Edition 7 / Under the theme “appetite for new ideas,” we welcome diverse perspectives and viewpoints to foster debate and encourage dialogue on these pages.
IN WINE, WE FIND LIFE
In wine we seek truth, craft and the passion of discovery. In life, we seek to build a community connected by a love for wine and wine culture. We are Maze Row Wine Merchant. We inspire a culture of fine wine discovery, a life that talks of people and their sense of place, of truth, craft and endeavor. An enriching journey, encompassing heritage, terroir, culture and philosophy. Through our curation of wines, stories and immersive experiences, we share the best of life with the adventurers, the bon vivants, the passionate connoisseurs.
Fall feels like the perfect time for a fresh start. The summer months, with their warm days and (for the fortunate) carefree vacations, have hopefully provided a muchneeded reset, with the “back-to-school” season inviting us to embrace new ideas and expand our horizons even further.
With this in mind, the fall edition of VOICES is centered around the theme “appetite for new ideas.” We have collaborated with and actively encouraged diverse perspectives and viewpoints, with the sincere hope of fostering debate and promoting genuine dialogue within these pages. And I’m thrilled that we’ve had the opportunity to collaborate with yet another set of winemakers, winegrowers, writers, photographers and artists from across the world, each bringing their distinct point of view to the table.
In New Zealand, for example, Sophie Preece meets the pioneers behind Saint Clair Family Estate in Marlborough to explore why this modest family-run producer consistently crafts some of the region’s most elegant Sauvignon Blancs. Their story is one of passion and determination – a true testament to the art of winemaking.
Winemaking requires knowledge, education, passion, and often a bit of a tough skin. It’s also an ongoing dialogue – teachings from maestro to maestro that inspire, guide, and pass down hard-earned wisdom. Chandra Kurt explores this very theme with Barbara Widmer at Brancaia, as the Tuscan estate’s head winemaker introduces the 20th vintage of her celebrated Ilatraia. This sharing of knowledge can also be generational, as we discover when speaking with Francesco Allegrini, the third generation in his family to run the celebrated Valpolicella winery.
Our profile in this edition features Stevie Stacionis, co-founder of Bâtonnage with Sarah Bray. She speaks candidly with Jordan Mackay about the multifaceted organization they founded in Napa in 2018 with the mission of supporting women in wine.
We continue our guidance on fine wine investment with Suzanne Denevan-Brown, who examines how the wine market needs to bridge the gender gap and welcome more female collectors. Additionally, we ask art expert Magnus Resch to share a crash course on investing in what can seem a vast ocean. Elsewhere, we delve into the world of AI, comparing the merits of AI and human sommeliers. We also explore how the art world can harness data sets and technology to ignite the imagination, as seen through the eyes of artist Refik Anadol.
And there’s so much adventure within these pages. Kathleen Willcox dives deep into the new Spanish wine scene, introducing viñateros who are rediscovering ancient varieties to create wines packed with personality. Brian Freedman shines a spotlight on South Africa and its flourishing wine culture, highlighting the localized expressions of its varied terroirs. Closer to home, Cathy Huyghe introduces readers to Atlanta’s wine bar culture, while Virginie Boone explores Napa’s vibrant cocktail scene.
Meanwhile, I was deeply moved by Lilah Raptopoulos’ account of how recipes, passed down through generations and across continents, can help preserve cultures, share histories, and cope with loss and love. It’s a personal and heartfelt essay that reveals the power of food and wine to uncover lost narratives.
Our collective hope with VOICES is that you gain new insights into the connections between wine, nature, culture and society. And perhaps these thoughts will linger even after you put this edition down. From the beginning, our mission has been to explore the wonderful, colorful, dynamic, passionate and wondrous world that is wine in the manner it deserves: through the diverse voices that make it so. We hope we’re on the right path. And, we invite you to join us, and broaden our lens.
Get in touch. Share your view.
Our guiding principle is: In wine, we find life.
VOICES editorial director, Nargess Banks
CONTENTS
STARTERS
WELCOME
Working to the theme “appetite for new ideas,” we continue our mission to view and explore the world of wine through different lenses.
MEET THE COLLECTIVE
The winemakers, sommeliers, educators, writers, connoisseurs, and food and wine lovers with a shared passion for life who helped make this edition.
THE WINES
GOING BLANC
Hard work and determination helped Neal and Judy Ibbotson spearhead Marlborough’s Sauvignon Blanc revolution. Meet the modest pioneers behind Saint Clair Family Estate.
LOCAL HEROS
We head to Spain to meet the viñateros rediscovering ancient varieties to create wines full of personality.
RIOJA RULES
Winemaker Telmo Rodríguez of Bodega Lanzaga discusses the potential impact of Rioja’s new, hyper-local labeling guidance.
STAR STUDENT
How the renowned consultant Carlo Ferrini’s mentorship has helped Barbara Widmer, winemaker at Brancaia, become top of the class.
MASTER CLASSES
Mentorship comes in many forms: at Allegrini, knowledge is passed through generations, while at Argiano, Bernardino Sani looks to seasoned maestros for inspiration.
BEYOND THE CELLAR WALL
Continuing our series on fine wine investment, we review how the fine wine market needs to bridge the gender gap and welcome more female collectors.
DRINKING & DINING
BATTLE OF THE SOMMS
One offers efficiency and accuracy; the other passion and curiosity – the clash between AI and human sommeliers has only just started.
FOOD FOR THOUGHT
As culinary traditions pass through families and travel across continents, what gets preserved, what gets lost, and why is it all so emotional?
AT THE BAR: ATLANTA
Vibrant, welcoming and inclusive, Atlanta’s wine bar scene brings together talented experts set on forging their own unique paths in the industry.
AGENTS OF CHANGE
Stevie Stacionis shares how Bâtonnage, the grassroots organization she founded with Sarah Bray in 2018 to support women in wine, is doing things differently.
ARTS & IDEAS
THE ART OF DATA
Artist Refik Anadol transforms data sets into mesmerizing installations, harnessing AI technology to ignite the imagination.
VISUAL ASSETS
A crash course on investing in fine art by art-world insider and Yale University teacher of art economics Magnus Resch.
PITCH PERFECT
What makes for the best restaurant soundtrack, and what does this say about the place, the wine, the menu?
WANDERLUST
COCKTAIL HOUR
A host of excellent new cocktail bars and craft distilleries is shaking things up in California’s Napa Valley.
CAPE CRUSADERS
South Africa has a flourishing wine industry, where dedicated winegrowers are creating highly localized expressions of the varied terroirs.
WINE TRAILS: MARLBOROUGH
At the geographic center of New Zealand are four magical valleys with sparkling blue sounds, wonderful restaurants and award-winning wineries.
THE COLLECTIVE
Neal and Judy Ibbotson
Through hard work and passion, the couple behind Saint Clair Family Estate have spearheaded Marlborough’s Sauvignon Blanc revolution, as they tell Sophie Preece on p10.
Bernardino Sani
On p76 the Argiano CEO discusses his evolution as a winemaker and the lessons he has picked up from seasoned maestros for inspiration and guidance.
Telmo Rodríguez
As one of the leading figures in Rioja’s terroir-driven movement, the founder of Bodega Lanzaga talks through the potential impact of the wine region’s new terminology on p56.
Julie and Sarina Ibbotson
The second-generation siblings, along with their brother Tony, continue to stay committed to helping their parents run Saint Clair Family Estate as they tell Sophie Preece on p10.
Barbara Widmer
As Brancaia celebrates Ilatraia’s 20th vintage, on p70 the head winemaker speaks with Chandra Kurt about Carlo Ferrini’s critical mentorship and her own journey as a winemaker.
Carlo Ferrini
The renowned Tuscan wine consultant has been collaborating with Brancaia since 1992, guiding head winemaker Barbara Widmer in developing her own distinctive approach to winemaking (p70).
Francesco Allegrini
Generational knowledge has proved a powerful form of mentorship for the third generation in the Allegrini family to lead the Valpolicella estate, as we discover on p76.
Sophie Preece
On p10, the New Zealand wine writer takes a trip to Saint Clair Family Estate to find out how Neal and Judy Ibbotson have spearheaded Marlborough’s Sauvignon Blanc revolution.
Jordan Mackay
The food and wine writer meets up with co-founder of Bâtonnage Stevie Stacionis on p86 to discuss how her organization offers support for women in wine.
Virginie Boone
On p34 the Californian wine, spirits and travel writer transports us to Napa Valley and its host of excellent new cocktail bars and craft distilleries.
Stevie Stacionis
The wine and hospitality expert co-founded Bâtonnage in Napa in 2018 with Sarah Bray as a platform for helping women in wine, as she tells Jordan Mackay on p86.
Lilah Raptopoulos
On p44, the Brooklyn writer examines the power of recipes passed down generations, and how they help preserve cultures and share histories.
We are a community of wine producers, food and wine connoisseurs, passionate writers and photographers, artists, bold thinkers and creatives
Sarah Bray
She co-founded Bâtonnage (p86) with fellow wine expert and educator Stevie Stacionis in 2018 with the sole purpose of being a platform for women in wine.
Jason Barlow
The British journalist speaks with top chefs to see what makes for the best restaurant soundtrack, and what it says about the place and its wine list (p94).
Lawrence Ulrich
On p32, the East Coast writer takes on the AI challenge to see if AI and human sommeliers can co-exist peacefully.
Cathy Huyghe
The wine writer takes us on a journey to Atlanta on p66 to visit the region’s wine bars, which turn out to be not only hugely vibrant, but also welcoming and inclusive.
THE COLLECTIVE
Chandra Kurt
On p70, the Swiss wine writer heads to Chianti to meet with Barbara Widmer at her winery Brancaia, to discuss the power of mentorship and review Ilatraia 20th vintage.
Jarrah Prior
Saint Clair Family Estate’s general manager of winegrowing crafts some of Marlborough’s most elegant Sauvignon Blancs at the 230-acre winery in New Zealand (p10).
Kathleen Willcox
The wine writer meets the Spanish viñateros rediscovering ancient varieties to create wines full of personality on p50.
Sarina Garibović
The sommelier recently co-founded Small Hours in Minneapolis with her partner Sam Cassidy. On p32 she praises the power of the human sommelier over the AI version.
Brian Freedman
The wine, food and travel writer highlights South Africa's flourishing wine industry on p38, where dedicated growers craft localized expressions of diverse terroirs.
Roberto Fortunato
On p70 the Italian photographer captures Brancaia, Barbara Widmer and the team as the Tuescan estate sets out to celebrate the 20th vintage of the prized Ilatraia.
Magnus Resch
The author, art-world insider, serial entrepreneur and Yale University teacher of art economics offers a crash course on investing in fine art on p92.
Aaron McLean
The New Zealand photographer heads to Saint Clair Family Estate to photograph the family and dedicated team behind the Marlborough winery on p10.
Robert Lawson
Passionate about photographing all things drinks related for the last 20 years, he shoots the Maze Row collection of fine European wines throughout the publication.
Adam Thomas Spinach’s partner and co-director leads an international team who believe in timeless yet timely design, as he demonstrates as the creative director on VOICES.
Helen Cathcart
Our lifestyle photographer captures the unique beauty of two of our producers: Brancaia in Tuscany on p70 and Bodega Lanzaga in Rioja on p56.
Leigh Banks
The partner and co-director at Spinach loves nothing more than helping businesses reveal their most unique and engaging brand stories, as he demonstrates with VOICES.
Suzanne Denevan-Brown
The Maze Row director continues her series in investing in wine on p88, with a focus on the gender gap, and the opportunities to welcome more female collectors.
Simon Ward
Artistic, quick thinking and insightful, the Spinach design director breathes creativity to the pages of VOICES.
Join the VOICES collective. Help us widen our lens. Contact us: hello@mazerow.com
A year studying for an international MBA in Veneto catapulted her into the world of wine and wine culture. As part of the Maze Row team, she helps bring VOICES to life.
Nargess Banks
As VOICES editorial director, she helps shape the publication. In this edition, she meets with artist Refik Anadol on p26 to examine how the arts can harness AI to ignite the imagination.
Emma Mrkonic
GOING
Good timing, hard work and determination helped Neal and Judy Ibbotson spearhead Marlborough’s Sauvignon Blanc revolution. Sophie Preece meets the modest pioneers behind Saint Clair Family Estate
BLANC
When Neal and Judy Ibbotson arrived in Marlborough in 1967, they found quiet farming country, with crops and orchards and sheep grazing stony paddocks. Fast forward to today, and the region has over 71,000 acres of vines, 80 percent of New Zealand’s wine exports, a name globally synonymous with Sauvignon Blanc, and scarcely a sheep in sight. Meanwhile Saint Clair Family Estate, founded by the Ibbotsons 30 years ago, has vineyards across the region, markets throughout the world, and a second generation at the helm.
It’s an “amazing” and unexpected transformation, Neal says. “I had no idea the wine industry would come here, and that along the way they would find Marlborough Sauvignon Blanc, which has become one of the world’s most sought-after wines.”
Good timing is seldom enough, and the Ibbotsons’ success story is also one of hard work and stubborn enterprise. Neal was a 24-year-old rural advisor, with dreams of owning a farm, when he moved to Marlborough and met Judy, a school dental nurse who was also new to town. They were married the next year and by 1970 had
borrowed money for 100 pigs and 32 acres, never imagining winemaking would feature in their plans.
In 1973 Montana Wines set about planting vines in the nearby Brancott Valley, and by 1978 the Ibbotsons were replacing pigs and pens with Müller Thurgau, joining nine other contract growers in the region. On weekdays Judy called on a group of women to help her plant the vineyard, install irrigation and manage harvests, while Neal continued his day job to pay the bills, then toiled in the block each weekend, drilling holes for the next run of posts.
From their preschool years, the young Ibbotsons – Sarina, Tony and Julie – helped out in the vines, awarded with chocolate cookies at the end of each row. These days, Julie and Sarina manage the company their parents worked so hard to grow, while Tony lends his creative flair to the design of labels and packaging. “When we are all there at wine events, showing our wines as two generations, it feels pretty special to know this has all been built in our lifetime, and is truly a family-run company.”
