Pauillac’s Ch. Pichon Baron, formerly known as Ch. Pichon-Longueville Baron, is ranked as one of the 15 Second Growths from the 1855 Classification and is considered one of the "Super Seconds".

Château Pichon Baron 1:1

Explore the range from super second Pauillac estate Chateau Pichon Baron, a property making some of Bordeaux’s finest wines

Chateau Pichon Baron, Pauillac, Bordeaux

Ch. Pichon Baron

Transitioning from the world of fine cashmere to viticulture might not seem an obvious move – and yet, for Brunello Cucinelli, wine is another arena to which he can bring new “dignity”.  Cucinelli is a man of humble origins, born in a small Umbrian village in 1953. His family were share-croppers but moved to the city in search of better employment, with his father taking a job at a cement factory. Cucinelli saw his father struggle to make a living, and do so with little respect from those around him – a battle which has defined his work and philosophy.  Despite training as a building surveyor, then studying engineering, Cucinelli ended up working as a showroom model for Ellesse in his early 20s while his girlfriend (and future wife) ran a small boutique. Inspired by this window into the fashion world and the brightly coloured clothes of Benetton, he decided to make a line of similarly vivid cashmere jumpers, launching in 1978, aged 25. Since then, the business has evolved – with muted, neutral tones replacing the lively colours that gave him his break. His clothes are defined by their understatement, the epitome of “quiet luxury”.  Today, the Brunello Cucinelli business is worth €6.3 billion. There is more to Brunello Cucinelli than fine fashion, however, with 20% of the personal profits channelled back into Cucinelli’s charitable foundation. He operates under a philosophy he defines as “humanistic capitalism”, wanting to offer his employees the respect his father didn’t receive and reclaim the value of crafts that might once have been deemed “blue collar”.  A huge part of this is his work in Solomeo, the village that he calls home (and where his wife, Federica, was born). The couple got married there in 1982, making it the company’s headquarters in 1985. Since then, Cucinelli has invested significantly in the tiny, hilltop hamlet, gradually restoring it, and adding his own cultural flourishes – a School of Arts & Crafts, Forum of the Arts, Aurelian Neohumanistic Academy, theatre, amphitheatre, library and more. Over the last 30 years, he has – working with architect Massimo de Vico – transformed the village.  Castello di Solomeo, the winery and vineyard, is the latest addition – but one that has been over a decade in the making. Michele Baiocco – who has been leading the project’s team since 2010 – met Cucinelli playing football. He’d been making wine in Perugia, and the two men met for dinner. Cucinelli asked him if he’d help him “give the agriculture world a new dignity”, and they decided to create a Bordeaux-inspired wine. Together they found the right site for a vineyard in Solomeo, and planted the first vines in 2011.  Cucinelli had always loved Bordeaux, but with Montalcino not too far away, and a wish to make something “typical” for the region, Sangiovese was an obvious addition. Extensive studies were undertaken to create a vineyard with the right soils and exposition. But – take a look at a picture of the vineyard, with its softly curving rows of vines that flow across the property – and it’s clear that this isn’t a standard vineyard.  “The vineyard is like a painting,” says superstar winemaking consultant Riccardo Cotarella, who has been working with the team, especially on the blending process, since the 2018 vintage (the first commercial release). It is “an artist’s way to plant vines”, he explains – one that doesn’t make it any easier to work. Cucinelli’s inspiration, however, was a renaissance garden, and the fact that it forces everything to be done by hand is key to the project, emphasising the craftsmanship of making wine, as well as making a beautiful place for the team to work.   The philosophy in the vineyard is driven by “reason and good sense”, with no chemical pesticides or fertilizer, using grass cover and cover crops. It’s a complex site – with five hectares, spread across four different soil types (more clay rich, more marl, sandier and more calcareous) and divided between four varieties (Cabernet Sauvignon, Cabernet Franc, Merlot and Sangiovese).  Each of the 12 different blocks is vinified separately, something which they feel is key to terroir expression. They only make one wine from the site, and – as Cotarella says – “Working with Brunello [Cucinelli] always means the best quality.” Careful vineyard work is key, and the team has been reducing the production per plant, to focus the vines, encouraging complexity and concentration. Just like Cucinelli’s clothes, this is a wine intended to last.  While Cotarella consults, Pietro Grelloni is the full-time winemaker dedicated to Castello di Solomeo, working alongside Baiocco. Grelloni was born locally and worked with Baiocco, but had travelled the world making wine before returning to Perugia, when Baiocco asked if he’d like to join the Cucinelli project in 2017, just in time for the vintage. It’s clearly a special project to be involved in, but – for Grelloni – it’s the long-term view that sets it apart. “We take care about the year, but we also have to take care of the future,” he says – explaining how it is not just about the vintage that will be harvested this year, but in 100 years’ time. As Cotarella says, “It’s a very special wine, with a very special philosophy.”  Castello di Solomeo is exclusively available from FINE+RARE. The second vintage, 2019, is set to be released this week.

Read anything about Brunello Cucinelli and “dignity” is a word that comes up time and again, woven into the very fabric of the empire he has built. As the fashion icon releases the second vintage of Castello di Solomeo, we explore the philosophy behind the project 

Exploring the cashmere king Brunello Cucinelli’s Umbrian wine project, Castello di Solomeo, and the philosophy that defines it

