functional, modern and luxurious Italian design. The everyday pleasure of sitting in the Maserati GranTurismo is related to the fact that a perFect experience As its name indicates, the GranTurismo is not a sports car per se, even if its power outputs leave many "real" sports cars behind. It is a touring car equipped with the comfort and opulence of a luxury vehicle. It is perfectly practical as an everyday car for four people, there is enough boot space for a weekend's packing and golf bags. If you start up the GranTurismo with your eyes closed, however, the main impression given by its powerful, manytoned growl is that of a stripped, recklessly powerful racing car. It is by no means a let-down when you open your eyes and realise that you are in the tight embrace of a stylish Italian beauty. The GranTurismo's heart beats beneath a long, sharply curved bonnet. The engine is a refined version of the normally aspirated 4.2-litre V8 from the Coupé. Its more than 400 horsepower accelerate the mass of nearly 2 000 kilograms to 100 km/h in around five seconds and the top speed is nearly 290 km/h. The figures 121 the automatic transmission is fitted with auto-adaptive control, which adapts the type of change to the driving style and conditions. the driver can choose from four different operating modes: auto normal, auto Sport (selected using the Sport button), Low Grip/auto ice (selected through the ice button) and manual (selected by moving the selector lever from "d" to a special track). Fi n e D e s i g n you are cocooned in a captivating design that is pleasant to look at and to touch due to the highquality materials, which are enhanced by the appeal of the craftsmanship and love of detail in the execution. You also naturally have the option of choosing from a wide range of materials and colour combinations so that they can create a unique environment for themselves that reflects your own tastes. Usually in this type of car it is the rear passengers who are sacrificed most of all; in the GranTurismo, the sleek sporty style is perfectly combined with the generous and superior proportions of its most direct competitors, making the rear seats usable by adults even on long journeys. The cockpit is comparable to those of Bentley and Rolls Royce, although the GranTurismo is somewhat more feminine and modern in aspect. There is also a beautiful convertible version named Grancabrio.

In a way, the GranTurismo is a perfect car from any angle. 122

maSerati and moVieS In fifty years of cinema, actors of the calibre of Alberto Sordi, Vittorio Gassman, Donald Sutherland, Robert de Niro, David Niven, Peter Sellers and Alain Delon have all climbed behind the wheel of a Maserati. In the past decade, Jerry Weintraub, producer of `Ocean's Thirteen', opted for the Quattroporte as the star of the `Ocean's Twelve' follow-up. Maserati's flagship model also played a central role in the second season of TV series 'Entourage' and the 2008 movie 'Max Payne' directed by John Moore and starring Mark Wahlberg. In the 2003 film `Charlie's Angels II', a Maserati Spyder Cambiocorsa driven by Robert Patrick was the car of choice to accompany Demi Moore, Cameron Diaz, Drew Barrymore and Lucy Liu. Last, but not least, nobody can forget Eva Longoria driving her Spyder down Wisteria Lane in season one of `Desperate Housewives'. are promising, and the soundscape even more so. The GranTurismo is the only car I have ever driven that sounds like a Formula 1 car at 40 km/h. The V8 engine and the exhaust are, even at city driving speeds, tuned to a key that will enrapture anyone who sits in the vehicle. In a way, the GranTurismo is a perfect car from any angle. The suggestive shapes of the exterior are tempting and seductive. Inside, the luxury and personality will charm even the most cynical driver into pressing the start button, and the handling and soundscape will steal your heart and soul. As an experience, the GranTurismo is like a rare fine wine: it is at its best shared. This was proven to me a moment ago when a group of my friends test-drove my car. I have never heard such unrestrained bursts of delighted laughter from a driver, or seen such childishly smiling faces as when I sat in the passenger's seat of the GranTurismo. Naturally, a Maserati belongs to its owner, but it is at its best when shared. > 123 the main material used for the interior of the maserati Granturismo is poltrona Frau leather, a true expression of italian craftsmanship, both as regards the rich quality of the raw material and the traditional processing techniques adopted. Fi n e D e s i g n

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