Neal’s plans to retire by 50 were scuppered in 1994, when he and Judy decided to launch their own wine label, going on to build a bespoke
Previous page, Saint Clair Family Estate Marlborough vineyards. This page, clockwise from top left, founders Neal and Judy Ibbotson, the Saint Clair Dillons Point Sauvignon Blanc and Wairau Reserve Sauvignon Blanc flagship wines, Julie and Sarina Ibbotson, and the Saint Clair Vineyard Kitchen, which offers a seasonal menu focused on fresh local produce
winery, grow their vineyard holdings, develop enduring contract grower relationships, forge 70 markets around the world, and establish the Saint Clair Vineyard Kitchen restaurant and cellar door, tapping into Judy’s love of food and hospitality. It seems busy when they look back, she says with a laugh, sitting in the home they built on their original block. “But at the time we just got on with it.”
TURNING POINT
Saint Clair has come a long way in the past 30 years, but Neal says the real decisive moment was six years in, when he and his winemaker at the time, Matt Thomson, resolved to “lift the bar” in wine quality, with Sauvignon Blanc the hero. Back then land between Blenheim and Rarangi was deemed “cabbage country” by many, suited to market gardens not wine. But Neal followed Matt’s advice to buy Dillons Point fruit in 2000, launching a new era for the company. Matt explained then that the difference in the Sauvignon Blanc from the area was an abundance of thiol compounds, but Neal dashes the technical term and instead describes the intense passion fruit aroma that hit him the moment it was poured.
From left, winemaker red wines Chloe Gabrielsen, general manager of winegrowing Jarrah Prior, winemaker white wines Heather Stewart, senior winemakers Kyle Thompson and Stewart Maclennan
“We
have been extremely fortunate to have been in the right place at the right time, surrounded by amazing people. And to have been part of the Marlborough wine industry and the Sauvignon Blanc phenomenon”
Neal Ibbotson, owner
“Our home and heart are really Dillons Point”
Jarrah Prior, general manager of winegrowing
It is an intensity they’re still committed to, explains Jarrah Prior, the company’s general manager of winegrowing, describing the flagship role of the Saint Clair Dillons Point Sauvignon Blanc and Saint Clair Wairau Reserve Sauvignon Blanc. “Our home and heart are really Dillons Point.”
Jarrah loves the nuances of Marlborough’s subregions, from the more mineral and restrained Sauvignon of the Awatere Valley to the riper fruit spectrums yielded by warmer stony soils of the Wairau Plains. But the Dillons Point “distinction” is an astounding success story, “and a lot of people didn’t think it could be done.”
Many varietals around the world perform best in harsh conditions, but Sauvignon Blanc is an exception to the rule, and doesn’t respond well to stress, Jarrah explains. The Dillons Point vines sit in balance in fertile soils, and the higher concentration of thiols boosts grapefruit and passionfruit characters, overlaying green layers of nettles and jalapenos, and high notes like blackcurrant leaf. The concentration of the wines “blows you out of the water,” he says, describing the pungency of aroma that fills a room, making
it a delight to show them to old world consumers, accustomed to a more subtle introduction. “These characters are there in other examples of Sauvignon Blanc, but it is dialed up in concentration in these Dillons Point wines.”
If the Dillons Point Sauvignon Blanc is a gamechanger, then the Wairau Reserve is “next level” Jarrah tells me. “This is Marlborough Sauvignon Blanc dialed up to 120 percent.” We’re speaking at the Saint Clair winery, where 320 small tanks mean every vineyard parcel can be kept separate. When it comes to choosing the Wairau Reserve, which hails from one Dillons Point block each vintage, the Ibbotson family join their five winemakers to taste hundreds of parcels blind over two or three days. “We are looking for the wow factor,” Jarrah says, noting that this is not the place for a shy wine, but rather a showstopper.
“Great wines around the world offer typicity of where they’re from, whether it’s Champagne or Barossa Shiraz or Napa Cabernet. I think with Marlborough Sauvignon Blanc you can pick it 300 miles away. It’s that sense of place, and not many regions have that one defining factor. Other wine regions scream for that.”
The past 30 years have been astronomical for the Ibbotsons, thanks to good timing, good luck, hard work and authentic relationships, Jarrah says adding, “They have ridden the wave and done it with integrity.” As for Neal and Judy, they are quick to place the successes on the shoulders of the people they have worked with. “We have been extremely fortunate to have been in the right place at the right time, surrounded by amazing people. And to have been part of the Marlborough wine industry and the Sauvignon Blanc phenomenon.”
Above, Kyle Thompson in the cellars where the 320 small tanks ensure every vineyard parcel can be kept separate. Opposite, sauvignon blanc at the Saint Clair vineyards, Jarrah Prior and Kyle Thompson attending the vines. Overleaf, the Saint Clair Estate vineyards in Marlborough, a mountainous region with over 30 peaks over 2000m
THE WINERY
In 2005, Saint Clair opened its boutique winery, designed by architect Neil Charles Jones in collaboration with the Ibbotsons and their winemaking team. The facility features a fully equipped cellar room capable of housing the estate’s 320 small tanks. Adjacent to the cellar is the bottling plant, allowing for direct bottling of wines from the tanks.
The production area is designed for maximum efficiency and quality maintenance, featuring a spacious intake area for swift fruit processing upon arrival, and small receival bins and presses to carefully manage quality. The design revolves around matching the batch size of harvesters, enabling precise control throughout the winemaking processes.
Neal and Judy’s son Tony designed the winery’s original label in 1994. The sketch featured a colorful postage stamp-style depiction of the Wairau Valley, adorned with a floating halo in the center. Over the years, this design has undergone refinements to better reflect the modern identity of the winery. However, the distinctive serrated paper edge – a homage to the early postage stamp image – has remained for Saint Clair to be recognizable on the market.
Meanwhile, with hospitality central to the winery, the Saint Clair Vineyard Kitchen offers food and wine tastings with a seasonal menu focused on fresh local produce. The Ibbotsons’ passion for food is such that Judy has published two cookbooks, Clair Cuisine and Clair Cuisine International, matching recipes with Saint Clair wine. “Cooking is a creative art, just like winemaking,” she says.
From top, the Ibbotson family, senior winemaker Kyle Thompson at the piano in the cellars, the estate’s Dillons Point Sauvignon Blanc and Wairau Reserve flagship wines, and Saint Clair Vineyard Kitchen, which focuses on food and wine pairing and offers a seasonal menu using fresh local produce
The Dillons Point Sauvignon Blanc is Saint Clair’s most expressive blend from each season. This wine beautifully captures the essence of the Dillons Point, a region seen as the best growing area within the lower Wairau Valley sub-zone of Marlborough.
Fruit is sourced from a selection of premium vineyards which are planted on floodplains rich in nutrients, producing wines with heightened expression. Each vineyard block is harvested at the optimum time with the grapes transported to the winery and pressed off immediately to minimize skin contact. After cold settling, the juice from each batch is fermented at cool temperatures using selected yeast strains.
With its elegant, crisp and vibrant style, the wine showcases the quintessential characteristics of Marlborough. Intense citrus aromas meet with bright, fresh notes of passionfruit, gooseberry, and a distinctive saline minerality on the palate. Whilst Sauvignon Blanc is often best consumed fresh, some bottle age will see the wine evolve with the vibrant passionfruit characters moving towards characters more aligned with savory flavors.
The Wairau Reserve Sauvignon Blanc is Saint Clair’s most pronounced and finely balanced wine and, with consistent top scoring, it represents the epitome of the estate’s Sauvignon Blanc offerings.
The wine is made from the top one percent of Sauvignon Blanc grapes harvested from cooler vineyards in the lower Wairau Valley, which benefit from the region’s proximity to the ocean and the resultant maritime influences. Warm daytime temperatures facilitate ripening, while cooler night temperatures extend the hang time of the fruit, allowing for more pronounced flavor development. The Wairau Valley soil, rich in nutrients deposited over time by non-erosive flooding, is ideal for growing nutrient-hungry Sauvignon Blanc vines which thrive in this environment, yielding fruit with concentrated flavors and aromas.
The Saint Clair Wairau Reserve is made with 100 percent Sauvignon Blanc grapes, while the wine is naturally fermented in stainless steel with selected yeast and aged in stainless steel with no lees contact or malolactic fermentation. The juice is pressed off immediately to minimize skin contact and juice deterioration following harvesting. After settling, the juice is then fermented in stainless steel using a selected yeast strain, while fermentation is carried out at cool temperatures to retain varietal characters and freshness. Finally, during comprehensive blind tastings, the winemaking team will identify the very best batch of wine produced for the vintage and bottle this as the Saint Clair Wairau Reserve.
Characterized by purity and precision, the wine has layers of passionfruit, jalapeno and crushed herb. The palate is textured and refreshingly vibrant, with saline mineral notes adding complexity to a long finish.
Wairau Reserve Sauvignon Blanc 2022 vintage: “Gold Medal” winner, Global Fine Wine Challenge (2023), “Silver Medal” winner, Decanter World Wine Awards (2023), 4.5 stars, Winestate Australia (2023)
Neal and Judy Ibbotson planted their first vines in Marlborough in 1978. Since then, the winery has grown to farm 160 hectares and is the largest family-owned winery in Marlborough.
THE ART OF DATA
Can the arts harness AI technology to ignite the imagination?
Nargess Banks meets leading artist Refik Anadol, who transforms data sets into mesmerizing installations
I want the artwork to help demystify AI. I want to do something fresh that shakes our perspective,” says Refik Anadol, the Istanbul-born, LA-based artist seen as a pioneer in the aesthetics of machine intelligence. We are meeting at the Serpentine in London where he’s staging “Echoes of the Earth: Living Archives.” The gallery is packed on this mid-winter Thursday afternoon, with visitors of all ages transfixed by Anadol’s expansive digital artworks which swathe the walls of the gallery space. In one room we are transported to the bottom of the ocean to swim alongside colorful marine life. In another we find ourselves in the Amazon rainforest. These are ethereal artwork – alive digital sculptures which constantly generate new colors and forms and sounds. There is even a scent, co-created with Italian brand Bulgari, to evoke the sense of the rainforest.
Anadol works with self-made data sets. Central to his creations is a vast open-source AI model which his studio – a collaborative practice of environmental scientists, marine biologists, medical doctors, philosophers, computational designers – developed ethically alongside the Smithsonian and UK’s National History Museum. He also gathered data from the Brazilian
rainforest where he and his wife Efsun Erkilic, who is also an artist, camped out for three months living and learning from the indigenous Yawanawá people. These are not vanity projects either. Anadol sees his deep AI dive into nature as a way of discovering a universal language that breaks our walls of identity. His is an inquiry into what it means to be human in the age of machine intelligence.
Artists have of course long flirted with new technology, and technology with artists. Famously in the 1960s engineer Billy Klüver teamed up with artists Robert Rauschenberg, Robert Whitman and Fred Waldhauer to co-found Experiments in Art and Technology (E.A.T.), a non-profit which went on to play a critical role in integrating technology with art. Today’s artists, however, are arguably dealing with much more urgent concerns as generative AI takes on its own sweeping journey into the unknown.
Hans Ulrich Obrist, curator and artistic director at the Serpentine, believes artists have the power to show us how to positively use new technologies, and they can reveal the “dark corridors of technology, the dangers, which is equally important,” he tells me. For over a decade, the
London cultural institution has been deep diving into the ocean that is AI. The Serpentine Arts Technologies research body and Creative AI Lab, a collaborative project with King’s College London, has been investigating the impact –positive and negative – of new technology on the arts and artists.
“Refik shows us that art can intermediate between culture, technology, society, ecology… Artists can make the invisible visible,” continues Obrist. “Another important aspect is, of course, the question of how we source the data, how we ethically source archives, and who owns these data sets. We think that this is a negotiation.”
NATURAL SELECTION
Anadol made headlines in 2023 when his studio created a language model that took data from some 140,000 artworks in the Museum of Modern Art’s collection, reimagining them into an immersive digital sculpture he named Unsupervised. The New York art museum has since purchased the work. And Anadol is tricky to classify since as an artist and a designer his work fluidly moves between visual art, science and technology, with computational data performing the role of pigments for his artwork.
One thing is certain though. For Anadol, nature is the key to unlocking AI’s positive potential. His argument is that nature is the most unbiased, purest of data sources. And that through data visualization you can imagine sensory, immersive, otherworldly artworks in which AI invites all of us to open our human eyes to new ways of seeing, enhance our understandings of other species, and maybe help us cohabit the planet more inclusively with nature.
He also believes the human director is critical to this process, meticulously guiding every step of the AI movement. “For me it’s a process. It is the yeses and noes that create the next hallucination,” he says, referring to the data visualization. “You have to fine tune the nobs, change the parameters. And it takes months and months and months. For me art in the age of machine intelligence means knowing the data, curating the data and training the AI. It is about chance and control. These are living artworks, there are some parameters but you have to invite the freedom of imagination.”
Anadol’s work has been likened to sci-fiinfused contemporary art, yet these artworks are grounded in reality. And they are joyous. “I’m not naïve,” he tells me, his face taking on
a more serious tone for the first time during our conversation at the Serpentine. “I see the problems and the limits. The technology is here, and we can use it to build a better world. But we have to be active and direct the technology. It is a 50/50 collaborative relationship.”
He explains that his AI research is less and less reliant on downloading images but sourcing directly from nature. “While the AI can create new rainforests and beautiful worlds, for me what’s amazing is understanding being within the data. Being in nature, collecting data, living with the people and in data, preserving the rainforest – this is when a whole cycle of imagination is complete. There is no tactile research if I only use the tools. When I lived in Amazonia, I touched the rainforest, heard the jaguars, lived with snakes and birds and all types of insects and animals and, for a while, got to know what it means to be in nature. This is my hope for the future of AI, that we read and understand both stories.”
Anadol talks of the concept of fluid dynamics. “I believe that one day if AI dreams, it won’t be a pigment that will dry but one that flexes and changes all the time. What I’m excited about is generative reality, where you can
generate new worlds, new fields, new ideas. Now we can smell, and perhaps soon we can touch and taste. There is so much fun to think and work with AI.”
Obrist agrees with the artist in that we can use technology for fostering attention to the natural world. “We need to look at how tech can create a spiritual connection with nature to make sure we are communicating with the environment rather than continue this colonial separation from nature, which is destroying the environment,” says the Serpentine artistic director. “It’s about expanding the possibilities of how art can act as an intermediate between culture, technology and society, and how art can liberate us from becoming stuck in a quantified world – which is very dangerous.”
It has taken Anadol over 12 years to get here. I’m curious to know how the artist envisages the next decade. “We will be sitting in these worlds and with all our senses: smelling them, touching them, tasting them, interacting with them. This is a new portal for the imagination. There will be an extraordinary change in humanity, where we will question reality. This exhibition and my artwork is a milestone to communicate this with the public. We are celebrating that moment.”