Made in Solomeo

Made in Solomeo: the stamp of dignity

“People seem to like it,” says Callie Louw in his thick Afrikaans accent. The winemaker behind Porseleinberg shrugs, casual about his wine’s success. Since its first vintage in 2010, this Swartland Syrah has rapidly become one of South Africa’s best and most sought-after, much to his bemusement, it seems.  The 173-hectare estate is rugged and wild, sitting atop the Porcelain Mountain (Porseleinberg in Afrikaans) in the Swartland. The first vines had been planted here in 1997, with wines previously marketed under the Schonenberg label. Louw first came across the site while at Rustenberg, who sourced fruit from there – the bunches and individual berries were so tiny that Louw thought at first that the owners weren’t giving them the best fruit (although he may not have put it so politely). But those miniscule bunches were all these rocky schist soils, with almost no topsoil, could muster. However small the yields, the quality and concentration was enough to convince Marc Kent (Managing Partner and Technical Director at Boekenhoutskloof) to buy the farm in 2009 – and he approached Louw, who was then working at Tulbagh Mountain Vineyards (now Fable Mountain Vineyards), to develop the property.  The team instantly set about a massive planting program and there are around 90 hectares under vine today. Most of the fruit was destined for Boekenhoutskloof’s flagship wine, The Chocolate Block, but with 4.5 hectares of older plots and a ramshackle shed-cum-winery, Louw – with Kent’s blessing – decided to do something different, and Porseleinberg was born.  “It’s a really special site,” Louw says, explaining how the vines sit on almost pure bedrock with just a skin of topsoil over the blue schist. “We’re effectively farming little bonsais here.” It tells you just how challenging this site is that only half the vines they planted in 2009 survived; but the results are clearly worth the effort. And they weren’t the first to recognise the site’s potential – as well as Rustenberg (where Adi Badenhorst was then winemaker), Eben Sadie had sourced fruit from the property for Columella in 2000 and 2001. While the wine came originally from just 4.5 hectares, today there are 14 dedicated to Porseleinberg, with the first of the younger vines coming on stream from 2013. When Louw arrived in 2009, the vines were dry-farmed – and he managed to get 3.5 tons/hectare of fruit in 2010. But the yield was a tiny two tons the following year; it was clear that dry-farming just wasn’t an option for this site, the soils too poor to hold onto the water – if the skies even gave any. “Schist is actually spelt wrong, it’s supposed to be s**t,” Louw says, laughing. Despite the need to irrigate, he’s well aware of the costs involved – particularly given any water they use needs to be pumped seven kilometres and up the mountain. During the drought between 2016 and 2018, the river they use for irrigation dried up, Louw’s house water ran out in May – and police were patrolling water sources. There’s no avoiding how precious a resource water is here.  The site had been farmed organically and Louw continued this, however in 2016, when they looked to plant another 45 hectares, he wanted to make sure that he gave these new plantings the best chance – and be able to farm organically in the long term. As of 2023, the property is once more certified organic, having been able to return to the process in 2020. And it is firmly in the vineyard that Louw focuses, feeling not just that quality comes from the vine – but from the soil, as he gradually looks to build the level of organic matter. “The only thing that I can do better is farm better,” he says.  The winemaking is relatively simple and hands-off (as Louw says, “I’m quite proudly lazy in the winery.”) – but has evolved over the years. Louw uses 100% whole-bunch, although the fruit is crushed lightly (previously by foot, now by being run through a pump) to avoid carbonic fermentation and its more confected aromas. The fermentations are all native, with alcohols generally sitting between 13.5 and 14%. Maturation is in a combination of foudre and concrete, and varied more over the first four vintages as Louw figured out what worked (with the 2010 and 2011 vintages aged in concrete only). While some of the early vintages spent up to two years in concrete and oak, he has reduced this to 12 months (from 2014), favouring more time in bottle prior to release instead.   Although the wines are decidedly fresh and balanced, the pHs are naturally high – between 3.7 and 4.1, with most vintages sitting at the higher end of that spectrum. Given the risks of bacterial spoilage that this brings, SO2 levels are relatively high (around 100ppm total) – something Louw feels is essential for wines that are absolutely built to age. And that’s something that has long set Porseleinberg apart.   “I’m still wearing the pants I bought in 2004 – I know nothing about style,” Louw jokes. There’s no shortage of brilliant new-wave South African wine, however most are built to be open and approachable in their youth – not necessarily glou-glou, but leaning into the lighter style of reds that has become fashionable. Porseleinberg was, at least at first, decidedly not. The earlier vintages are stern and serious, and need(ed) significant time to resolve and soften – it’s that style (whether Louw would describe it as such or not) that has earned the wine the moniker “Cape Cornas”, a style that is both thanks to the natural intensity of the low-yielding site and Louw’s love of old wine.  But the 2018 vintage brought a significant shift – one that has taken Porseleinberg to new heights. Louw visited a friend who was working at Domaine Jamet, and saw how rather than using punch-downs or pump-overs, they submerged the cap throughout the fermentation and maceration, allowing them to extract more gently. Most winemakers might have trialled the technique on a parcel, but not Louw – who says, frankly, “I put my chips all in.” He returned to the Swartland and set to work, making his own plates to hold the cap in place during fermentation. Fortunately for him, the gamble paid off.  The more recent vintages display more perfume, precision and finesse, without sacrificing the almost fearsome structure that makes them so age-worthy – and, as Louw says, it means he does even less work in the winery (“I fit about one more beer in a day,” he says, smiling). While earlier vintages were more about their tannic framework, the fruit, Louw suggests, is more present now – covering the tannins in the wines’ youth.  When I ask Louw if he wishes he’d used the submerged-cap technique from the start, his answer is no. “It’s amazing to grow up with the wine,” he says. And somehow that makes sense, for this is clearly a very personal project. Although Boekenhoutskloof might own Porseleinberg, it is run and managed totally separately. During our conversation and as we taste through a complete vertical, back to 2010 (the first time Louw has ever had the chance to do so), it is clear that this is not just a wine from this specific place, but also from this specific wine-grower. Over 12 vintages, the style evolves, the variation between years shining through, but the mineral backbone and structural imprint of this site remains. It’s a remarkable wine, and one that is only set to get even better as the vines age and Louw builds on his experience. Ignore it at your peril.  Tasting every vintage of Porseleinberg: 2010 to 2021 2010 Porseleinberg: From the original 4.5 hectares, the first vintage of Porseleinberg offers a savoury, bloody, iron-rich nose, with an edge of herbal, menthol notes and dried red fruit. The immense structure is still present, although the tannins have softened with over a decade in bottle. That structure is complemented by a bite of fresher, dark fruit and juicy acidity. Aged for 16 months in 65% foudre and 35% concrete.  2011 Porseleinberg: This wine still feels young, the nose brooding with dark fruit, leather and liquorice, the palate tightly packed with intense, black-berried fruit and a chalky grip of tannins. With the year’s conditions only two tons per hectare were harvested, the smallest crop ever from the site – and given the small volumes this was never released, with only 800 bottles made. Aged for 24 months in concrete egg.  2012 Porseleinberg: This is more supple and soft than the 2012, with a savoury and saline profile. There’s more elegance than the first two vintages, with dark, intense fruit yet with an appealing purity, complemented by notes of tobacco spice and liquorice allsorts. Only 2,760 bottles were made. Aged for 12 months in concrete egg.  2013 Porseleinberg: The fruit here is distinctly different – sweeter strawberry with a touch of herbal eucalyptus alongside savoury hints that point to the beginnings of tertiary development. It’s incredibly concentrated, structured and compact – a wine that is built for the long-haul. Aged for 24 months in 60% foudre and 40% concrete.  2014 Porseleinberg: The 2014 was one of the more open vintages in the line-up, from a particularly wet year and late harvest. The nose entices with an earthiness, a dusting of cocoa, deep red cherry and chocolate-covered strawberries. There’s a juicy purity to the palate with a chalky grip and savoury, smoky edge to the long finish. Aged for 12 months in 100% foudre.  2015 Porseleinberg: This is still a little reductive, and will benefit from additional time in bottle. As this reduction blows off, it reveals a fynbos-accented nose of dark fruit. From a cool vintage, the palate is a tight ball still – intensely mineral and chalky, with impressive purity, but it’s not yet revealing its potential. One to watch. Aged for 12 months in 90% foudre and 10% concrete egg.  2016 Porseleinberg: The 2016 vintage brought the driest winter in decades and another tiny crop. The wine is full of sweet red fruit, but there’s a firm, stony minerality to the nose, as well as floral and spicy tones that give it lift. There’s a fine-boned framework here and gorgeous freshness. Aged for 12 months in 70% foudre and 30% concrete egg.  2017 Porseleinberg: The 2017 vintage is sweet and concentrated; offering both a swarthy dark profile and a sweet, red-fruited intensity. It’s tight and bold, with an iron backbone, firm tannic structure and a powerful finish defined by its dark fruit and minerality. Aged for 12 months in 70% foudre and 30% concrete egg.  2018 Porseleinberg: The 2018 vintage is the first in which Louw used the submerged-cap technique – and there’s an instant shift in the style of the wine. It’s brighter, more aromatic with more intense herbal and spicy notes, while the palate is layered with juicier, crunchy red fruit that masks the tannins. The finish is long, spicy and mineral. Superb. Aged for 12 months in 90% foudre and 10% concrete egg.  2019 Porseleinberg: This vintage saw a break in the drought for South Africa, with rainfall around average and a relatively cool growing season. The nose here is dominated by herbs and spice – green peppercorn, dried rosemary and sage; leading on to a palate that offers pure red-berried fruit. There’s a mineral, chalky, furry grip of velvet tannins that frames the generous cherry fruit, with a saline mineral finish. Delicious. Aged for 12 months in 90% foudre and 10% concrete egg.  2020 Porseleinberg:  The 2020 vintage was warmer and the wine speaks to that – with richer and darker fruit character that dominates its profile. The warmer conditions have added a polish to the wine, with more open feel, despite the trademark structure that sits behind the fruit. The wine is a little reductive at this stage, and needs more time to unfurl. Aged for 12 months in 90% foudre and 10% concrete egg.  2021 Porseleinberg: The latest release of Porseleinberg is unsurprisingly impressive, but with a finesse that suggests it could be Callie Louw’s best vintage to date. A long, cool growing season with sufficient rainfall resulted in a leisurely harvest in 2021, allowing the team to take their time to pick. Since the shift to submerged cap in 2018, quality here has leapt ahead. The 2021 shows a spicy, mineral intensity – with the fruit more subdued, taking a backseat to the stony structure and texture of the wine. It’s supple, flowing across the palate like silk, yet with a super-fine grip of mineral tannins and the shy fruit that points to its immense age-worthiness. Savoury herbal tones mingle with the red fruit, while there’s a saline freshness and spicy pepper tones that linger on the long finish. Amazingly approachable now, it will only improve with a couple of years in bottle and continue to evolve over the next 15 years or so. Aged for 12 months in 95% foudre and 5% concrete.   Browse all current listings of Porseleinberg 