“For me art in the age of machine intelligence means knowing the data,
curating the data and training the AI. It is about chance and control. These are living artworks, there are some parameters but you have to invite the freedom of imagination”
Refik Anadol, artist
BATTLE OF THE SOMMS
We’ve all been there. The restaurant with the intentionally obscure wine list, a minefield of potentially fatal moves. The steakhouse where Mr. Confidence takes charge of the table, and you end up drinking a supermarket Cabernet through gritted teeth.
As in most fields, entrepreneurs and engineers say artificial intelligence will cut through the complexity or intimidation of choosing wine, and make our lives better. Will this be cooly refreshing tech, or will AI remorselessly squeeze human sommeliers or retail experts like a thin-skinned grape?
Many wine fans are already familiar with crowdsourced apps that claim to ease confusion. Vivino says it harnesses data from 69 million global users to generate 300 million ratings on 18 million wines from nearly 3,500 regions. As with Yelp, that’s a lot of opinions. Other apps are nosing in deeper, sussing out individual human tastes. Preferabli, for instance, works from a database of more than two million wines, spirits and beers. Software built by math and science experts, and a team of Master Sommeliers and Masters of Wine, assesses more than 800 characteristics: varietals to alcohol levels, or subjective elements such as floral or tannic flavors. Generative AI then offers personalized, taste-based recommendations.
Preferabli lets consumers enter a QR code that summons a wine list, reordered to personal tastes. That could be helpful when there’s no somm in sight, and the waiter only knows Chianti from watching Silence of the Lambs
Tastry, based in California’s Central Coast, is going next-level. It taught a computer to taste wine. Tastry is the brainchild of CEO Katarina Axelsson. As a college chemistry student, Axelsson noticed a wine batch received wildly different industry scores: identical wine, only different labels. As ever, marketing or advertising skewed human judgements of what was in the bottle. She sought to overcome those human frailties, or just faulty noses and taste buds.
“Consumers are challenged and overwhelmed with exploring a space that contains 160,000 wine labels,” Axelsson says. “And wine is so complex that the human brain can’t comprehend all the variables and dependencies at the same time.”
Tastry uses lab equipment – chromatography, spectrometry and much more – and proprietary methodologies to analyze 1.2 million data points per wine sample. Every relevant compound is linked to a database of tastings that now encompasses 120,000 human palates. Backed by third-party lab testing, the system claims an industry-best 93 percent accuracy for predicting any individual’s wine preferences. “It’s a living, breathing thing,” Axelsson says –minus the spitting.
Tastry works with the entire wine supply chain, including helping winemakers identify potential consumers and gaps in the market. It helped one winemaker save 3,000 tons of smoke-damaged fruit from being tossed, through computer-guided blending to ameliorate the telling flavors.
The company’s new Tastry Uncorked can help restaurants pair wines to meals and wines to consumers, including via a QR code
One offers efficiency and accuracy; the other passion and curiosity. Who will win in the clash between AI and human sommeliers, asks Lawrence Ulrich
linked to wine lists. I’m picturing Rosey, the Jetsons’ robot maid, a digital tastevin dangling from her neck. Rosey – now “Rosé” in this 2.0 iteration – extracts a cork, swirls and sips, and compares parts-per-million molecules against her database containing all the world’s wines. This silicon somm seems to know her stuff, but the whole thing makes me nervous: if I send the bottle back, does she turn into a Terminator?
Axelsson fully expects some AI backlash, as in other fields, but insists AI is a tool to help sommeliers and wine experts, not sideline them. “It’s like fire,” she says of today’s tech. “You can stay warm, or you can get burned.” Could AI and human sommeliers complement one another, expand on the guest experience, or does the machine take out the enjoyment of something that is such a human experience?
Sarina Garibović and her musician partner Sam Cassidy are betting on analog pleasures and hoping to stay snug with Small Hours in Minneapolis. The intimate “hi-fi” wine bar, which opens this fall, leans toward full bottles and full-album playlists to amplify enjoyment.
Garibović, a longtime area sommelier, beverage director and consultant, sees room in the space for AI. But all computations aside, she believes, AI won’t replicate those moments when a sommelier’s passion and a customer’s curiosity meet. “I don’t think you can ever replace talking to a somm in a restaurant,” she says. “Without any tech or formula, we’re trying to hone in on the perfect wine that will create that magical experience.”
COCKTAIL
A host of excellent new cocktail bars and craft distilleries is shaking things up in California’s Napa Valley, discovers Virginie Boone
Napa Valley may be known the world over for its fine wines, the Cabernet Sauvignons, Merlots and Chardonnays, but in recent years, this corner of Northern California has nurtured a vibrant cocktail scene with new bars, distilleries and tasting rooms turning out elevated spirits and handcrafted cocktails and mocktails.
Violetto is among the newest additions, a lively bar and restaurant within the revived Alila Napa Valley Resort in St. Helena. There, executive chef Thomas Lents and general manager Zachary Dortenzio have put together a simple yet refined cocktail list for their guests, which not only include overnighters but locals, too. As with the food, Violetto’s cocktail focus is seasonal, sourcing liberally from the culinary garden and fruit trees on property, with the drinks choices inspired by the aperitifs, digestifs and amaros of Italy.
“We’re drawing on the traditional ethos of Northern Italy and Southern France for inspiration,” says Lents. “We’re doing with cocktails what Napa Valley did with wine, which was also inspired by Italian and French immigrants. They’re traditional drinks with a modern twist.” Lents says people order about 60 percent wine and 40 percent spirits at Violetto, which is pretty sizable for a renowned wine region. Its expansive outdoor bar and terrace is especially popular for cocktails. “Cocktails are having a great run and are permeating throughout the Napa Valley,” he adds. “There’s a lot more variety than before. I like to work with acidity and play on bitterness with my food menu and that is reflected in the beverages, there’s so much more nuance.”
Dortenzio says that many of the drinks use such classic spirits as Cynar and Campari but he is also sourcing local products like Hornbrook Linen Gin, made in Northern California. The gin goes into the bar’s signature Violetto, where it is complemented by elderflower, violet
liqueur and egg white, and in the Bitter Hearts Club, made with gin, Cynar, Campari and sweet vermouth. Low ABV options like the Italiano combine such ingredients as Campari with sweet vermouth and club soda; Violetto also offers a selection of vintage amaro from the 1970s and 1980s, from Felsina Ramazzotti to Braulio, Cynar, Campari and Fernet-Branca.
LIQUID GOLD
Up the road, wine impresario Jean-Charles Boisset has recently unveiled his love letter to Californian spirits history with the Calistoga Depot Distillery. There, he features his own luxury lineup of caviar-and-truffle-infused vodkas, gin and Cognac in addition to a new portfolio of California brandy, rye, bourbon and other whiskeys, as well as a barrel-finished gin. The destination is also home to Casa Obsidiana, an ultra-premium trio of tequilas made in partnership with Jorge and Roberto Beckmann Gonzalez, who are eighth-generation agave growers based in Jalisco, Mexico.
Down valley in the town of Napa is another working distillery worth a stop, Napa Valley Distillery. This family-owned micro-distillery makes small-batch craft spirits using Old World techniques. Tour the Grand Tasting Salon to learn how to taste via “Booze Yoga.” Alternatively, hang out at one of two cocktail bars run by the distillery: ArBARetum downtown, for handcrafted cocktails, spirits and small plates; or The Hollywood Room cocktail lounge inside the main distillery. Signature cocktails include Cleared for Takeoff, made with housemade coconut dry gin, Petit Grain Neutral brandy, Luxardo Maraschino liqueur, fresh lime juice, orange juice and foam.
Whiskey is the focus at Cole’s Chop House, also in Napa, where featured whiskey cocktails like the Sazerac are joined by such creations as The Brown Derby, a mingling of Michter’s Bourbon with grapefruit and honey served up with an orange peel. Cole’s boasts one of the
deepest whiskey selections in town.
The Sky & Vine Rooftop Whiskey Bar at the Archer Hotel is one of the few rooftop bars in the area and another beacon for whiskey aficionados, with 150-plus rare and one-of-akind bottlings on hand. It also batches cocktails on tap, from Mules, Margaritas and Lemon Drops to the much-in-demand Aperol spritz. Meanwhile, gin is the focus at The Bitter Bar, nearly hidden between two restaurants, with a diverse selection of gins from around the world. Known as the place for an ‘infamous after shift drink’, it’s especially loved by restaurant industry folks.
For the best in island-inspired drinks, head to the riverfront Wilfred’s Lounge, downtown Napa’s first foray into tiki, named for “a drifter who brought people together and took things day by day.” Favorite concoction Wilfred’s Flora is made with Caribbean rums, passionfruit, vanilla, lemon, vango bitters (a combo of vanilla and angostura bitters), and egg white, while no-booze Banana Dreams is banana, pineapple, grapefruit, lime and Fassionola.
The team behind popular Cadet Wine + Beer Bar recently opened one of Napa’s most exciting cocktail spots, Chispa Bar, a tequila and agave spirits-centric destination for drinks and food. Get a three-tequila flight, spirit-free drink like Divorce Daisy (Seedlip Grove 42, fresh lime and agave) or go deep on cocktails like the Side Eye (Cimarron Blanco, Granada Vallet, lime and hibiscus). Both Cadet and Chispa are often filled with local winemakers like Samantha Sheehan of POE Wines. Sheehan is the woman behind Mommenpop aperitifs, where she melds locally grown citrus and some of her own wines into inviting low-ABV spritzes. No matter what you like, Napa Valley has you covered when it comes to cocktails. The culture that gave the region a reputation for being a world-class wine and food destination is now on the same path with spirits and drinks, and it’s as good as it gets.
Previous page, Violetto’s signature cocktail is finished with the restaurant’s custom Violetto stamp. This page, Violetto’s strawberry and thyme spritz, and executive head chef Thomas Lents. Opposite, top, the Calistoga Depot Distillery serves premium wine-casked finished spirits, Violetta’s Dark Side of Italy cocktail with rye whiskey, sweet vermouth, Campari and pistachio oil. Centre, colorful tequila-centric cocktails, kung pao octopus and the gleaming bar at Chispa. Bottom, Cadet Wine + Beer bar is a local favorite
“We’re doing with cocktails what Napa Valley did with wine, which was also inspired by Italian and French immigrants. They’re traditional drinks with a modern twist”
Brian Freedman turns the spotlight on South Africa and its flourishing wine industry, where dedicated winegrowers are creating highly localized expressions of the varied terroirs
CAPE CRUSADERS
Since the end of apartheid, South Africa has become one of the most dynamic, exciting countries in the world for wine lovers. And while wine has been produced there since the 17th century – Jan van Riebeeck planted grapevines in 1655 – it’s only in recent decades that the industry has fully burst onto the world scene.
For a long time, the wines of South Africa were more or less synonymous with Stellenbosch, the country’s most famous region, around an hour’s drive east of Cape Town. It makes sense: many of the most well-known producers have a presence there, and the wines serve as a calling card of sorts around the world. Today, though, any full accounting of the country’s vibrant wine industry has to have a far broader focus.
“New regions are getting well-deserved attention; check out Lowerland Wines from Prieska and organic wines farmed in the Northern Cape,” notes Stephanie Wiid, winemaker and co-founder of Thistle & Weed in Paarl, in the Cape Winelands.
Duncan Savage, of Savage Wines, agrees. “There are many incredible sites coming to the fore, such as Ceres, Piekenierskloof, and areas of the Cape South Coast. Swartland has
become so well established, but I do believe Stellenbosch is king. There is a reason the place is famous: the approach of producers in Stellenbosch at the moment, the drive to have the right varieties on the right sites, the efforts to control leafroll virus,” he explains. “We are seeing people move away from the ‘one-stop wine shop’ type producers and beginning to focus. The Helderberg for Cab Sauvignon and Franc, the Polkadraai for Syrah… It’s a very exciting time.”
The focus these days isn’t just on fully expressing the potential of individual terroirs, but also on finding the perfect grape varieties with which to do so. “Chenin Blanc has carved a real niche for itself in South Africa,” he points out. “The wines are incredible from this versatile variety. Cinsault has also done well due to all the old vine plantings, along with a lot more focus on varieties like Grenache.
“Cabernet Franc is performing particularly well on the north-facing slopes around Stellenbosch. The classic varieties such as Cabernet Sauvignon, Chardonnay, and Sauvignon Blanc continue to do well, but site selection is becoming very good with the top producers. Many interesting plantings of Assyrtiko, Counoise, Alicante Bouschet, Grillo, etc. are new to South Africa and could unlock incredible potential in
the future. There is a real camaraderie amongst producers, a real desire to take South African wine to the next level.”
NEW ERA
It’s already happening. The wines that Savage and Wiid are producing are wildly exciting, as are the ones from Bruwer Raats, a well-known star in the country’s wine world. He, too, has seen attention shift to expressing specific terroirs, which in turn have allowed the wines’ styles to change. “We have learned which varieties work best in certain regions,” he explains, “and in terms of wine style to make wines that are lower in alcohol, with more elegant tannin structure, and that offer greater freshness.” This, he says, “is what will define the next decade.”
He adds: “The challenge is to establish regional identity within the ward status of each district. In other words, if you look at Stellenbosch’s districts, we have to create an identity for Polkadraai Hills and other wards within the district, much like the French Left Bank, with Margaux, Saint-Julien, etc. Polkadraai Hills must be presented as a unique appellation, showing what makes it different.”
As more wines from these individual wards make their way into the world’s wine markets, those distinctions promise to become more
clear. “With our small, oversupplied, price-sensitive, and highly competitive local market, higher-end producers are spending a lot more time and money on building exports,” notes Anthony Hamilton Russell, proprietor of Hamilton Russell Vineyards. “There is an overall aesthetic trend towards more restraint and classic styling. Younger, more traveled, and fine-wine-attuned winemakers are setting the country’s stylistic direction. Sadly, the volumes of the best of our wines are still too small to meaningfully impact international consumer perceptions. The wine writers, critics, and trade have, however, been excited.”
That promises to be the case with consumers, too. “Our wines are increasingly more restrained and classically styled,” he adds. “They are being made with more sensitivity to regional styles and the nature of the sites and soils. The top end of the industry, although highly fragmented and small in terms of volume, is increasingly setting our national tone… The next decade will hopefully entrench the aesthetic and quality benefits of the currently prevailing trends in the minds of wine consumers, not just the trade.”
If you taste a selection of top wines from South Africa today, those trends come through with clarity, detail, and serious deliciousness.
“Many interesting plantings of Assyrtiko, Counoise, Alicante Bouschet, Grillo, etc. are new to South Africa and could unlock incredible potential in the future. There is a real camaraderie amongst producers, a real desire to take South African wine to the next level”
Duncan Savage, Savage Wines
Previous page, Bruwer Raats has garnered a reputation for producing high-quality, terroirdriven wines with international acclaim. This page, Stephanie Wiid, winemaker and co-founder of Thistle & Weed, and her vineyards in the Cape Winelands
Raats Family Wines’ vineyards at Stellenbosch in South Africa, in the areas of Polkadraai Hills and the Riebeek Valley, and founder Bruwer Raats
How do recipes, passed on from generations and traveling across continents, help preserve cultures, share histories, and deal with loss and love, wonders Lilah Raptopoulos
Afew years ago, I tried a restaurant in New York called Iris. It was billed as Greek and Turkish cuisine, which intrigued me, given the historical animosity between the Greeks and Turks. My father is from Greece, and my mother is Armenian, from Massachusetts, and their parents fled from Anatolia, a region that is now in Eastern Turkey, in the early 1900s.
Even a hundred years later, the relationship between many Greeks and Turks is fraught. The relationship between Armenians and Turks is worse. The idea that a restaurant in New York would fuse Greek and Turkish cuisine? I wanted to find out more.
Before the meal at Iris, I sat in the front lounge with its Michelin-starred executive chef, John Fraser. I admitted that billing a restaurant as Greek and Turkish seemed bold. He told me that he had a strong affinity for both countries and both cuisines, and believes food has the power to blur borders and bring people together. He said, “Also, I always feel when I eat Greek food that I want it to be a little more Turkish, and when I eat Turkish food I want it to be a little more Greek.”
I bristled at this answer, and he could tell. Food unites, of course, and nourishes, too, but it also holds memories, and longing. It can represent survival and pain. My eyes narrowed, unconvinced. “Look,” he said, smiling, “Just try the food. Then decide what you think.”
The food came: octopus, charred outside and juicy inside with Antep chili, roasted eggplant with yellow raisins, lamb chops marinated with mastika, sweetbread kokoretsi. The bartender made a cocktail with tsipouro, a pure, unaged brandy that’s rare in America but popular with my family in Greece. As plates crowded the table, I started to feel emotional. The food wasn’t stereotypical Greek-American cuisine. It was special. And there was something strangely familiar about it. I couldn’t put my finger on why.
That night, walking home from the subway, I called my dad, and yelled the whole story at him. “What happened?!” I said. “Why was it so good?”
“It’s Anatolitiki Kouzina,” he told me, “Anatolian cuisine. When this chef fused Greek and Turkish food, he accidently started cooking like your grandmother.”
“Of course, food unites us around a table – it nourishes. But there is so much more. Food holds memories and longing, and stories of survival and pain”
This epiphany, like most epiphanies, felt simultaneously obvious and profound. Of course! These cultures were neighbors for centuries, before and throughout the Ottoman Empire: Greek, Armenian, Jewish, Kurdish, Assyrian and Turkish tribes all lived in the same villages and cities, divided by neighborhood. It wasn’t always harmonious; in fact, it was often fraught. But locally, interpersonally, they were entwined.
In the ugly wake of the empire’s fall, Anatolia’s displaced cultures became diasporas, spreading around the world and adapting their cuisines to new lands. It’s why my grandmothers cooked so similarly, on two different continents. They couldn’t communicate much verbally, but made almost the same kefte, the same dolma. I’ve been chasing that taste for years. I found some of it at Iris, but I wanted to find more.
ORIGIN STORY
Last September, I chased that taste to Istanbul, to interview Greek, Armenian, Jewish, Coptic and Turkish cooks and food researchers dedicated to this work. One of them was Maksut Aşkar, the Turkish chef of Michelin-starred restaurant Neolokal. Located in Salt Galata, one of the city’s most innovative contemporary art centers, Neolokal’s goal is to elevate Anatolian cuisine. Aşkar wants the food of his homeland to not just be considered home cooking, but worthy of fine dining, too.
We sat on the patio of his restaurant – Aşkar, his assistant, our Turkish fixer Çansu, my boyfriend Larry and myself – so the Istanbulites could smoke. Aşkar had celebrity chef vibes: tall, wood-beaded bracelets, more new-world chef than old-world cook. He told me he calls his food Anatolian cuisine instead of Turkish or Ottoman deliberately, because the land was influenced by many cultures, not just one.
Aşkar reminded us that Anatolia lies alongside, and overlaps with, Mesopotamia – the
literal cradle of civilization. “Americans don’t know where Anatolia is, but this geography has been the motherland for all civilizations,” he said. “The history of the wine they drink? It comes back to Anatolia. The bread they eat every day? Back to Anatolia. The beer they drink every day? Back to Anatolia.”
I asked why he was so committed to that word. “I thought it wouldn’t be right to dedicate the restaurant to a nation,” he said. “Better to dedicate it to a geography, because the geography has always been here. More than 70 civilizations have inhabited these lands. Your ancestors used to live in these lands. People shift because of politics, because of the idiocracy of borders. But no matter what, Anatolia has always been a fertile mother for the people who live here.”
Six hours later, we returned to his patio for dinner. We sat at a table that overlooked the Bosphorus river and the mosques along the Golden Horn. We ate a nine-course meal: braised eggplant, ishli kofte cased in bulger, pulled beef in filo. Çansu took a bite of artichoke, locked eyes with me, and said it was changing her life. They poured me a glass of golden white wine from Tokat, called Vinolus Narince. My Armenian grandfather is from Tokat. That region, to me, is a fantasy, barely real. I took a photo of the bottle to send to my family. “Tokat, it exists,” I wrote. “Still. Not just in memory. It makes wine!”
Aşkar invited us to lunch the following day. His mother was in town, and would be cooking his favorite meal for the staff. The dish was makloubeh, which has also traveled through empires, an ancient Levantine occasion course that layers rice, meat, broth and vegetables. It’s popular in Iraq, Jordan, Palestine. Aşkar is from the Hatay province in southern Turkey, near the border with Syria, where they also cook makloubeh, slightly differently, with different ingredients, based on a different terroir.
The next day, Larry and I showed up, and tucked in amongst the cooks. Aşkar’s mother took out two big metal bowls, flipped them, and lifted each ceremoniously to present perfect piles of pilaf covered in cubes of soft lamb. She spooned pine nuts on both, browned in butter, which soaked right through. The staff took photos, as if these makloubeh mounds were famous. Then the mother, now our mother, doled spoonfuls out to everyone. Larry and I sat down to taste our pile. It tasted like the food at Iris, and the food in my grandmothers’ homes. It was warm, and the steam filled our mouths and reached somewhere deep, an ancient land I can’t quite see, but can sometimes taste. Aşkar’s mother smiled at us from across the room.
I haven’t been back to Iris. Part of me wants to keep these moments in my memory, unspoiled. The other part wants to bring my father, and say, “What is this? What about this?” in the hopes we can figure it all out. We never will, of course, figure it out. But the chase feels right.
Lilah Raptopoulos is writing a book that retraces the food traditions of her family’s multigenerational journey from Anatolia.
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Previous page, Iris in New York, helmed by Michelin-starred executive chef John Fraser, serves a menu that blends Greek and Turkish culinary traditions with a modern twist. This page, Neolokal in Istanbul strives to elevate Anatolian cuisine with dishes such as
Revani with Rose
This page, Maksut Aşkar, the Turkish chef of Michelin-starred restaurant Neolokal in Istanbul, and a dish of trit and katmer of pulled beef cooked in duck broth, filo pastry with pistachio, colorful yogurt tarator. Opposite, chef John Fraser of Iris restaurant in New York plating a turbot dish
There’s so much more to Spanish wine than Rioja. Kathleen Willcox meets the viñateros rediscovering ancient varieties to create wines full of personality
S LOCAL HEROES
pain has been shaping the global culture of wine for millennia. But in recent centuries, politics and pestilence have threatened to flatten and suppress the incredible richness and diversity of the Iberian peninsula’s viticulture. Archeologists trace grape plants in Spain back to the Tertiary period (66 million to 2.6 million years ago), and there is evidence that viticulture has been practiced since at least 4000 BC. In 1100 BC, Carthaginians arrived and improved techniques, and under Roman rule, Spanish wines began to be sent around Europe, landing on royal tables in France and England.
There were a few bumps in the road, but until the phylloxera epidemic, which decimated the European wine industry, Spain was producing a range of exciting wines that reflected its various microclimates, from coastal regions near the Mediterranean and Atlantic, mountains regions near the Pyrenees and Cantabrian Cordillera and the vast Meseta plateau that sprawls across central Spain.
While viticulture returned after the epidemic in the early part of the 20th century, World War II and Franco’s military dictatorship from 1939 to 1975 froze the industry, suppressed technological advancement and forced many viñateros and regions to plant and make wine that was
focused on quantity, not quality. Out with the low-yielding, fussy grapes requiring TLC. In with hardy survivors with mass appeal. But in recent decades, wine growers have returned to their roots.
“In the early 1980s, Miguel Torres began placing yearly advertisements inviting anyone who knew of unidentified grapevines to contact the winery,” says Evan Goldstein, Master Sommelier and president of Full Circle Wine Solutions in San Carlos, California. “These ads placed in local newspapers and magazines throughout his home region of Catalonia kicked off a project aimed at restoring Catalonia’s ancestral grape varieties, many of which had been lost to phylloxera in the late 19th century.”
Slowly but surely, Spain has begun producing some of the most exciting, distinct, and innovative wines using low-intervention, ecologically responsible farming practices with rare indigenous grapes.“More near term, consider the fact that Mencía was essentially a forgotten grape pre-Álvaro Palacios some 25 years ago,” Goldstein continues. “Producers like Alberto Orte have identified more than 200 old clones and 22 forgotten varieties, including Beba, Canocazo and Mantuo Castellano.” This is happening in well-known regions like Rioja and Ribera del Duero, but also in lesser-known regions, like Ronda near Málaga.
CHALLENGE ACCEPTED
Juan Carlos Sancha is on a one-man mission to reverse the trend kicked off in the 1980s of planting Chardonnay, Cabernet Sauvignon, Merlot and the like in Rioja, and focusing more on popular native grapes. Much of his work can be enjoyed through his role as director of viticulture and enology at Bodegas Sancha. Currently, 14 varieties are approved in Rioja, and Garnacha, Tempranillo and Viura occupy more than 90 percent of the vineyard acreage, Carlos explains.
With the help of Fernando Martínez de Toda Fernández, a professor of viticulture at Universidad de La Rioja, he began visiting the old vineyards of Rioja to discover varieties on the edge of destruction. The rescue mission managed to capture 30 minority varieties which they preserved and replanted, including Maturana Blanca and Tinta, Monastel de Rioja and Turruntés. If these and other varieties are not preserved, Sancha says, “they will be lost to time, and we will lose our connection to our viticultural, enological and ecological heritage.”
Today, Sancha offers three lines of wines that produce 70,000 bottles annually. Ad Libitum, Peña El Gato and Cerro La Isa feature many of the native grapes he liberated from eradication, alongside Garnacha.
“Producers like Alberto Orte have identified more than 200 old clones and 22 forgotten varieties, including Beba, Canocazo and Mantuo Castellano”
Evan Goldstein, Master Sommelier
At Bodega Lanzaga, vintner extraordinaire Telmo Rodríguez is also at the vanguard of the movement to make terroir-driven, organic wines “de pueblo,” which is modeled on the ancient tradition of small-parcel wines. “My parents instilled in me the spirit of adventure. They found Remelluri, I was going to find some of the most beautiful vineyards of Spain,” Rodríguez told VOICES in an interview. “The journey took us 30 years. Our ambition was never to have the biggest winery and make a lot of money but produce the best wine in the world. We wanted to achieve that by doing something small, creating a new model.”
In Ronda, oenologist-in-chief Ana de Castro explains that Bodega La Melonera, with close to 50 acres under vine, was launched in 2003 with the sole goal of reviving a lost winemaking tradition that dates back 3,000 years. “In 2003, no Andalusian red grape varieties were known, but through a facsimile of an 1807 book The Varieties of Grapevines Growing in Andalusia written by a Spanish botanist named Simón de Rojas, it was clear that many red varieties were grown there,” de Castro says. “We felt an injustice, and wanted to bring to light such a valuable heritage.”
Over time, de Castro says that environmental benefits, which they had not considered
previously, emerged as they rediscovered and revived almost-lost red varieties like Melonera Rayada, Blasco, Romé, Tintilla de Rota and Quebrantatinajas, and whites like Vijiriega and Doradilla. “The grapes are perfectly adapted to our land, with thick skins and high acidity, making them capable of withstanding the high temperatures we experience in the summer,” she says, adding that by the time they found the grape with the help of a local government research center, there were only five Rayada Melonera vines left.
FARMING FOR THE FUTURE
Winemakers are also increasingly eager to make more responsible farming choices, believing that organic viticulture creates tastier wine, while also building healthier vineyards for the future. Susana Portabella explains that the organic and Demeter-certified Raventós i Blanc actually withdrew from the Cava DO in 2012 to work toward creating a new appellation that the team believed would set higher standards in wine production, and require stricter farming and winemaking standards.
“We reduce carbon emissions as much as possible,” the winery’s director of communication explains. “Land, vines, animals and man work together as an agricultural whole. Our
Previous page and this page, Raventós i Blanc, the well-known Raventós family-owned producer of sparkling wines in Spain. Pepe Raventós and his father Manuel Raventós have been working together since 2001
estate has become a true refuge for biodiversity where the dense forests, the lake, the river and the riverbanks teem with life.”
The estate is more than just vineyards and winery, Portabella says. It has been in the Raventós family for 21 generations, since 1497. “This is a legacy of which the family is tremendously proud,” she says.
Raventós has, like other pioneering growers, focused on reviving ancient grapes like Sumoll and Malvasia de Sitges, because they are, Portabella says, “adapted to drought, heat and cold. Unlike Macabeo or Parellada varieties that lose acidity in hot summers, Sumoll and Malvasia de Sitges maintain it well.”
MARKET READY
Wine lovers are thirsty for diversity. “Consumers are looking for unique wines, specific to their origin,” says Portabella. “The autochthonous varieties are adapted to the soils and climate of their areas of origin, and they give us unique wines with different characteristics. Consumers want wine with personality.”