Porseleinberg has become one of South Africa’s most collectable wines. As the estate releases its 12th vintage, Sophie Thorpe tastes through a full vertical and talks to winemaker Callie Louw about what makes the site, and wine, so special

Porseleinberg is one of South Africa’s most collectable wines. We taste through a full vertical of the Swartland Syrah and talk to winemaker Callie Louw

An icon in the making – Porseleinberg

Porseleinberg: an icon in the making

Second wines are no longer à la mode. In Bordeaux, these junior siblings – traditionally made with declassified fruit from the Grand Vin – are being rebranded as alternate expressions of a château. While this has fast become a familiar trope among the region’s master marketeers (who wants to suggest that anything is lesser?), for the Guinaudeau family of Ch. Lafleur the idea has become a fundamental part of their philosophy.  “A new cuvée, a new label – that’s marketing,” says Omri Ram – the man at the helm of the Guinaudeau estates today. For the family (who are mentioned repeatedly in our conversation, their involvement and influence is much more than monetary), any new wines must be a new Cru. Literally meaning a “growth”, the term doesn’t translate particularly well, but it’s a wine that should be “from viticulture, terroir, ideology”, Ram says. The inspiration is Burgundy rather than Bordeaux, comparing to Amoureuses or Malconsorts, a site that offers a distinct expression, year in, year out. “A special cuvée that costs 300 bucks – no, thank you,” he laughs. It hasn’t always been the approach at Ch. Lafleur – or more accurately, the “Société Civile du Ch. Lafleur" (the name that encompasses all the Guinaudeau estates). Les Pensées was originally conceived as a second wine, used to ensure the consistency and top quality of the Grand Vin, primarily made with fruit from young vines. But that all shifted in 2000, when they decided to separate out a diagonal 0.7-hectare valley, a strip of clay within the otherwise gravel-dominated Lafleur vineyard. The concept was – and is – to take the same core DNA of Lafleur, their old-vine material – and translate it through the lens of different terroirs. Les Pensées was their first step towards this, but in the early 2000s the Guinaudeau family started thinking about another expression of Lafleur – one on limestone. Little did they know that it would take almost 20 years for this idea to come to fruition.  And so they started looking for a limestone site. But Pomerol is the only place on the Right Bank with absolutely no limestone, and a plot on Saint-Emilion’s plateau (the obvious choice for prime limestone terroir) was a pipedream. In the unlikely scenario that a plot came up for sale, the price would be astronomical (the buyer would, in Ram’s words, need to have “big, big, big, big pockets”, his eyes visibly boggling at the idea). And while Ch. Lafleur might be uttered in the same breath as the likes of Pétrus, Lafite and Margaux, it remains a small, family-run affair. With Saint-Emilion ruled out, the family turned closer to home.  A distant but direct ancestor of the Guinaudeau family established Ch. Grand Village in 1650, and Jacques and Sylvie Guinaudeau reclaimed the Fronsac estate in 1980. Five years later they took charge of Ch. Lafleur, marking the start of this illustrious property’s renaissance. While their reputation has been built on the Pomerol estate, Fronsac has always been home. In fact, Jacques and Sylvie still live at Grand Village today, while their children– and current custodians of the family business –Baptiste and Julie also live on the outskirts of the village.   Although Fronsac might be considered lowly today, in the late 18th and early 19th centuries, its wines commanded higher prices than those of either Saint-Emilion or Pomerol. The Médoc reigned supreme, with its affluence, proximity to the city of Bordeaux and access to transport via the Gironde – but Fronsac, bordered on one side by the Dordogne River and on the other by one of its subsidiaries, Isle, was not far behind. As nearby Libourne developed, this only helped Fronsac and its wines grow in importance. Back then, Ram explains: “You couldn’t cheat. If you didn’t have a great terroir, you wouldn’t be able to make great wine in nine out of 10 years.” Of course, the region fell from grace – and even today you can stumble across abandoned vineyards, no longer bringing in enough income for someone to bother to farm them. But the best wines speak for themselves – Ram and the Lafleur team have tasted bottles back through the 20th century and there are undoubtedly “great, great things” – even up until the 1980s, proving the potential of the region.  That history, combined with the familial ties and a dream of reviving Fronsac’s reputation of yore, made the region the obvious choice.   There were two elements key to creating a new Cru for the Guinaudeau family: firstly, the right site, but secondly having massal selections of their old vines. Lafleur has long championed its particular plantings of Bouchet (a historic name for Cabernet Franc) and Merlot that pre-date clonal selection.  They started a nursery for their heritage clones at Ch. Grand Village – taking cuttings of their most interesting old vines, grafting them onto American rootstocks and then repeating the process. The challenge was cultivating enough vine material for a new site. As this project got underway, the family continued their search for the perfect vineyards – but also decided they needed to test the theory, and see if their vines’ DNA would translate on limestone.  And so G Acte was born – a “beta testing” programme for what would become Les Perrières. They picked limestone-dominant plots at Ch. Grand Village for an experimental series, starting with the 2009 vintage – Acte 1. By Acte 6, 7 and 8 (the 2014, ’15 and ’16 vintages), Ram tells me, they knew that they were onto something special. At the same time, the team continued to search for the right site. Originally they looked to Burgundy for their inspiration, where the illustrious Grands Crus sit neither at the top or bottom of the hill – but in Fronsac the mid-slope only proffered overly rich, fertile soils dominated by clay. Each site they explored brought new disappointment – until they decided to forget about Burgundy. The best wines in Pomerol, Saint-Emilion and even the Médoc all come from a plateau – so they changed tack and started hunting for a site perched up high.  Talking to the region’s older vignerons, they discovered the plateau of Meyney – beneath which lies a warren of quarries, the source of the limestone that was used to build much of Libourne, and the châteaux across the Right Bank. The first soil-pit they dug offered instant promise – with a meagre 20cm or so of topsoil before you were scraping at the mother rock.   Almost a decade after their search had begun, in 2011, they bought the first vineyards – Les Canards and Les Poulains – just seven kilometres from Grand Village, then another parcel the following year. When Ram arrived at the estate in September 2013, he spent his first day working on one of those nascent vineyards. The work required was extensive. These sites had been conventionally farmed, planted with clones selected for quantity rather than quality, so they needed total rehabilitation. They uprooted the vines and rotated various cover crops (herbs, flowers, cereals) to revive the soils over four years – totally reconstituting them, returning organic matter and also, importantly, re-stabilising the soil structure. The whole process took four or five years for each plot, with the first of their new plantings only going in in 2016 (Les Canards). The focus was, at first, on Bouchet from Lafleur, with 20 different selections. In 2017, they planted Les Poulains, with around 25 Bouchet selections, then in 2018 they planted three more clay-rich parcels with Merlot, partly with their own heritage selections, as well as some carefully selected clones that passed muster.  In 2018, they harvested their first crop from 3.5 hectares of vines. The quality of the Bouchet from these “extreme limestone” soils was so distinct that – even when blended with Merlot parcels that had previously been used for G Acte – they bottled it under the new Cru’s name, Les Perrières.  Tasting it in a line-up alongside previous vintages of G Acte, the difference is as extreme as the soils. Later vintages of the experimental series offer a red-fruited crunch, vibrancy and transparency, but the 2018 Perrières shows an instant shift. There’s a step up in purity, precision, concentration and complexity, with a wilder, swarthier fruit character, yet it’s the mineral salinity that shines through, and is echoed in the 2019. These are serious wines that have a clear sense of place.  The 2020 vintage is the first that came exclusively from Perrières vineyards, with none of the G Acte parcels (these are now all being used for Grand Village). As they initially had more Bouchet plantings on these sites, the blend has shifted over time – with the 2020 having 70% Bouchet, 60% in 2021 and a return in 2022 to the 50/50 mix that is the norm for Lafleur and Pensées. While the aim isn’t always to have this varietal mix, the vineyards are planted so that Merlot and Bouchet can be equal – but the blend will be decided on taste.  Bouchet might be Lafleur’s trademark, but the Merlot is an essential component in Ram’s view. Alone, Bouchet is too linear, vertical, intellectual and even borderline austere. Merlot complements this, ensuring it not just makes you think, but leaves you reaching for another glass. “The greatest wines are not just for the mind, but for the heart and stomach too,” Ram says.   It’s still early days for Les Perrières – the soon-to-be-released 2022 will be only its fifth vintage. These vines are still babies by almost any standard, let alone those of Ch. Lafleur. Yet its potential – and path – is already clear. Ram anticipates it will take them around 20 years to get the wine to where they really want it to be, sitting as a true equal to Ch. Lafleur, but he’s confident that it’s just a matter of time.  It's amazing to see the work that has gone into this one wine – both on paper and in the glass. This isn’t just marketing, but a creed for the Société Civile du Ch. Lafleur – and one that it’s hard not to believe in. Your cheat sheet to the Lafleur stable: the Société Civile de Ch. Lafleur unpacked Ch. Lafleur – the property’s most famous wine, seen as the Grand Vin, an expression of the Lafleur DNA on gravel  Les Pensées – now an expression of the Lafleur DNA on clay. Up to and including the 1999 vintage, this was Ch. Lafleur’s second wine, made with fruit mainly from younger vines. From the 2000 vintage, the fruit comes exclusively from a diagonal strip of clay in the Lafleur vineyards, and is a different Cru. (It was labelled as Les Pensées de Lafleur prior to 2018, when the “de Lafleur” was officially dropped.)  Les Perrières – an expression of the Lafleur DNA on limestone, sourced from vineyards in Fronsac. The 2018 and 2019 vintages include some parcels at Ch. Grand Village, however from 2020 the fruit is sourced exclusively from separate sites in Fronsac, on extreme limestone soils on the plateau de Meyney.  Les Champs Libres – an expression of pure Sauvignon Blanc on limestone soils, from specific parcels in Fronsac. The first commercial release was the 2013 vintage.  Ch. Grand Village – a red and white are made under the Fronsac estate’s name, which is also the family home (Jacques and Sylvie Guinaudeau still live there today).  G Acte – made from 2009 to the 2017 vintages inclusive, an experimental series testing the concept of Lafleur on limestone while trying to find the right sites for Les Perrières, made using fruit from limestone-dominant parcels at Ch. Grand Village. The releases are numbered, with 2009 Acte 1 and so on.  Explore all Société Civile du Ch. Lafleur listings or read more about Bordeaux  