It’s true. While I will never tire of thoughtful expressions of Garnacha and Tempranillo, how delicious that wine lovers can now taste carefully produced wines featuring varietals like Melonera Rayada, Maturana Blanca and Quebrantatinajas.
In Ronda, Bodega La Melonera, with close to 50 acres under vine, was launched in 2003 with the sole goal of reviving a lost winemaking tradition that dates back 3,000 years
As the Rioja region introduces new, hyper-local labeling guidance, Nargess Banks quizzes star winemaker Telmo Rodríguez of Bodega Lanzaga on the potential impact of the new terminology
Rioja has new rules. For 2024, the wine region’s ruling body, the Consejo Regulador (DOCa), has implemented several significant changes aimed at encouraging producers to highlight the unique characteristics of their wines, while reflecting the specific terroirs of their vineyards.
Changes include labeling terminology. “Vino de Pueblo” replaces the term “Vino de Municipio” with the view of allowing producers to explicitly highlight the specific village, or pueblo, where the wines are made within the 144 official municipalities in the Rioja wine country. What’s more, Vino de Pueblo wines can now contain up to 15 percent of grapes or wine from a neighboring village or municipality to allow the winemaker more flexibility.
Meanwhile, the new labeling term “Viñedo en,” which roughly translates to “vineyard in,” indicates that the wine is made entirely from grapes grown in a a specific vineyard in a specific village. This allows producers to highlight the precise origin of their grapes, emphasizing the terroir of that particular location.
With the new rules of Rioja, the DOCa has also implemented enhanced labeling requirements to emphasize regional specificity.
This means that Rioja wines must now be labeled according to one of the three official zones: Rioja Alta, Rioja Alavesa, and Rioja Oriental. The goal of these rules is to maintain and highlight the distinct characteristics and qualities associated with each of these specific wine-producing regions within Rioja.
We spoke with Telmo Rodríguez, founder of Bodega Lanzaga, to gain an insight to his views on the new Rioja rules and, in particular, the inclusion of the pueblo on the bottle label.
What are your overall impressions of the DOCa changes to labeling, categorization and classifications, and will they have a positive impact on the producers domestically and on the global market?
I believe it is heading in the right direction. Providing more information and moving away from a system that conceals the origin of wine, I think is a good thing.
What are your views on the new labeling rules, specifically the inclusion of “Vino de Pueblo” on the bottle?
The inclusion of “Vino de Pueblo” is a welcome development. Historically, Spanish wines were identified solely by the village name, as we
Previous page and this page, Telmo Rodríguez at Bodega Lanzaga. Final page, Rodríguez and his business partner the winemaker Pablo Eguzkiza at the prestigious winery in Spain’s Rioja region
lacked a classification system for territory or land quality. In my view, the village name is deeply embedded in our culture, and its resurgence is excellent news.
Equally, do you see including the term “Viñedo en” as a positive message for Rioja producers? For me, “Viñedo en” indicated that the wine came from a specific vineyard in a particular village. I believe it is crucial to emphasize this movement back to the land.
Do you feel the enhanced labeling for zones (Rioja Alta, Rioja Alavesa, Rioja Oriental) will help with the focus on regional specificity for producers?
The basic classification of three zones was ineffective, as it oversimplified the territories. If you ask around, very few people truly understand what these zones represent. Therefore, educating consumers about the differences in production zones should be interesting. However, it’s important to remember that in Rioja, blending is unrestricted.
Telmo Rodríguez and Pablo Eguzkiza, winemakers and owners of Bodega Lanzaga, discuss the latest vintages from the Rioja estate
The wines that we are releasing this year are from the 2021 vintage. It was an exceptional year in terms of both quantity and quality. Some vineyards like Falcoeira and Arrebatacapas were generous for once, and have rewarded us with a great harvest, perhaps in celebration of these 30 years of great adventure and happiness.
The wines that we are releasing this year are from the 2021 vintage. It was an exceptional year in terms of both quantity and quality. Some vineyards like Falcoeira and Arrebatacapas were generous for once, and have rewarded us with a great harvest, perhaps in celebration of these 30 years of great adventure and happiness.
LA ESTRADA 2021
With its small production, La Estrada is a special plot which has long fascinated us for its depth and balance. The tiny 0.64 hectares vineyard is at 610 meters a.s.l., located on the highest and most western part of the village of Lanciego, facing northeast and situated on a slope of pure chalk clay. Planted in the 1940s and managed with traditional bush pruning, it used to be mostly field blended with Tempranillo and a little Graciano.
The 2021 vintage began with a dry winter and spring, followed by a mild summer. The year was marked by a hailstorm on June 3, which occurred in the middle of flowering and decimated vines in the southern to northeastern areas of the village of Lanciego.
La Estrada was not affected in the same way, as it is located in the western part of the village. In addition, the 150 liters of rain that fell during the first fortnight of June made the fieldwork considerably more complicated and led to the smallest harvest on record. Harvesting started on October 10 with excellent grape health and bunches that were small and well aerated.
La Estrada 2021 is a wine with approachable tannins, great color, acidity and depth. They say that hailstorms are very haphazard, and it is true – we cannot enjoy the 2021 vintage of El Velado, as it was affected by the storm on June 3.
1,941 BOTTLES PRODUCED
LAS BEATAS 2021
Las Beatas is a wonderful site, capable of providing water to the vines regularly, as only grand crus do. The 1.9 hectare vineyard sits in the northwesternmost area of Rioja Alavesa, where the continental Miocene conglomerates are mixed with sandstone and marl outcrops from the late Tertiary. Ten levels of terraces face east, south and northwest and where old vines combine with young vines and where eight, maybe nine local varieties are cultivated.
The 2021 vintage benefited from ideal weather conditions during the ripening period and harvest. We experienced a brief but cold winter followed by a very dry summer with high temperatures, which initially delayed the start of veraison. However, unexpected storms and accompanying winds in early September accelerated the ripening process, resulting in an early harvest. We started harvesting on September 30 with a good quantity of healthy grapes. Las Beatas has been aged exclusively in a 1,200-liter foudre in our very old and cold cellar.
1,521 BOTTLES PRODUCED
TABUÉRNIGA 2021
Tabuérniga is an extraordinary place in the historical village of Labastida, where viticulture has been maintained for over 1,300 years, and where medieval wine presses carved in rocks amongst the vineyards watch over the heritage of former times. The plot lies in a small, vertical, and secluded valley, where shorter vegetative cycle varieties produce a wine of distinct character – sober and austere, yet full of depth and elegance. Situated at an altitude of 540 to 630 meters, these narrow, historic terraces are cultivated organically with deep respect for tradition, yielding a magnificent wine.
In 2021, we experienced a cold winter followed by a dry summer with high temperatures. The ripening and harvest period were particularly favorable due to ideal weather conditions. The dry summer delayed veraison, but early September rains helped the cycle catch up, ultimately leading to an early ripening. Windy days maintained the healthy condition of the grapes, and the significant temperature contrast between day and night ensured perfect ripening. We began harvesting on October 6 and completed it two days later.
3,812 BOTTLES PRODUCED
Led by visionary winemaker Telmo Rodríguez, Bodega Lanzaga is re-shaping the conversation of what defines “Rioja.”
TEAM
Vibrant, welcoming and inclusive, Atlanta’s wine bar scene brings together talented experts set on forging their own unique paths in the industry, finds Cathy Huyghe
SPIRIT
Below, Elemental Spirits Co. is about community not competition. Opposite, mixologist Keyatta Mincey Parker established A Sip of Paradise Garden for bartenders to grow their own ingredients and also take a meditation or yoga break during planned community events
In Atlanta, wine is a team sport. Meaning, it’s best experienced communally –with friends and teammates, both as a consumer and as a member of the trade who are responsible for shepherding wine into the hearts and glasses and retailer shelves all around the city. As the latest city reviewed by the Michelin Guide, Atlanta has amped up the zhuzh of its wine profile and embraced the very wide diversity of its wine-loving community.
The communal nature of wine in Atlanta is perpetually on display, both “on camera” and behind the scenes, in a myriad of forms. The underground “supper club” beginnings and ongoing friends-just-hanging-out vibe is palpable at local favorites like Staplehouse in the historic Old Fourth Ward, and at Gunshow where the chef who prepared the dish presents it themself to the guest at the table, and at the high-interaction Bovino After Dark, where guests perch on 14 seats at a bar facing the open kitchen.
Further underscoring the communal atmosphere of Atlanta’s wine and food landscape are the member-based clubs dotted throughout the city, including the Buckhead jewel of Warhorse and the latest upstart The Vine Club in Adair Park. They tap into a consumer desire for
exclusive familiarity: curated, self-selected, limited-access, IYKYK (“if you know, you know”), all while showcasing some of the best drinks and kitchen talent in the city.
The wine trade itself has their own landscape of welcoming spaces throughout Atlanta to commune with other professionals. Chelsea Young, founder of The Oenophile Institute, points to the top-tier sommelier and blind-tasting events that bring competitors to Atlanta from around the world. Mixologist Keyatta Mincey Parker established A Sip of Paradise Garden for bartenders to grow their own ingredients and also take a meditation or yoga break during planned community events. There are also restaurants and wine bars that “bridge” wine trade and consumer experiences, such as Octopus Bar, a late-night venue that welcomes consumers and also caters to servers, chefs and other hospitality workers after their shift ends.
SUPER LEAGUE
If wine is a team sport in Atlanta, then women are its MVPs (“most valuable players”). Amanda Kimbrough, top-performing salesperson at wine wholesaler and importer Avant Partir, started the now-powerful Women in Wine ATL network in the fire pit of her apartment complex with a handful of colleagues. “It’s about community,
not competition,” says Jesse Kirkpatrick, director of customer experience at Elemental Spirits Co. in the Poncey-Highland neighborhood. “We hire each other for jobs, and recommend each other for jobs. We give each other feedback and intel, like this place is good or this other place left me hanging. It feels like a group of women who have felt unaccepted at some point, and we’ve banded together because of it.” The group has also crowd-sourced funding for members to prepare to take the barrier-breaking sommelier exams, whose heavy price tag has traditionally been an obstacle to career growth.
The Women in Wine ATL network has grown into an exceptional, inclusive, trusting, supportive resource for Atlanta’s community of wine stars and stars-to-be. Its members also represent the evolution of wine locally, from a staid, divided and crusty lineage to one that is far more dynamic, welcoming and curious. Fitzpatrick and others at Elemental Spirits Co., for example, comprise an almost all-female staff; Cory Atkinson, the shop’s owner, intentionally created an environment where women feel safe and comfortable shopping and are not greeted by a security guard at the door.
It’s a very different and Atlanta-specific feel, especially compared to times past. Tim Willard of Dive Wine Bar, an exceptionally successful
“We are minority-led, and that makes us wildly unique and welcomes way more people to the table. We don’t have to be a market like New York or other places that have their own vibes and standards. We get to set our own”
Kaitlin “Jett” Kolarik, bartender, Commune
series of local pop-up wine bars, says that today “we are pushing, racing and clawing our way past the barriers, and may just be on the cusp of becoming something all our own.”
Kaitlin “Jett” Kolarik is a bartender at Commune wine bar, which is described as a wine bar and listening room made for enjoying music together. Kolarik says that Atlanta is a “huge market for people who aren’t the old-school wine types [see: old white guys] which leads to way more creative events, shops, etc. We are minority-led, and I think that makes us wildly unique and welcomes way more people to the table. We don’t have to be a market like New York or other places that have their own vibes and standards. We get to set our own.”
This page, above and left, Elemental Spirit Co. and, below, Vine Club. Opposite, Dive Wine Bar is a successful series of local pop-up wine bars, and community activity at A Sip of Paradise Garden
Currently celebrating the 20th vintage of its iconic Ilatraia, Brancaia is a dynamic Tuscan winery with young roots. Chandra Kurt visits the estate to learn how consultant Carlo Ferrini’s mentorship helped Barbara Widmer chart her own path
STAR STUDENT
Tuscany is one of the most historic wine terroirs of Italy, and the wine culture here dates back many centuries. It is said that Leonardo da Vinci’s father raved about a glass of Frescobaldi. That was in 1480. Today, many noble families – Frescobaldi, Antinori, and Ricasoli, to name a few – continue to produce wine in Tuscany, with their wine knowledge passing down through generations.
But Tuscan wine doesn’t only originate from these historic estates. There are also those who came here not so long ago, fell in love with this amazing terroir and began making wine.
Brancaia is such a winery. Owned by the Swiss family Widmer since 1981, it is now successfully managed by winemaker Barbara Widmer. Barbara, together with her team, vinifies a range of fine, terroir-typical wines with strikingly modern labels.
As is common in winemaking, especially in the early years of a new winery, Brancaia has improved its knowledge of the terroir and honed its winemaking skills with the help of local consultants. These experts help make all kinds of decisions: from where to plant the grapes, how best to cultivate them, when to harvest, what equipment to invest in, vinification processes, and even which kind of blends to create. Sometimes, with good fortune, these relationships take on a deeper meaning, forging a lifelong bond between mentor and protégé.
Enter legendary Tuscan wine consultant Carlo Ferrini, who has worked for Brancaia since 1992. A serial winemaker of the year award-winner, the Tuscan-born specialist began his career working for the Chianti Classico’s growers’ association, later becoming a consultant for over 100 Italian wineries, from small producers to leading brands.
“When I took over the day-to-day business, Carlo helped me to find the way from theory to practice, to learn step by step and finally to find my own way,” recalls Barbara, who joined her family in the winery in 1998. “With his open and sensitive manner, he accompanied me on this path and will hopefully continue to do so for many years to come.”
This page, Brancaia’s Ilatraia at 20 and the estate’s Tuscan vineyards. Opposite, Chandra Kurt with wine consultant Carlo Ferrini and Brancaia owner Barbara Widmer
Carlo agrees. “With Barbara I have a wonderful relationship that has lasted a long time. Over the course of these long years we have had the opportunity to talk at length about many things, to learn more and more about our objectives especially regarding the creation of wines close to our sensations. Both for the wines of Brancaia in Chianti Classico and for the wines of Maremma.”