Ch. Lafleur is a Pomerol icon. Sophie Thorpe sat down with Omri Ram to talk about the philosophy that has driven the creation of its unique Crus – and the evolution of its newest project, Les Perrières

Sitting down with Lafleur winemaker Omri Ram to explore the philosophy behind the Pomerol property’s different Crus – and how G Acte became Les Perrières

How Lafleur created a new Cru with Les Perrières

From the ground up: the creed at Lafleur

Everyone remembers their first bottle of Soldera, such is its impact on the senses. Speak to anyone lucky enough to have tasted it and watch their eyes glaze over as they are immediately transported back to the moment, the friends they shared it with and no doubt the food it accompanied. It is one of those rare wines that has a way of imprinting itself on the memory. Such is the magic at work in seemingly every bottle of this special Tuscan red that it’s not just the first bottle, but every bottle that you remember. This year marks the 50th anniversary of the founding of this enigmatic estate set in the hills of Montalcino. In its comparatively short existence, the wine has built a considerable reputation, yet after founder Gianfranco Soldera passed away in 2019, the property finds itself at an interesting crossroads. Right up until his death, Gianfranco Soldera had very much been the face of the estate. His personality and strong opinions made him a memorable character – and a man not beyond controversy. He was a leading voice against the Brunello consortium’s handling of the Brunello-gate scandal in 2008 and fiercely believed that Brunello should be 100% Sangiovese. In 2012, his winery was the victim of sabotage, in which large volumes of wine (from vintages between 2007 and 2012) were lost – simply poured down the drain. After the attack, the Brunello consortium offered to help club together and replace the wine, but Soldera rejected the offer and soon left the consortium (although the exact reasons behind his resignation or expulsion are unclear). After this incident, Soldera simply labelled his wine as Toscana IGT (today IGP), to make a point that his wine was and will always be 100% Sangiovese. Despite his polarising nature, ultimately Soldera let his wines do the talking. He was incredibly ambitious from the start, setting out to produce a wine that would compete with the world’s finest – a feat he achieved remarkably quickly, considering he started the vineyard from scratch – replanting the vineyards in their entirety when he arrived at the estate in 1972.  While Gianfranco was the face of Soldera, he did not work alone. The estate has always been a family affair. Both Gianfranco’s son Mauro and daughter Monica, along with her husband Paolo Franco, have worked at the estate for many years. It is Monica’s husband who has since taken charge of the winemaking at Soldera, after working alongside Gianfranco for 16 years.  As we sit down to taste through seven vintages of Soldera that span 21 years, Monica introduces her husband, on what is his first visit to the UK as Soldera’s winemaker. She makes the point that before joining the family business, Franco was in fact a skilled silversmith – requiring a keen sensibility of the hands, eyes and mind. Skills, she believes, are ideal for working at Soldera, and perfectly attuned to her father’s perfectionist mentality. Gianfranco was by all accounts not an easy man to work with. “It’s a difficult job,” Monica laughs. “We are not him, but we try our best.”  Monica also explains that, despite her father’s headstrong approach, he was always open to advice and frequently invited university students to the estate, experimenting with vines on the property, exploring ways to bring out the best in the grapes and vines. Monica believes that science is the key to making wine more naturally. “The more we study, the more natural our processes become,” she says. Working with students has allowed them to fine-tune what they do, keeping the vines healthy in the shifting climate. The 2017 vintage – the penultimate wine made under Gianfranco’s watch – is due to be released later this year. It was a very difficult vintage in Tuscany, with a ferocious heatwave in the summer of 2017. There were concerns that it might be similar to 2003, when their vines were badly affected by the high temperatures. But to their surprise, the vines showed no signs of water stress, the leaves remained green and rich in colour. Soldera felt this was down to the vines’ deep roots and higher trellising, something they introduced after 2003.  Despite the lack of water in 2017, the team was still able to work with a bigger canopy – meaning more leaves to shade the grapes. The intensity of the summer saw them harvest the grapes a whole month earlier than is typical, starting on 26th August. “To lose one month is extraordinary,” says Monica. Production was also down to 11,000 bottles, versus a normal 15,000. Technically they are allowed to produce as many as 50,000, giving an idea of how much they are prepared to sacrifice to maintain their high standards. Tasting the 2017, there is only a hint of the heat that severely marked the vintage for many of Soldera’s neighbours. The wine still has the trademark perfumed aromatics of old rose and the sinewy tannins that flex beautifully on the palate. It is easily one of the most elegant wines produced in Montalcino in 2017. The 2017, however, was always going to struggle to live up to its predecessor, the 2016– a vintage that is amongst the very best in the region. Monica noted just how easy 2016 was in terms of the growing season; everything was just right, right up until harvest. The sheer amplitude of aromas is really quite extraordinary, with strawberry fruit, old rose perfume, fiery earthy, irony, ferric tones and a wild floral note. The energy on the palate is wonderful and thick, tender, with almost elastic-like tannins that make the mouth water. The wine has such vibrancy and a really long finish. The 2015 as a vintage sits somewhere between 2016 and 2017 in style. While it was very warm, the vines were less affected and produced wines of great concentration. The wine does not have the aromatic amplitude of the 2016 and is nuttier in its aromas rather than perfumed, but seemingly the signature of Soldera – those tender tannins, like silk, bring so much energy and emotion to the wine. The 2014 is perhaps a surprise highlight of the flight. It was a difficult vintage, with lots of rain. For Monica, it proved very tough and required lots of sorting and fruit selection. In the end they got just 400kg of fruit from one hectare, making just 8,400 bottles. The dried rose, perfumed scent is matched by earthier, ferric tones. I get tomato leaf – which is often considered negative in tasting notes – but here it adds a wild, lifted, herbal tone that brings more complexity to the wine, complementing the sweeter rose notes and savoury, dried-stone aromas. The breadth on the palate is where the magic really is. It stretches right across the palate and brings such effortless depth too. The tannins are still tight but just starting to ease up, and there is so much freshness too. It really is in a wonderful place. A 10-year gap and the 2004 is the wine of the flight. Despite the bottle age, the scented Pinot Noir-esque perfume is still there in abundance, matched again by an earthy ferric richness. The tannins have eased up as you would expect, developing more mid-palate richness, making the wine incredibly juicy. The tannins are still elastic and bring a huge lift to the palate. It is a mesmerising wine. It was a great vintage in Tuscany, albeit with moderate temperatures for Montalcino, and it has matured beautifully. Some argue that Soldera excels in more moderate vintages – something that shines through in the 2004 and 2014.  The 1999 is another great vintage in Brunello and the next wine in the line-up. Distinct tertiary notes are now showing on the wine, with blue cheese, roasted walnut, dried cherry, sage and light herbal tones mingling together. There is still so much vibrancy to the wine. The tannins are not quite as silky as the younger vintages, but the acid is still so striking. It definitely feels like a wine of its age and, despite the minimal approach at Soldera, the framework suggests extraction levels were higher back then, in keeping with the trends of the time. It is a lovely wine, but not as ethereal as others. Finally, the 1996: at 26 years of age still holds on to those wonderful, scented aromatics as exuberant as ever. Again, matched with more tertiary notes, blue cheese along with dried cherry fruit, lots of dry extract, the tannins as structured and sinewy as ever, but still very fresh. It’s an unforgettable flight of some of Montalcino’s top vintages, but it’s Soldera’s ethereality that emerges – with that heady mesmerising scent and tender tannins consistent across the wines. Soldera might thrive in cooler vintages, but the quality of this wine rarely drops below outstanding. Even without Gianfranco at the helm, it’s clear that – under the watchful eye of Monica Soldera, Paolo Franco, and the rest of the Soldera family, not to mention their research team – the estate has a very exciting future ahead. Huge thanks to Zubair at Raeburn Fine Wines for organising the event. Discover the history of Soldera and all current back vintages available