It helps that Barbara and Carlo share a common goal, have respect for one another, and have maintained clear divisions in their roles. Carlo, for instance, is not and has never been responsible for product development. So when Barbara started developing the concept for a Maremma blend, Carlo deferred to her vision. It was Barbara who conceived all aspects of the new wine; it is her expression of Bracaia’s coastal terroir. Her idea was to create something very different from Il Blu, the estate’s renowned wine from its home in the forests of Chianti. Carlo encouraged Barbara’s vision during the exploration of trial blends. And in 2002, he supported her, saying that they were ready to launch the first Ilatraia wine.
In the logical fashion those close to Barbara know her for, she enumerates first the quantifiable benefits of the relationship. “The strength of an external consultant like Carlo is that in his role he brings the professional view from outside,” she offers. “Through him we have acquired knowledge about techniques, products and machinery without having to buy and try everything ourselves. Considering that most tests in the wine industry take at least five years to get a serious result, this is a very important point.” She adds the personal at the end of her summary: “Of course, over the years we have developed a close friendship that is very important to both of us.”
I asked Barbara what was and is the most important lesson that she learned from her mentor. “Carlo certainly instilled in me this pursuit of absolute elegance in a wine,” she admits. “The perfect harmony of grape variety, terroir and vintage, which can only be achieved with the perfectly ripe grape. Carlo loves to say that the three most important things in a wine are elegance, elegance and elegance.”
1992
The legendary Tuscan wine consultant Carlo Ferrini, who has worked for Brancaia since
“Carlo certainly instilled in me this pursuit of absolute elegance in a wine – the perfect harmony of grape variety, terroir and vintage, which can only be achieved with the perfectly ripe grape”
Barbara Widmer, Brancaia owner
TOP TWENTY
Having tasted every single Brancaia Ilatraia
vintage, Chandra Kurt reports on the subtle and distinct notes of each of the 20 made in Maremma wines
Ilatraia is a hill on the Brancaia estate that is named after the ilatri, or green olive trees, that once covered it in the 19th century. Today they have been replaced by the best Petit Verdot. Initially the wine was a cuvée of 60 percent Cabernet Sauvignon, 30 percent Sangiovese, and 10 percent Petit Verdot. Since 2009 Ilatraia has changed the formula. Now it is a blend of 40 percent Petit Verdot, 40 percent Cabernet Sauvignon, and 20 percent Cabernet Franc.
2002
Very delicate and dense. Has leather and balsamic notes. Prunes, a little chocolate and bay leaf. Has a lovely freshness and elegance in the finish.
2010
Not sure the bottle was good. Restless aromatic with a dominant acidity. The tannins are taut and tart.
2003
Notes of ripe wild berries, blackberries and raspberries. Lots of temperament and generous aroma. Ready to drink.
2011
Very complex and deep. Notes of cassis, black chocolate and cedar wood. Shows a multilayered aromatic and seduces sip by sip.
2004
In the style of the 2002 vintage, dense and rich. Has aromas of cassis (blackcurrant), leather and a balsamic note. Chocolate and fine leather. No sign of tiredness.
2012
Mega elegant and charming. Has a floral note and lots of freshness. Roses, cassis and silky tannins. Has an almost Burgundian charm.
2005
Sweet fruit notes of blackberry, cassis and leather. Tannins are very silky and taut. Wonderful freshness in the finish and anything else than tired.
2013
Beautiful, elegantly balanced and full of freshness and finesse. Similar style to the 2012, but with even more power. An elegance with lots of grande bellezza
2018
Solid, elegant and full-bodied. Confident, dense and with cassis and chocolate notes. A wine full of power, elegance and complexity.
2019
Wow – powerful and dense. What more could you want? Elegant, typical and deep with an incredible length. Cassis, chocolate, tobacco and blackberries. Best vintage so far.
2020
Cassis concentrate, blackberries and complexity. Modern style with amazing aromatic presence.
2021
Wow – has a lot of charm and elegance. Almost a floral note. Charisma. Roses, cassis, blueberries and black cherries. As good as it gets.
2006
Is very, very complex; dense and concentrated. Notes of black cherries, liquorice and prunes. Seems powerful and a little restless. Has a power of its own. The tannins are broader and also more noticeable.
2014
Cassis aromas and some ethereal notes in the scent. Wow – lots of freshness, melting, elegance and radiance. Now has a perfumed note. Balanced and dense. Firm tannins. A champion that is sure of itself. Pure elegance.
2007
Lots of freshness, finesse and tension. Dances through the palate and is super elegant. Roses, liquorice, blackberries. Great freshness in the finish and also fine, firm tannins. A wine that radiates.
2015
Dense, elegant and full of power. Notes of leather, blackberries and ripe fruit. Has a New World style. Chocolate and coffee in the finish.
2008
Last vintage with Sangiovese. Spicy with notes of cedar, mandarin orange peel and dark fruit. Has depth and freshness at the same time. Is full of orchestral notes.
2016
Has elegance, depth and a Cabernet character. Finesse and freshness are central. No show-off. Structure and depth. Not loud, but intellectual and pure elegance.
2009
New Style – Bordeaux blend. Power, density and melting. Notes of dark fruit and leather. Is an oldschool Bordeaux-style. Coffee and roasted aromas. Still full of freshness and cassis in the finish.
2017
Dense, tight and a bit more modern than the others. Has pressure and depth. Dark fruits and cool tannins. A mature wine.
MASTER CLASSES
Nargess
Banks investigates how young winemakers look to seasoned maestros for inspiration and guidance, perpetuating their hard-earned knowledge and techniques
In the early 1990s, Countess Noemi Marone Cinzano invited the celebrated oenologist Giacomo Tachis to Argiano. The former owner of the Montalcino estate – she sold the winery to the Brazilian entrepreneur André Santos Esteves in 2012 – hoped to learn a thing or two from the “father of modern Italian winemaking.” Tachis had, after all, helped craft the prestigious Sassicaia in the late 1960s, a wine that went on to become the cornerstone of the Super Tuscan movement. At Argiano, Tachis identified the terroir to be ideal for cultivating international varieties. He also went on to create Solengo – as in “lone wild boar” – a blend of Cabernet Sauvignon, Merlot, Petit Verdot and Sangiovese which, with its 1995 vintage, was the pioneering Super Tuscan of Montalcino.
Bernardino Sani, Argiano’s current CEO and winemaker, worked with Tachis in the harvest of 2002. He was interning as a young oenologist during his studies at Florence University, and the maestro was in his final year working as a consultant at the winery. Although their partnership was brief, Tachis shared much knowledge with the young Sani, who has since built a portfolio of wines at Argiano that continue to gain international acclaim for their refinement and unique expressions.
Sani describes that first 1995 Solengo vintage as “a wine with great quality and amazing personality.” Then, when Tachis left Argiano in 2003, the wine went through “a more dusty period,” he observes. A decade later Sani joined the winery as winemaker. “Since vintage 2015, I have been rediscovering Tachis’ methods, and returning Solengo to its original splendor.” He describes how the blend changed after Tachis departure, as did the style of wine and production. “We started to bring back the great quality standards of Tachis’ times.” Today the Solengo blend is mostly 60 percent Cabernet Sauvignon, with the Merlot and Petit Verdot percentages altering from vintage to vintage. “In the future, I will add Cabernet Franc which has been planted this year.”
Sani admits, “Tachis was a great winemaker and I learned a lot listening to the people who worked with him, such as the old cellar master of Argiano, Adriano Bambagioni. One trick I have learnt is to use three to five percent Sangiovese in the Solengo blend to give some freshness and salinity.”
He also cites the agronomist Francesco Monari who, through an extensive mapping survey at Argiano, has been instrumental in helping Sani identify each vineyard’s unique soil composition and thus use the optimal parcels for each of the wines. “Viticulture is the most important part of our job. I learned from my colleague Francesco but also from traveling and working in different climate conditions and terroirs – listening to the greatest producers. Argiano has a perfect terroir for Sangiovese, but also for Cabernet Sauvignon and Petit Verdot, and so I believe that it deserves to make an amazing Super Tuscan.” Today, Sani continues to be mentored by the renowned Tuscan oenologist Alberto Antonini, admitting, “he is the winemaker who has helped me the most with my viticultural approach.”
“The thing I tried to do as a winemaker from the 2015 vintage on was to rediscover Tachis’ methods and bring back Solengo to its original splendor”
Bernardino Sani, CEO and winemaker at Argiano
Previous page, left, Francesco Allegrini at the Allegrini cellars in Valpolicella. Right, Bernardino Sani at Argiano in Montalcino. This page, Argiano's Solengo, the Supertuscan of Montalcino, has just been released in a 1.5L magnum
GENERATION GAME
Generational knowledge is also a powerful form of mentorship, something you often see within family-owned legacy wineries such as Allegrini in Valpolicella. Giovanni Allegrini was a key figure in the estate’s modern success, instrumental in modernizing the winery, and enhancing the quality and reputation of its wines internationally during his time as CEO and winemaker. When he passed away in 1983, he left winemaking duties to his son Franco, who continued to build on his father’s legacy, and in turn imparted his wisdom to his son Francesco.
A wine beautifully capturing this generational spirit is La Poja. Introduced with the 1983 vintage, it was a passion project for Giovanni who insisted on making a wine solely from the indigenous Corvina grape. He acquired a plot on Sant’Ambrogio’s La Grola hill in the Valpolicella Classico area, where he planted vines at an altitude of 380 meters above sea level. It was a decision his grandson Francesco Allegrini, the estate’s current CEO, admits was a rather unconventional act – his peers thought it was a crazy move – in 1980s Valpolicella.
As was making a wine with only the Corvina grape, since the Valpolicella DOC rules at a time insisted the need to blend a percentage of the local grape Rondinella, which meant La Poja was originally classified as a vino da tavola.
“At the time we didn’t want to create a wine like Amarone, but to obtain the maximum expression of the Corvina grape. So, we produced La Poja without the appassimento process,” explains Francesco.
His father Franco was also instrumental in passing knowledge when it came to La Poja. Having worked at the winery since the 1960s, the oenologist identified that La Poja would only be made from the higher parts of the vineyard, while the lower plantings would be used for Allegrini La Grola, a blend of Corvina and Oseleta. Today both wines are identified as Veronese IGT.
“For my grandfather, the wine was the culmination of a dream, born from his intuition of the great potential of a rocky, hard-to-cultivate soil,” recalls Francesco. “For my father, it became a symbol of perseverance and pushing boundaries. In the early years of production, especially at its debut in 1983, the wine produced did not meet the high expectations. It was perseverance and the desire to unlock the true potential of this magnificent vineyard that led to La Poja’s eventual acclaim. Reflecting on the history of this wine allows me to identify the values that inspire my daily work.”
Allegrini’s La Poja wine is made only from Corvina Veronese grapes from the Allegrini estate near Lake Garda
THINK
BIG
A magnum exudes a sense of celebration. The impressive 1.5-liter bottles not only look fantastic and signify a special occasion, but they are also often produced in limited quantities for an air of exclusivity. The sheer size also matters since wine in a magnum bottle can show better aging potential, developing and maturing more gracefully than it would in a standard bottle. There is a lower ratio of air to wine which slows the oxidation process so the wine often develops more complex flavors and aromas over a longer period.
“The 2022 Solengo will have the texture of a great Bordeaux with a Tuscan smile on it,” says Bernardino Sani, CEO and winemaker at Argiano. His Montalcino estate has just released the 2022 vintage of Argiano Solengo in a 1.5L magnum.
Allegrini’s La Poja vineyard is a triangular limestone-white plot of land surrounded by olive trees and cypresses
A benchmark producer of structured and elegant Amarone, as well as a leader in Valpolicella for terroir-driven IGT wines.
AGENTS OF CHANGE
Jordan Mackay speaks with Stevie Stacionis, co-founder of Bâtonnage, a multifaceted organization supporting women in wine
Equally a public event, forum, mentorship program, and support system, Bâtonnage was co-founded by wine shop owner Stevie Stacionis and wine writer and educator Sarah Bray, and has been a rousing success since its grassroots debut forum in Napa in 2018.
I’ve known Stacionis for over a decade. From our first encounter she made an impression, exuding a rare luminance, mighty intelligence, and easy charm – traits that have carried into her work in wine as a communications director, community manager, writer, and as co-owner (with her husband) of the excellent Oakland wine shop Bay Grape and restaurant Mama. I caught up with her to discuss the origins and success of Bâtonnage.
What was the inspiration behind Bâtonnage? My general approach to figuring things out is having as many conversations with as many people as I can. I have always operated under the assumption that I can’t be the only one feeling this way. One of the huge tragedies of society today is that people don’t talk enough about what they’re going through, so we all live in this pretty powerful isolation and anxiety.
I spent a lot of 2017 having these conversations, saying: “I’m really in a rough place.” Not just personally with what we went through in our child’s first year and the wine shop, but everything in the world seemed awry. The more I initiated conversations the more others opened up about their challenges. It started to feel as if something big was dwelling under the surface, particularly in conversations I had with other women in the wine industry.
So how did that initial impulse then become a thriving event?
In December 2017, on a widely heard Guild of Sommeliers podcast (GuildSomm, the educational branch of the Court of Master Sommeliers, where she was community manager), I asked the question: “What do you hope will happen in 2018?” My hope was that something comes about like the Cherry Bombe Jubilee for women in food, where women in the wine industry can talk about the unique challenges and opportunities we face, and where all of this simmering discontent can be addressed while beginning to chart solutions. Suddenly, people started asking me, “When are you going to do that thing you talked about?” I didn’t say I would do it, I said someone should. They said that someone is you.
So, I asked a few friends if we all got together, at the shop or in somebody’s backyard, and just hung out and drank some wine and talked about our common issues, would they want to come? Everyone said yes, and asked if they could bring along some friends. Thank goodness the brilliant Sarah Bray came on, since she has organizational skills and vision for partnerships and event production which I don’t.
Were those initial expectations met?
What I thought was going to be 30 or 40 of us sitting on the ground in (winemaker) Sam Sheehan’s backyard turned out to be over 300 people. That was May 2018, just six months after I ran my mouth on the podcast. This year’s event was hosted at the Artesa winery with a much more professional vibe – a one-day forum with a panel discussion, breakout sessions, and a walk-around tasting of women winemakers.
For the uninitiated, what does Bâtonnage mean? In winemaking, Bâtonnage is the technique of stirring up dead yeast cells that have settled as fine sediment at the bottom of a vessel of maturing wine. By reincorporating all this old dead matter through stirring it up, you are imparting freshness and texture and complexity, and it ultimately acts as a natural preservative. So, the analogy of what we’re doing with this conversation about all we have had to deal with as women in wine is agitating the culture and the conversation to impart freshness and texture and complexity and perhaps serve as a preservative for our industry. I can’t remember which member of my Bay Grape team came up with it, but I thought it was brilliant.
Specifically, what issues do you try to address with Bâtonnage?
We ask our community what real-life issues they’re facing, and what recent challenges they did not feel equipped to handle, or tried to handle and didn’t get the desired result. This year our main panel focused on mentorship and what it truly means to be a mentor. Other topics we addressed were negotiation, boundaries, communication, child-care and caretaking, recognition, competition, and gender expectations. In breakout sessions we hear from everyone on a smaller level, learn about approaches and techniques. For example, the topic of competition during the breakout sessions looked at tactics for overcoming zero-sum attitudes and the idea that women must compete with one another to win a limited number of seats at the table. We asked how women can communicate more practically and confidently to
“If we can model differently, we are bringing up a whole new generation with much more positivity”
Stevie Stacionis, co-founder of Bâtonnage
make themselves heard and get results without worrying about their perceptions or exceptions.
What excites you most about these sessions? What I love is the grassroots spirit, rolling up our sleeves and getting to work. That’s the spirit of Batonnâge, it’s collaborative. It’s not about speechifying or venting; we start doing the work then and there.
I’m compelled by the focus on mentorship, a fundamental dynamic that seems in such short supply these days.
I have this phrase that helps me understand why things are hard in the world: “No one taught me that yet.” It’s an alert and admission that of course we make errors or lack efficiency or whatever because no one showed us any other way. If we can model differently, we are bringing up a whole new generation with much more positivity. You can’t just put women into leadership roles and say: okay, go do it. Having conversations is the first step, but actually developing future leaders is crucial.
The response to Batonnâge justifies all the work. Do you think it’s making an impact? Of course, I hear from other women, but I’ve also seen myself over the last seven years make noticeable changes in the ways I deal with all kinds of things, from the way I see our vendors and onboard team members to handling various situations, and it feels really good.
BEYOND THE CELLAR DOOR
Continuing our series on fine wine investment, Suzanne Denevan-Brown looks at how the fine wine market needs to bridge the gender gap and welcome more female collectors
In our investing series, we have been examining the factors that create a broader, more accessible path to investing in wine. In this article, we investigate the participation of women in wine investment. Evidence suggests that the entry points into this lucrative market – fine wine retail and collections – might be subtly dissuading women from participating.
The investment world, with fine wine as no exception, has long been male-dominated, although a 2020 McKinsey & Co paper already heralded "Women as the next wave of growth in US wealth management." This historical precedent has not only influenced who participates in wine investment but also how women perceive their place within this sector. The echoes of past exclusions reverberate in the present, shaping perceptions and opportunities.
Social networks play a pivotal role. Wine investors were primarily the elite clients of fine wine merchants and auctioneers. These networks were essential for gaining insider knowledge and opportunities. Even today, with the advent of online platforms and global wine investing access, these networks remain critical access points for investors. In 2022, the total auction market for wine was just over $500 million, and the two largest auction houses (Acker, Merrall & Condit and Zachys) are also retailers. Additionally, Berry Bros. & Rudd, a highly esteemed wine merchant in the UK, runs its own “exchange” – enabling collectors to buy over 8,000 wines from one another.
Given the inherently social aspect of wine connoisseurship, it’s unclear if the online platforms for investment will recruit more women into the investment pipeline. Most of the new investment platforms tout welcoming a younger, more global consumer – not necessarily a female one.
THE FUTURE IS FEMALE
Women wine drinkers already are a large and profitable client base. Across luxury wine purchases, women identify as the sole decision-maker over 70 percent of the time. Further, at the highest income bands ($500,000+), wine-drinking skews more female than male. And wealth is rapidly shifting toward women, as highlighted by a 2022 research paper by Gallo Luxury Consumer Understanding. In 2020, American women controlled about $11 trillion in assets. That control is estimated to nearly triple to approximately $30 trillion by 2030. A sizable wealth transfer that is nearly equal to the GDP of the US.
TODAY, WOMEN IN THE UNITED STATES CONTROL $10.9 TRILLION IN ASSETS
VALUE OF ASSETS CONTROLLED BY GENDER, $ TRILLION
ASSET BAND
$100,000$249,999
$250,000$499,999
$500,000$999,999
$1,000,000$2,499,999
$2,500,000$4,999,999
$5,000,000 or more
Source, McKinsey & Co, 2020
Note: Figures may not sum, because of rounding. Source, Federal Survey of Consumer Finances; $100,000+ in wealth and 25–75 years old; McKinsey analysis; n=9,434 ($100,000+ in investable assets and age 25–75); women n=2,889, men n=6,545
Those who can welcome women by addressing their passion for it as a lifestyle will likely have a competitive advantage in winning this cohort. Women and men share a desire for learning about wine, however women are less confident in defining the wines they already like.
To bridge this gap, there’s a growing need for the fine wine market to evolve its marketing and engagement strategies. The industry must adopt more inclusive practices that recognize and target potential investors across genders. For instance, offering education that addresses women’s interests in building their discernment skills without being patronizing. Additionally, increasing availability of education in categories that have historically welcomed women and correlate to their spending, such as Champagne. Savvy wine retailers and asset managers will grow their business by focusing on capturing the attention of women investors.
WINE INTEREST
I’m happy with the wines I currently drink and have little interest in exploring new options
Wine is fun to explore; I’m learning what I like in a wine I’m very interested in wine, seek opportunities to learn more about, and taste different wines
Wine is a lifestyle for me; I invest time and money to explore, collect and experience wine FEMALES
V I S U A L
Author, art-world insider, serial entrepreneur and Yale University teacher of art economics Magnus Resch offers a crash course on investing in fine art
Art can be a risky investment. Your latest book, How to Collect Art, is packed with data-driven insight into why and how we can. So why should we invest?
Research for the book showed that investment success in the art world typically applies to a small group of artists. So why invest in art if there’s a slim chance of recouping your money? My answer revolves around the concept of “responsible buying”: the idea that acquiring art is not just a financial transaction but also a philanthropic act. I view it as a donation rather than an investment, knowing that I might not resell the piece. This approach also supports the artist. It’s a way to contribute positively, with the added bonus of owning something I love and a story to share. This idea is central to my book: understand why you’re buying art and be informed about how to buy it. Prominent collectors exemplify this approach. For instance, singer Alicia Keys and her husband Swizz Beatz have their Dean Collection, which focuses on supporting
primarily African American artists, including Kehinde Wiley and Mickalene Thomas.
Can anyone become an art market expert even without an art history degree?
Yes. Art is subjective, and understanding its value relies on personal preferences and strategic questions. Do I appreciate the work, gallery, and artist? What institutions has the artist exhibited at? Does the asking price fit within my budget?
The art market has a mixed reputation. What advice would you give someone starting out? The art market does have a mixed reputation, but with the right approach, it can be rewarding for newcomers. My advice for beginners is to start with research. Learn about the market through books, newsletters or Instagram. Networking is also key – build relationships with artists, collectors, and gallerists to gain valuable insights. Define your preferences by understanding what styles, mediums, and artists resonate with you, and set a budget that
aligns with your financial situation. Begin with small, affordable pieces from emerging artists or lesser-known galleries.
Most importantly, buy art that you genuinely love and adds personal value to your collection. The first piece is never wrong and you will always remember it. So just buy whatever you like.
How do you determine the value of an art piece, especially in contemporary art?
It is essential to consider the artist’s network.
In the book, I studied the pricing strategies of 500,000 artists to uncover what makes an artist a valuable investment. The findings indicate that an artist’s success is significantly linked to the network of galleries they are associated with.
Only a few galleries truly matter, and artists who seek financial success should aim to exhibit in these spaces early in their careers. The first five to ten exhibitions are especially crucial, after which the trajectory becomes fairly predictable: artists who secure representation
ASSETS
by top galleries early on are far more likely to join the ranks of the elite. Conversely, those who miss invitations to prestigious institutions within their first five shows see their chances of breaking into the top tier diminish considerably. Rags-to-riches stories are rare in the art world.
What are your views on NFT and digital art investment?
The introduction of blockchain technology and its various applications has the potential to transform the art market in ways previously unattainable. The convergence of digital art, cryptocurrency, and blockchain technology will bring about a profound structural shift in the art ecosystem. Collectors will require artworks to be registered on the blockchain before purchasing. Artists will gain greater control over their creations and earn royalties from resales. This will result in a more transparent market with an increased number of collectors. Additionally, the art market will become more regulated, which is a positive development. However, this transformation won’t happen
overnight; it will initially require adoption by other luxury industries. The art market tends to follow rather than lead as an early adopter.
Was there a work of art you purchased which changed your life?
My journey as a collector began at 16, when I bought a piece by the German artist Rupprecht Geiger at Sturies Auctions in Germany for 400 Deutsche Marks. It marked the beginning of a transformative experience. The salesroom’s atmosphere, the thrill of high-priced art sales, and the excitement of bidding wars sparked a profound passion in me. This initial acquisition not only introduced me to art ownership but also inspired me to delve deeper into the art market. Living with and appreciating my first piece enhanced my understanding of the art world, shaping me into the collector I am today.
Magnus Resch is the author of “How to Collect Art” (2024, Phaidon), a resource for newcomers to the art market and seasoned collectors.
What makes for the best restaurant soundtrack and what does this say about the place, the wine, the menu? Can it be too loud, too quiet, too generic, too exclusive, too experimental? Jason Barlow investigates the politics of the ideal score
Music? I can’t live without it. Nor, it seems, can many of the world’s best chefs. Last year I met Massimo Bottura, the acclaimed Italian chef best known for his three-Michelin-star restaurant Osteria Francescana in Modena, and his wife Lara Gilmore, who were in London to promote their book Slow Food Fast Cars. The title could also include art – their restaurant Casa Maria Luigia houses works by Tracey Emin, Joseph Beuys and Damien Hirst, amongst others – but Bottura is also an avid vinyl collector.
“I’ve just bought a collection of original 1950s jazz records,” he tells me. “How many do I have altogether? Oh, 20,000 or more…” Then an assistant is hastily dispatched to the Rolling Stones shop on Carnaby Street to secure a store-exclusive copy of the band’s new album Hackney Diamonds, on red vinyl.
It’s surely no surprise that a chef should display such an obsessive attention to detail. It’s what they do: in sourcing the ingredients and preparing them, when choosing lighting or furniture for their restaurants, even in how they tweak the nose of the industry. But many shibboleths are dissipating, not least when it comes to how music is used – or how a chef is judged. In Pixar’s 2007 film Ratatouille, the
absurdly self-regarding restaurant critic is called Anton Ego, imperiously voiced by the late Peter O’Toole (though apparently modeled on former Italian prime minister Giulio Andreotti).
It’s very amusing, yet this evocation of stuffy old-school fine dining is a thing of the past, says two-Michelin-starred chef Tom Kerridge. “That’s a completely false perception. A great restaurant is about the vibe, the space, the energy and the food. The Michelin Guide is very good at understanding this. Things have definitely changed.”
Music, insists Kerridge, is fundamental to that. Some kitchens work in absolute silence, or as near to it as a working kitchen can get. But these places aren’t monasteries. “I’ve always been a big fan of music, because it brings a vibrancy. They’re difficult enough places to exist in without having some form of external encouragement,” Kerridge explains. Playlists are popular now, he adds, but his personal preference is to have the radio on. “When I was a younger chef, it didn’t matter so much, I just wanted ‘noise on’ for energy. But when you’re a business owner it’s important to know what’s going on. You’re affected by political decisions and global situations.”
Interestingly, when it comes to the music played in his restaurants – he has seven dotted
around the UK – Kerridge adopts different strategies. At the Butcher’s Tap and Grills in Chelsea and Marlow (“boozers, community-based pubs done really, really well”) a service called Music Concierge works with the team to devise a playlist that takes account of how the day evolves. Tuesday night, says Kerridge, is different to Saturday, although the connecting tissue is that there’s nothing worse than a silent restaurant.
At The Coach in Marlow, where customers sit at the counter and interact with the chefs from the open kitchen, there’s always music. Whereas with its more homely atmosphere, guests at the nearby Hand and Flowers will likely be listening to a mellow radio station which switches to a playlist at lunchtime, overseen by the pub’s longstanding chief barman, Anthony "Fro" Peart. The music is actually part of the duty of care Kerridge has to his staff; if it’s the same old thing on repeat, they might soon find themselves going through the motions. And that’s bad for business.
Meanwhile the flagship Kerridge’s Bar & Grill in Westminster is a big dining room with high ceilings, entertaining up to 160 on a Saturday night. “It’s a big, loud immersive space, so we’ll play 1990s indie, some soul, house… Nothing nightclubby but it’s a London restaurant, it’s in a hotel, when it’s packed it’s got a great vibe,
so the playlist there has to reflect and maintain that energy,” says Kerridge. “I like the volume high in that space, so people have to speak a bit louder than normal.”
He also points to Ynyshir, in a refurbished country house south of Snowdonia National Park in Wales, UK, as an example of how far old orthodoxies are being pushed. As well as earning two Michelin stars and a global reputation, it has banished the specter of background “muzak” by employing a full-time DJ, Jacob Kelly. “My kids, food and music, I love them all, though not in that order,” head chef Gareth Ward tells me. “When I talked about opening my own restaurant, I always made a joke about having a full time DJ, playing vinyl because it’s so special.”
Yynshir’s food is ingredient-led, flavor-driven, fat-fuelled and meat-obsessed, says Ward. It is respectful of classic technique while pretty much ignoring it, and is a beautifully uncompromising experience that reflects the personality of its chef. Which very much includes the music.
“I’m currently sitting in Jacob Kelly’s front room surrounded by 10,000 records,” Ward says. “I had a little Rega turntable at first, before buying some Technics 1210s off a delivery guy I’d got talking to. Then I advertised for a fulltime DJ and was fortunate to find Jacob, who’s
taken it to a whole new level. I feel very lucky to get to watch and listen to this guy do his thing every night. It matches completely the way the restaurant and the business works. But the music’s not for the customers, it’s for me. If anyone asks us to turn it down, I say it’s for the guys in the team. They need a beat to work to, and Jacob keeps them moving.”