It’s 50 years since Soldera – the iconic Tuscan estate that crafts some of the region’s finest Sangiovese – was established. To mark the occasion, Gavin Smith caught up with Monica Soldera to taste through back vintages and talk about what lies ahead for the remarkable property

Soldera is the iconic Tuscan estate who crafts some of the region’s finest Sangiovese wines. We caught up with Monica Soldera to taste through back-vintages

Soldera: tasting 50 years of a Tuscan wine icon

Defining Soldera: tasting 50 years of a Tuscan icon

Louis XIII has been adored by dignitaries, royalty and the glitterati throughout its near 150-year history. Everything about it, from the grapes to the glass, is of the highest quality. It has been present at some of the most momentous occasions in modern history – served at European royal courts, poured on the maiden voyage of the SS Normandie and Concorde, and quaffed by Agatha Christie on the Orient Express. It has been a favourite of Prime Ministers and dabbed on the wrists of fashion icon Coco Chanel. So what is it about this Cognac that has captured the hearts and minds of so many influential people throughout history? Working from the outside in, Louis XIII is housed in an instantly recognisable Baccarat crystal decanter. Each one is crafted by hand and no two are the same. It comes in a number of formats, from the miniature 5cl to the six-litre Mathusalem. Few bottles look as exquisite or capture the light like the spiked vessel that wouldn’t look out of place in a gallery. The decanter is fashioned after a carafe that was unearthed on a 16th century battleground. Rémy Martin founder Paul-Emile Rémy Martin decided to model his Cognac bottle on the one that was exhumed because he was so taken with the design. This was quite a radical move at the time as Cognac was historically sold by the barrel. The decision paid off as the decanter has since become an international standard for quality and many have attempted to mimic its design. There are numerous nods to history and Louis XIII’s royal namesake on the handblown decanter, including the 20-carat gold neck and handmade fleur-de-lis stopper. It takes a minimum two weeks’ craftmanship to produce a single decanter. This, however, is a mere fraction of the time it takes to produce the remarkable liquid within. Only the finest grapes from the Grande Champagne region are selected to one day become Louis XIII. Each decanter contains approximately 1,200 eaux de vie, distilled on lees, and aged for up to 100 years in traditional Limousin oak casks called tierçons that are over one century old. It’s no exaggeration to say Louis XIII is the work of a Cellar Master’s lifetime. Baptiste Loiseau became only the seventh person to hold the role – and the youngest in the Cognac house’s history – when he took up the mantle in 2014, at just 34 years of age. Despite all the advancements that have occurred throughout Rémy Martin’s history, it is no easier today than it was all those centuries ago for the Cellar Master to know if the decisions he or she makes will affect Louis XIII’s end taste profile. It is Loiseau’s role to ensure these aromas are the same in a century’s time – something that is becoming ever-more difficult in a changing climate with tools that are disappearing before his very eyes. The tierçons, named as such because Rémy Martin’s Cognac used to be transported in barrels of three on a horse-drawn carriage, are crucial to the history and taste profile of Louis XIII. There are tierçons in the depths of the Rémy Martin cellar that date back to 1744 – 20 years after Martin started producing Cognac under his own name. For a long time, the art of coopering these 550-litre tierçons was lost to the ages, as none was produced after 1917. This has become increasingly problematic over the past 20 years as the number of tierçons started to dwindle as one is sacrificed when another needs repairing. In 2012, then Cellar Master Pierrette Trichet made the bold decision to start this age-old tierçon coopering practice again, for fear there might not be any left for generations to come. This project to resurrect the art and safeguard the future of Louis XIII took years to master. The Rémy Martin team enlisted the help of various experts in their field to recreate a tierçon that was faithful to the ones produced in the 18th century. A tierçon must be made from a Limousin oak tree that is up to 180 years old. Once felled, the oak needs to be split and air-dried for a minimum of three years. The new tierçon is then filled with new eaux de vie to mature before it is ready to be filled with the eaux de vie that is one day destined to become Louis XIII. Even after creating countless prototypes, it’s impossible to know exactly how the resulting liquid will taste when it’s ready to bottle in almost a century’s time. From the grapes, to the maturation vessels, and decanter, everything about Louis XIII is rich in history and savoir faire. The world around might change, but there is some comfort in knowing that the "king of Cognacs" in your decanter – or better yet, rocks glass – is as fine as the liquid dabbed on the wrists of Coco Chanel and imbibed by the statesmen and dignitaries of their respective times. Browse all Cognac listings or read more Editorial 

Louis XIII is one of those spirits that almost transcends its own category – and rightly so. It has everything: the history, the provenance and exceptional quality. Holly Motion explores the fascinating history of the "king of Cognacs"

Learn the incredible story of Louis XIII, the king of Cognacs. A liquid of uncompromising quality, adored by dignitaries, royalty and the glitterati.

The history of Louis XIII, the king of Cognacs

Louis XIII: the making of an icon

What is Ornellaia?  Ornellaia is one of Italy’s most respected wineries, based in the Tuscan foothills of Bolgheri. Its top wine – simply titled Ornellaia – is a Bordeaux blend of Cabernet Sauvignon, Cabernet Franc, Merlot and Petit Verdot, first produced in 1985.  Is Ornellaia a Super Tuscan? Yes. Bordeaux varieties grown in Tuscany qualify it as a Super Tuscan. It is in fact situated next door to the pioneering Sassicaia property – the first “Super-Tuscan” estate to start producing a Bordeaux blend in Italy. Ornellaia was founded by Lodovico Antinori – who was actually the nephew of Sassicaia’s Mario Incisa della Rocchetta.   Is Ornellaia owned by the Antinori family?  Not anymore. In 2002, Lodovico Antinori initially sold the property to US winemaker Robert Mondavi, who then sold a 50% share to Frescobaldi – another historic Italian wine-producing family. Following the sale of the Robert Mondavi corporation to Constellation Brands in 2005, Frescobaldi took full ownership of the property. They also own two other iconic Tuscan properties: Ornellaia’s neighbouring property Masseto (Italy’s top Merlot, which up until 2019 was also produced at Ornellaia) and the Brunello di Montalcino estate Tenuta Luce.   Does Ornellaia have anything to do with Solaia?  In short, no. Solaia is another Super Tuscan owned by the Antinori family – Ornellaia’s founder Lodovico Antinori’s brother Piero – so you would be forgiven for getting them confused. Solaia is a Cabernet Sauvignon and Sangiovese blend grown on the Tuscan hills within the Chianti Classico region and is situated next to the Tignanello vineyard, another Super Tuscan also owned by Antinori.  What’s so special about Bolgheri?  Bolgheri’s close proximity to the ocean means less cloud and a higher level of reflected light from the sea, magnifying the solar intensity. Secondly these coastal flatlands, in between the mountainous islands of Corsica and the Tuscan hills, are effectively a corridor of wind which creates a high diurnal shift in temperature. This fluctuation between hot days and cool nights locks in the grapes’ acidity, while giving the fruit great concentration and ripeness – enabling the later-ripening Bordeaux grapes Cabernet Sauvignon and Merlot to thrive.   What makes Ornellaia so unique? Neighbouring both Sassicaia and Masseto, Ornellaia is well situated in the foothills of Bolgheri. Being one of the early settlers in the region, they are one of the few producers who own vineyards in the foothills. The surrounding woodlands are protected and therefore more recent arrivals could only plant vines on the valley floor. Here there is a complex mosaic of soils ranging from marine, alluvial and volcanic soils. Intraplot management means every plot is individually assessed, picked and matured in oak for 12 months before the final blending takes place. Within one vineyard alone the four varieties, eight different rootstocks and multiple geological fault-lines provide a complex palette of expressions to choose from.   Who makes Ornellaia? Axel Heinz has been the winemaker at both Ornellaia and Masseto since 2005, taking over from Thomas Duroux (now the winemaker at Château Palmer). Heinz – originally from Bordeaux and initially working in Pomerol – was well-placed to take on Ornellaia’s expanding portfolio. The estate now produces seven wines in total, one grappa and an olive oil. Le Serre Nuove is the baby brother of Ornellaia (another red Bordeaux blend, very much seen as the Second wine to Ornellaia) typically from younger vines.  What are the great Ornellaia vintages? Speaking with Ornellaia’s Matteo Zanardello, his favourite vintages for drinking now are the 1998 – so elegant, fresh, bright and one of the best vintages in Ornellaia’s history, even if
underplayed by the critics. The 2001 is, he feels, beautiful beautifully now, while the 2006 is starting to open up. A notably fresh vintage with great ageing potential, Galloni described the 2006 as “a breathtaking wine of the highest level” (98 points) – and Matteo compares it to the
soon-to-be-released 2018. Monica Larner rated the 2010 97+, describing it as “a truly outstanding wine that leaves a lasting memory for those who are lucky enough to enjoy it”. The 2011 was slightly overlooked, initially considered to be a little austere, however today
it shows all the great traits of Ornellaia and is another great vintage in Matteo’s view. What is the most recent vintage? Well, a new vintage of Ornellaia is about to be released next week. The 2018, according to winemaker Axel Heinz is characterised by a unique aromatic intensity. In general, the vintage produced much more balanced wines than the intensely hot and dry summer of 2017. The 2018 Ornellaia is therefore a much more elegant offering, following the intensely concentrated 2017. Wine critic Antonio Galloni has already scored it 97 points, comparing it to the 2004 in terms of its silky, aromatic character, saying the vintage is “more about finesse than raw power”.   Keep an eye out for the 2018’s release this week. In the meantime, browse all available Ornellaia listings and find out more about the property 

With the release of 2018 Ornellaia on the horizon, we tell you everything you need to know about the estate – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia

Ornellaia: a cheat sheet

There are interviews, and there are conversations. And this meeting with Italian cashmere tycoon, Brunello Cucinelli, definitely falls into the category of the latter. Cucinelli has conquered the world with his products, his perception of style and beauty, and has published a book outlining his particular approach to doing business which he defines as “humanistic capitalism”.   This distinction between interview and conversation is a necessary contemplation; understanding the meaning behind the words, selecting them carefully, tasting each of them in a silent meditation. This is, in fact, the first step to allowing you into Cucinelli’s world, where external quality is just as important as inner quality. To him, as to late 18th century German philosopher Kant, beauty is a moral interest.   The word “interview” is composed of two parts: “inter”, which implies reciprocity, and “view”, which refers to sight; each looking at the other, trying to truly see. It is not a given that this is always successful.   A conversation, however, is different. The word derives from the Latin “conversari”, composed of “con” meaning “with” or “together”, and “versari”: to reside, to find oneself. It is a meeting – a graceful way of getting to know each other, or getting to know each other better. It is a way to agree upon certain behaviours and visions in order to truly share a physical place, as well as a state of being. In this conversation, we meet Brunello Cucinelli in Solomeo, Umbria, Italy. He reminisces that, The New York Times once published a map of must-see places in Italy – in which Solomeo was included along with Venice, Florence, Rome and Naples. Cucinelli states this with no small amount of pride.  Despite the lockdown, and an obligation to talk through a screen, encouraged by both the pandemic and by a sense of caution, Solomeo is truly the location of our meeting – and not just because Il Sogno di Solomeo (The Dream of Solomeo) is the title of his book, in which he recounts his life story, the roots of his success, and his vision as an “entrepreneurial custodian”. Solomeo enters through the window, breathing audibly in the background of the words and thoughts which define our conversation. It speaks through Cucinelli’s expressions, bringing to light a kind of organised peace within his sense of time, its horizons are centuries-old, and reside in diligent silence. It speaks of a knowledge acquired through generations passed, to be shared with generations to come.  We are in Umbria, just 15 minutes from Perugia and only one hour from Florence. Only 800 people live in Solomeo – a stunning, almost-abandoned medieval village brought back to life by skilful restoration work led by Cucinelli over the last 25 years. The village of Solomeo was revitalised as an allusion to Rome, the city of Emperor Hadrian’s soul, according to French novelist and essayist Marguerite Yourcenar. Creativity needs a “genius loci”, a safe space. Cucinelli restored a village that was “robust, useful, and beautiful”, as instructed by Vitruvius. Onora tutti gliuomini (“honour all men”) is the inscription displayed in Solomeo’s Piazza delleArti, and is also the motto which inspired Cucinelli’s humanistic capitalism. He believes gift-giving to be one of the kindest forms of the soul, and he loves to give presents of homemade oils and wines; believing that, in every gift, there is also a piece of Solomeo.   Cucinelli’s love of philosophy, and his habit of allowing the great minds of history to dictate his approach to beauty, is also a lesson Cucinelli learned in youth as a farmer, when he used to pull the ox plough and till the fields. In the evenings, his father would encourage him to admire the beauty of those ploughed fields, the neat ridges stretching over the hills.   His sensitivity to the idea of living in harmony with nature was born from this, as was his ability to recognise that there is greater value in that which is carried out with beauty in mind. His more practical attention to the selection of raw materials also stemmed from these roots – his respect for producers and collaborators, and his ability to think in terms of centuries, not years. All this has rendered Brunello Cucinelli one of the world’s most famous luxury brands.   Beauty is also a form of truth. As three Buddhist monks remarked to him, upon visiting him in Solomeo, there are three things which cannot remain hidden: the sun, the moon and truth. In order to live well, beauty requires you to take care of your soul, your mind and your body. This is why, at Cucinelli’s company, at half past five in the evening, the computers are switched off, the working day completed. The body, mind and soul need a life outside work, to be able to look themselves in the eye and overcome the “soul-ache” that creativity can also help to alleviate.  To him, beauty is also a business method; his humanistic capitalism was not cast aside even during the crisis sparked by Covid, during which time Cucinelli did not let a single employee go, or ask for any discounts from producers or suppliers. This is part of an ethical business vision which considers humanity as an end, and never as a means; it is defined by considering the businessman as a “custodian of creation”. Developing this idea of being a custodian, Cucinelli sees that luxe can be interpreted as an orchestrator of sustainable development.   Brunello Cucinelli smiles. He likes the words of 15th century Florentine Republic ruler, Lorenzo the Magnificent – “How beautiful is youth, / though quickly it does flee! / be happy if you want to: / for tomorrow may not come” – which recall an Italian sense of national pride. Although home to only 0.7% of the globe’s population, Italy boasts one of the the world’s top 10 economies; it excels at quality manufacturing and craftsmanship; it offers a welfare state which leaves no one trailing behind. He sees a great country and a golden era, in spite of the crisis. He does so with a pinch of the “Italiote”, as Plato called the people of Syracuse when he reached Sicily from Greece, “a population which feasts twice a day and never goes to bed alone”.  We are also like this, he says, before returning to consider the ideas of creativity and responsibility. “It really is possible to live in harmony with creation. And this makes us custodians, not consumers. I also think of my product as something to be desired, something to be inherited. That is why I chose cashmere. I wanted something that was already precious. I’ve learnt to transform it over time. I’ve made mistakes, had teachers and guardian angels that have helped me and taught me. But the principle was already clear to me, right from the beginning: to create beauty, you need to begin with something beautiful, from an exceptional raw material. And you also need to believe that it will last for centuries, not for years. Before it became fashionable, we had already opened a restyling and reusing department for our garments. Because, for a jumper to be beautiful and precious, it must also stand the test of time.”   “Verum factum”, as stated by 17th century Italian political philosopher Giambattista Vico: nothing is true unless it has been done. The humanistic capitalism in Solomeo is evident: an art of Renaissance-style trading which has taken over the world, yes. But it has done so with honour. It possesses a beauty which is markedly exclusive, moving against the crisis of civilisation. It is something that manages to make itself be considered as rare, something precious, only for you. It requires time, artisanal hard work and precision, fighting against the culture of impatience. In fact, Solomeo’s theatre is crafted from hand-cut stones, with walls built to endure. The company itself is located within a restored factory which opens out onto gardens and spaces where it is impossible not to inhale the surrounding beauty.  Most of the employees and managers within Cucinelli are young: this is because they are hard workers. It is also because beauty and fairness produce brilliance. Cucinelli is the one to engender this genius. “Oh, myesteemed men!” (O miei stimati uomini!) Cucinelli quotes Marcus Aurelius. It is from this statement that he has learnt to recognise value, to respect and admire, and to never rise above dignity. He applies the concept of remote working only when strictly necessary, because creativity dwindles and becomes degraded by a lack of human contact.   The story of humanistic capitalism is so long to recount (and so wonderful to hear) that Cucinelli has summarised it within his book, Il Sogno di Solomeo. These ideas, typically influenced by previous generations, took inspiration from the manual The Book of the Art of Trade by Benedetto Cotrugli – an Italian merchant during the Renaissance era – which speaks about “getting rich honourably”. One can choose whether to be “a seeker of work or a creator of work”: therefore, an entrepreneur is someone who creates development for themselves and for others. On one hand, there is the revaluation of the role of whoever decides to take this risk; on the other, there is the idea that they are doing so by enforcing a strong sense of ethic. A sort of return to business. An important lesson.  Cucinelli notes that, in Cotrugli’s story, this is fulfilled out of duty rather than pleasure. The death of his father in 1438 forced him to abandon his studies and take the reins of the family business. This was during a time when Italy was bestowing the Renaissance upon the world; and Cotrugli, who originated from Ragusa (currently known as Dubrovnik – which, at the time, was considered the fifth Italian Maritime Republic), was catapulted to Naples, in an environment where ethics and morals evidently left a lot to be desired. The family business, and by extension, he as the owner, “bought wool in Barcelona; turned it into cloth and thread in Florence and Prato, to then sell it on again in Constantinople and Venice”. Cotrugli travelled, visiting cities which formed the heart of that golden era. He breathed in the air of Florence, which was, at the time, Europe’s most powerful guild, and produced figures such as Donatello, Masaccio and Brunelleschi.   Among the 15 golden rules for “getting rich honourably” outlined within The Book of the Art of Trade, Cucinelli feels a “deep resonance” not only because of its modernity and its entrepreneurial insight, “but mostly for the system of values it imposes and passes on”, to “get rich honourably” by creating work and development with consistency. And he thinks back to the crisis, echoing the words of Roman statesman Marcus Tullius Cicero, as quoted by Cotrugli: we must not waver in the face of adversity or lose ourselves in our own prosperity. “Let’s talk about what this year has brought us, not what it has taken from us,” he states.   And this is the truest representation of a dedicated and kind businessman, who has spent half his time gazing up at the stars and loves to watch a fire flicker because it makes him “drunk on pleasant thoughts”. Life is blessed. We eat only what we must, so that there is enough for everyone. There was Seneca, there was Epicurus, and now there is the wonderful dream of Brunello Cucinelli and his beloved Solomeo. He spends his years contemplating centuries past and considering those to come. This, in itself, is a rare form of immortality.  In 2011, Cucinelli planted vines in the valley below Solomeo, and the first vintage of the wine made from this special site – 2018 Castello di Solomeo – is available from FINE+RARE. Read more about the project. This article was originally published in FONDATA, Issue One

As Brunello Cucinelli launches his new wine project – Castello di Solomeo – we dig into the philosophy of the designer behind Italy’s cashmere empire. Educator and business guru Germana di Falco sits down with the fashion icon to discuss his philosophy on business and life itself 

Italian cashmere tycoon and fashion designer Brunello Cucinelli on his new wine project Castello di Solomeo and his business philosophy 

Brunello Cucinelli – the fashion philosopher

Brunello Cucinelli: the fashion philosopher 

Vega Sicilia is undoubtedly Spain’s most famous winery; a true icon in fine wine with a history dating back to 1864. Its success in retaining such a reputation, and in almost complete isolation in the Ribera del Duero region of Spain, is testament to the quality and consistency of its production, although its history has not been without its challenges. Vega Sicilia claims to be one of the longest-aged and longest-lived red wines in the world, with its flagship Unico capable of maturing in bottle for well over sixty years under the right cellar conditions. Developing its style in such solitary conditions has created a wine distinct from any other and whilst the Ribera region has flourished with the establishment of wineries such as La Pesquera in the 1970s and more recently the cult wine of Pingus, Vega Sicilia today remains at the apex of the appellation.  We explore the history of Vega Sicilia, the secrets behind its success and the changes afoot as it attempts to retain the traditional methods it has become famous for whilst modernising the winery and updating its processes. We also explore the contrasting range of wines it produces from the Valbuena to the Unico Reserva Especial: Vega Sicilia’s nod to the traditional Spanish practice of producing multi-vintage premium blends. The history of the estate The estate that would become known as Vega Sicilia was founded in 1864 by Don Eloy Lecanda Y Chaves, a Spanish vigneron who inherited the property in 1859. After visiting Bordeaux he brought cuttings of the Bordeaux varietals of Cabernet Sauvignon, Merlot, Malbec and Carmenere, as well as Pinot Noir, and planted 18,000 vines at the estate in Ribera del Duero alongside the native varietal of Tinto Fino (Tempranillo). By 1882 he had planted 500,000 vines on the estate, at the time known as Bodegas Lecanda.  The introduction of Bordeaux varieties was perhaps not that unusual at the time, since the Bordelais were becoming more and more influential in Spain (most notably in Rioja) having disbanded their operations in Bordeaux following the phylloxera outbreak and were actively looking for alternative regions to grow their grapes.  However, in Rioja, the Bordeaux varieties were soon replaced by the native Tempranillo which proved a much more reliable and profitable choice. Whilst Don Eloy Lecanda Y Chaves initiated a winery that was to change the history of fine wine, he was initially using the grapes to make brandy rather than still wine. Although the brandy was well received amongst the aristocratic families (no doubt piquing the interest of the Herrero brothers), the estate struggled financially to make ends meet and he died in 1894 never to witness the success of his venture.  The property was bought by the Herrero brothers in the early 1900s who renamed it Vega Sicilia. As phylloxera eventually reached Rioja, the négociant Cosme Palacio was looking further afield to maintain supply for his customers. On discovering Vega Sicilia, he immediately rented the property from the Herrero brothers.  He brought with him winemaker Domingo Garramiola Txomin who introduced the Bordeaux techniques of ageing wine in barrique as well as extending the élevage. He also initiated bottling the wine on the estate (Cosme Palacio was previously shipping the wines in bulk to Rioja).  The Herrero Brothers were a well-connected upper-class family who were galvanised to produce a wine of exceptional quality no matter the cost, to sell to their aristocratic friends. This quest for quality combined with the skills of Domingo Garramiola Txomin, as well as the unique combination of Bordeaux varieties and Tinto Fino (thanks to Don Eloy Lacanda Y Chaves), was the perfect recipe for producing Spain’s first iconic wine – Vega Sicilia Unico. The first vintage of Unico was produced in 1915.  Thanks to the connections of the Herrero brothers, within two decades Vega Sicilia had become the most revered winery in Spain. Even at this time the wine had built up a reputation for its extraordinary ageing capacity. At Vega Sicilia the Bordeaux varieties became a key component to their flagship wine of Unico and have remained in the blend right through to the present day. Throughout this time, the property became almost a self-contained village, with a school and chapel on site and many of the families working at the winery and living on the estate. Despite the winery changing hands a number of times over the last century, Garramiola’s legacy has lived on through the winemakers that followed in his footsteps; figures like Martiniano Renedo, who was initially Garramiolo’s assistant, and especially Jesús Anadón, who was instrumental in maintaining the quality and reputation of the wine through the middle of the 20th century.  Amazingly there are workers on the estate today whose families have worked at the winery for generations. Today the master cooper at Vega Sicilia, along with his brother Jesus Yanez, is the fourth generation of his family to work at the property. The winemaker between 1968 and 1998, Mariano Garcia, was the son of one of the farm workers on the property.  Despite its global reputation, its exclusive allocation list and long history, the winery and vineyards went through bouts of dilapidation during the 1950s, through to the late '70s, whilst at the same time producing some of the most legendary vintages. On purchasing the property in 1982 the Álvarez family began to make huge investments into the estate, renovating the winery and carrying out an extensive replanting program in the vineyards. 1982 was also the year Ribera del Duero was awarded its DO appellation status and no doubt helped further promote Vega Sicilia as the historical icon of the region. The winery and the appellation has never looked back since.  In the vineyard Vega Sicilia is situated on what is known as the “golden mile”, a stretch of road between Pañafiel and Tudela de Duero, where the prestigious wineries of Vega Sicilia, Pingus and Pesquera are all situated. Driving through, it is a somewhat underwhelming sight as far as vineyard vistas go, so much so you could almost pass through it without noticing.  Being an altiplano there are no sweeping mountainous views, you only feel the altitude from the freshness of the air. In the higher vineyards of Soria at the edge of the Ribera appellation you are rewarded with more vistas, as well as a sense of history with evidence of prehistoric cave-like dwellings where farmers sheltered from the extreme climatic conditions of this largely desolate region.
 Whilst there are pre-phylloxera ungrafted vines dating back over 100 years dotted around the region, the vines at Vega Sicilia - with vineyards at 700 meters - average around 35 years of age. Vega Sicilia have an extensive replanting scheme in their vineyards preferring the quality of their fruit in their mid-life as opposed to old age, with typical vine age in Unico around 60-65 years old, with the younger vines going into the Valbuena cuvée. The high altitude and continental climate mean extreme conditions are at work in the vineyards. Winters can be very cold whereas the summers can be fierce. Most notably in regards to grape growing, due to the altitude, there is a huge diurnal shift in temperatures from day to night helping to retain the acidity and freshness in the grapes whilst reaching high levels of ripeness. The main grape in all Vega Sicila wines remains the Tinto Fino (the particular clone of Tempranillo) distinct to the region. The Tinto Fino is said to produce smaller berries with higher concentration of tannins compared with the Tempranillo grown in Rioja. The Unico also has a proportion of Cabernet Sauvignon in the blend (anything from 6-20% in more recent releases) with a higher proportion in older vintages. In the Valbuena, the majority of the blend is Tinta Fino with a small amount of Merlot (typically 5%) . The property is huge in scale with 200 hectares of estate-owned vines producing anything from 40,000 to 100,000 bottles of Unico each year depending on the vintage.  
In the winery
 Unico  The style of the flagship cuvée of the winery has remained virtually unchanged since its inception in terms of production, although assemblage has modernised. Élevage times have reduced and the influence and proportion of Bordeaux varieties has become less in more recent releases.  In the past, Unico was only made using huge 40,000-litre fermentation tanks (this was all that was available at the winery) therefore in a difficult vintage, if this sort of volume was not possible at the quality level they expected, then no Unico would be released that year. Since 2010 the winery has introduced smaller 8,000-litre tanks, enabling smaller micro-vinification of their wines and suggesting a release of Unico every year (in varying quantities) is more likely. The winery today operates at a spec similar to the top estates in Bordeaux. They have introduced 81 separate fermentation tanks allowing them to carry out intra-plot fermentation. They have introduced highly sophisticated sorting tables, there is more temperature control of the wine and the winery is now completely gravity fed enabling greater precision when it comes to winemaking.   Following fermentation, the wines destined for Unico are blended in small oak barriques (50% French oak / 50% American oak) for 12-24 months depending on the vintage. The French oak is 100% new whilst the American oak, coopered on site, tends to be one to four years old. Following barrique ageing, the wine is then transferred to large old oak casks where it typically matures for five years before being bottled and aged further prior to release. Unico is typically released at 10 years old. Valbuena 5° The Valbuena typically comes from the younger vines of the estate and is aged in oak in barriques for 12-18 months before being transferred to larger old oak casks for a further 18 months prior to bottling. It is then aged for two years in bottle. Valbuena is typically released at five years old. Unico “Reserva Especial” The Reserva Especial is the mythical bottling that initiated the Vega Sicilia legend. It is made up of choice parcels from a blend of vintages (in recent releases it tends to be select parcels from three vintages). Prior to the 2001 release, details of the blends of older bottlings are not very easy to come by. With only 15,000 bottles produced this is the rarest cuvée from Vega
Sicilia and a nod to the traditional multi-blend wines that were typical prior to vintage specific bottlings becoming more popular in the mid to late 1800s. Explore more Editorial

We explore the history of Vega Sicilia, the secrets behind its success and the changes afoot as it attempts to retain the traditional methods it has become famous for whilst modernising the winery and updating its processes. 

The history of Spain's Vega Sicilia iconic wine estate, the secrets behind its success, the contrasting styles from the Valbuena to the Unico Reserva Especial

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