Kelly, a 30-year veteran of the music industry, splits his set into three sections. The Prelude features Latin, Jazz, reggae, hip hop, and a bit of disco. “For the main service period it’s three hours of deep house, about 118 or 119 bpm to start with, then it goes on a journey – as much as I dislike that word – through house, maybe into a bit of techno,” he explains. “Above 124 bpm the music becomes something else. That’s a 3am kind of vibe. I want the gear change to be a breath, not an anxiety attack. The final hour is a bit more familiar, a flashback – Prince, Madonna, to round it all off. From a musical perspective you’ve gone somewhere from start to finish, just as you’ve been somewhere with the food.”
That, of course, remains the primary reason for making the trek to mid-Wales. Ward has a digital display in his kitchen that shows the age of the current batch of Welsh-reared wagyu beef, but the mixing decks aren’t too far away.
“If you’re coming to work, and you’re here 16 or 17 hours a day, you’ve got to love it – it’s a passion,” he says. “We have one menu, and we put our own music on. We don’t follow any rules at Ynyshir. Things are changing, there are unique restaurants opening, and we are one of them. I say, please yourself and hopefully everyone else will be happy. Have a plan and stick to it. Do it your way.”
Bringing it back to the US, sommelier Sarina Garibović and her musician partner Sam Cassidy’s new venture, Small Hours in Minneapolis, is imagined as an intimate “hi-fi” wine bar, focused on the pleasures music brings to the experience of wine.
“The playlist at Small Hours focuses on full sides of albums. I think this is the best way to enjoy an album – as the artist intended,” says Cassidy. “We plan to mix up genres quite a bit, and nothing is really off limits here. We may bounce from an ambient record to an R&B title to a krautrock compilation. Whatever feels right in the moment and sounds good on the system.”
Cassidy is pulling from his extensive record collection which he’s been working on for close to two decades. “Our aim is to use both music and wine to foster a welcoming space where we urge guests to stay curious, both about what they are drinking, and what they are listening to.”
“Our aim is to use both music and wine to foster a welcoming space where we urge guests to stay curious, both about what they are drinking, and what they are listening to”
Sam Cassidy, Small Hours
Opposite, chef Tom Kerridge has seven restaurants in the UK, each with its own musical offering.
Clockwise from top left, T-bone steak at the Butcher Tap & Grill, Kerridge's Bar Grill, The Coach Bar and The Hand and Flowers
Illustration Simon Ward
WINE TRAILS: MARLBOROUGH
At the geographic center of New Zealand are four magical valleys with sparkling blue sounds, wonderful restaurants and awardwinning wineries, says Sophie Preece
From the sunken valleys of the Queen Charlotte Sound to the tinder dry hills of the Awatere Valley, Marlborough is a multifaceted gem. Each diverse landscape is as bountiful as it is beautiful, and the best explorations of Marlborough consider what you’ll eat, where you’ll eat it, and the wines you’ll match along the way.
Start with the Marlborough Sounds, where verdant hills surround myriad bays, and salmon, mussel and oyster farms provide a perfect match for the Sauvignon Blanc that made this region famous. It’s a match made even sweeter at a resort poised over pristine waters, surrounded by native bush, or in a bustling Picton café overlooking the harbor.
From there, travel over the braided Wairau River and you will meet a landscape transformed by wine. Before 1973, this was bony sheep country and occasional orchards, until a magical meeting of vines, climate, topography and soil, along with the ingenuity of audacious wine pioneers, changed its fortunes forever. These days grapes stretch from heavier soils of the Southern Valleys, past the alluvial riverbed of the Wairau Plains, and down to the fertile lands of the Lower Wairau.
You’ll still find roadside stalls of juicy garnet-colored cherries on the plains in summer, but sheep are most likely found grazing beneath winter vines, picturesque as they trim grass and fertilize soil. There’s plenty of wonderful wine and food to be found throughout, with more than 30 cellar doors, along with vineyard restaurants showcasing seasonal local fare. Drive from the Wairau to the Awatere Valley, where the first vines were planted by the Vavasour family in the late 1980s, and you will find another agricultural region transformed by wine, with swathes of vines climbing from the eastern coastline to the white-gold hills of dryland farms. Cooling winds from the Pacific Ocean leave their signature on Awatere Valley Sauvignon Blanc, which typically carries a mineral backbone, crisp acidity, and aromas including tomato leaf and tropical fruits.
Then head south to emerge at the viewdrenched Pacific Highway, via Kēkerengū, where a tiny fragment of Marlborough’s vineyard lies in its own extraordinary microclimate. Navigate the thin slip of road between the Kaikōura Range and Pacific Ocean, stopping to look for seals lounging on ragged rocks, and the whales and dolphins drawn to the abundant larder of a submarine canyon just offshore.
They are not the only ones happy to dine on this southern edge of Marlborough, with kaikōura (Māori for ‘eat crayfish’) true to its name – and it’s kōura best accompanied, of course, by a glass of Marlborough Sauvignon Blanc.
Clockwise from top, the Bay of Many Coves resort on Marlborough Sounds, the Motuara Island Lookout, Sisu brings a Nordic twist to local produce, and Saint Clair Family Estate Sauvignon Blancs
WINERIES TO VISIT
Marlborough is home to more than 30 cellar doors and a handful of unique subregions. Try the “Golden Mile” made famous by the likes of Cloudy Bay, then delve into the Lower Wairau Valley, and the unique characteristics of the Southern Valleys and Awatere Valley subregions.
SAINT CLAIR VINEYARD KITCHEN
When Neal and Judy Ibbotson planted their first vines in 1978, in the earliest days of Marlborough’s wine industry, they never dreamed they would one day have vineyards across Marlborough. The Saint Clair Vineyard Kitchen is the perfect way to explore the diversity of varieties and subregions, including the Dillons Point Sauvignon Blancs they’re so well-known for, alongside a menu driven by seasonal and local produce.
GREYWACKE
Kevin Judd, the founding winemaker at Cloudy Bay, launched Greywacke with his wife Kimberley in 2009 with a focus on mature vineyards, predominantly in the Southern Valleys and central Wairau Plains, and low-intervention winemaking, incorporating wild yeast fermentation. It’s a small team, so tastings are by appointment only.
SPY VALLEY
Named for the Waihopai Valley spy base, this cellar door plays homage to espionage, environment and excellent wine. The family-owned wine company is certified by Sustainable Winegrowing New Zealand, a groundbreaking programme that covers 96 percent of New Zealand’s vineyard area.
TŪPARI
These wines are grown in the Upper Awatere Valley, 150 to 200 meters above sea level, atop cliffs (tūpari in Māori) at the edge of the Awatere River. The vines and wines are a partnership between the Turnbull family and winemaker Glenn Thomas, and can be tasted at an historic railway station in Seddon, or on a tour of the vineyards and adjoining deer farm.
FRAMINGHAM
You will find a juxtaposition of preened roses and punk lyrics at this beautiful cellar door near Renwick, where Riesling rules the roost, the underground cellar nurtures music and art, and the Harvest Concert is an annual pilgrimage for locals and visiting cellar hands. Framingham is governed by its “rules,” starting with Rule No.1: Do what you love.
This page, clockwise from top left, the Cloudy Bay winery at sunset, Greywacke winemaker Richelle Tyney with Cloudy Bay's Kevin Judd, Tūpari’s Kura Marama vineyard with the sacred Mount Tapuae-o-Uenuku, the Spy Valley winery, and the annual Harvest Concert at Framingham Wines. Opposite page, the Saint Clair Family Estate and its awardwinning wines
PLACES TO STAY
From a five-star luxury resort hidden in a secluded bay, to a luxury urban retreat, rustic accommodation and a former Victorian convent transformed into a boutique hotel, Marlborough has plenty of options for the wine tourist to unwind.
BAY OF MANY COVES
This luxury five-star resort is set in the far reaches of the Queen Charlotte Sound, beneath native bush and above a secluded bay. Catch a water taxi out to this sublime spot, or one of the other lodges throughout the sound.
14TH LANE
In the heart of Blenheim, a few minutes’ walk from Frank’s Oyster Bay, 14th Lane is a luxury urban retreat in what was once a wood and coal merchants. Each room is unique and fresh and the communal lounge a great place to curl up with a great wine and a good book.
THE FRENCH BARN
Dog Point Vineyard’s Omaka Valley property is a stunning blend of organic vines, olive trees and native plantings, while the French Barn at its heart offers stylishly rustic accommodation. Walking tracks explore the vineyard and native plantings, complete with a wine tasting at Dog Point.
THE MARLBOROUGH
This boutique hotel was built in 1901 for the Sisters of Mercy. These days the Victorian convent offers plenty of luxury, set amongst extensive and extraordinary gardens in Rapaura, the heart of Marlborough wine country.
HANS HERZOG VINEYARD COTTAGE
The estate is a labor of love for Hans and Therese Herzog, who brought winemaking traditions from Switzerland when they founded their Rapaura property in 1994, with a focus far beyond Sauvignon Blanc. A stay in the vineyard cottage, nestled within their organic vineyard, includes a continental breakfast served by the vigneron hosts.
Set in the heart of Queen Charlotte Sound, the Bay of Many Coves is a secluded five-star waterfront resort with an heated outdoor pool and three eateries, including fine dining restaurant The Foredeck
Clockwise from top, The French Barn at Dog Point Vineyard, the Vineyard Cottage at the Hans Herzog Estate, and an outdoor lounge and bird's eye view of The Marlborough boutique hotel
WHERE TO EAT
With its abundance of local produce, freshly shucked oysters, just-caught mussels, and delicious local kōura, there is simply no shortage of restaurants and eateries in Marlborough offering seasonal menus to enjoy alongside the region’s world-class wines and breathtaking scenery.
JACK’S RAW BAR
The Cloudy Bay winery is a must-visit for wine travelers in Marlborough. Try the Pelorus sparkling wine, or the Te Koko Sauvignon Blanc, and soak up a view of the Richmond Range, made famous by the iconic label. Jack’s Raw Bar is its summer restaurant, serving a local and seasonal menu, including freshly shucked oysters and Cloudy Bay clams.
SISU EATERY AND BAR
With shared plates, great wine, craft beer, a curated gin selection, and a stunning outlook over the Queen Charlotte Sound, Sisu brings a Nordic twist to local produce. The wine list of this Picton waterfront restaurant is focused on smaller New Zealand producers.
LE CAFÉ
This Picton institution offers great food, wine and beer within a stone’s throw of the harbor. Grab a bowl of freshly steamed mussels –farmed in the sounds beyond – order a glass of Marlborough wine, take in the view and, if your timing is right, listen to live music from a touring band.
ASTROLABE TOWN WINERY
Astrolabe opened its urban winery in Blenheim on the cusp of the 2024 vintage. The family-owned wine company makes its small batch wines here, while visitors eat and drink surrounded by oak barrels. Try a wine flight with an array of tapas from the charcuterie, cheese and bruschetta menus.
FRANK’S OYSTER BAR AND EATERY
Chef Sam Webb honed his talents working around the world before returning to his roots and setting up the fabulous Frank’s in Blenheim. Find locally sourced produce (including freshly shucked oysters) perfectly curated in a mouthwatering selection of shared plates.
Freshly shucked oysters and clams at Jack's Raw Bar at Cloudy Bay winery
from top left, chef
Clockwise
Sam Webb at his Frank's oyster bar and eatery, which serves fresh seafood and local produce in Blenheim, lunch at Cloudy Bay winery, Sisu offers shared plates, great wine and craft beer, and Astrolabe's Small Town Winery
THINGS TO DO, PLACES TO DISCOVER
There are plenty of ways to whet your appetite for Marlborough’s wine and food, from a walk or swim at the crystal-clear Pelorus River and a tour of a globally acclaimed aviation museum, to a dolphin-spotting cruise in the Marlborough Sounds.
QUEEN CHARLOTTE TRACK
Walk or bike this three-day, 45-mile, viewdrenched trail through the Marlborough Sounds, starting with a cruise through the Queen Charlotte Sound to the start point at historic Meretoto (Ship Cove). Stay at resorts along the trail, fueling up on local wine and food at restaurants at the edge of the water.
OMAKA AVIATION HERITAGE CENTRE
This remarkable collection of World War I and World War II aircraft is rendered even more effective thanks to the diorama that tells the stories of the wars. The “Knights of the Sky” exhibition displays the personal collection of film director Sir Peter Jackson, and includes mannequins created by Wētā Workshop, the talent behind the creatures, prosthetics, weapons and armor in The Lord of the Rings trilogy.
PELORUS BRIDGE
Marlborough’s links to Peter Jackson carry on to the Pelorus Bridge, the setting of the river barrel scene in The Hobbit: The Desolation of Smaug. This river is worth a visit, with clear waters in a stunning gorge. Those not keen to take a plunge can stroll one of the short or long bush walks offering views of the river and Richmond Range.
DOLPHIN WATCHING AND BIRD SPOTTING
Head out from Picton on a dolphin-watching cruise in the Queen Charlotte Sound, including a walk on the Motuara Island Bird Sanctuary, with its abundance of native birds.
HAVELOCK
This is the gateway to the Pelorus Sound, so jump on a Greenshell Mussel tour, cruising the sound, eating mussels and sampling Sauvignon Blanc, or simply pull up a stool at Mills Bay Mussels in the Havelock Marina, and slurp down mussels between sips of Sauvignon.
The Nydia Track, a scenic hiking trail, and the Te Hoiere/Pelorus River, a swimming and kayaking destination
Clockwise from top, the Havelock Marina, the Omaka Aviation Heritage Centre is one of the world's largest private collection of Great War aircrafts, the Queen Charlotte Track, and a boat heading to the Motuara Bird Sanctuary, a predator-free island in the Marlborough Sounds
With organic practices and principled winemaking, winemaker Barbara Widmer at Brancaia is crafting some of Tuscany’s boldest wines.
In this edition, we feature articles like “Pitch Perfect” and “Food for Thought,” which highlight the powerful impact of engaging multiple senses to amplify an experience’s emotional depth and resonance. These pieces shed light on the culinary arts’ wide-ranging influence – from the nearly imperceptible to the deeply significant, encouraging us to contemplate the full scope of this impact.
The story of Judy and Neal Ibbotson’s creation of the Saint Clair Family Estate in Marlborough, New Zealand (“Going Blanc”) serves as a perfect illustration of the extraordinary accomplishments that can be achieved by simply taking the next step. This concept of forward movement – without fixating on the distant future – also resonates in Magnus Resch’s guidance on starting an art collection (“Visual Assets”), Refik Anadol’s method of “following the data,” to fuel creativity (“Art of Data”), and Stevie Staconis’ initiative to heed her calling and establish a supportive network (“Agents of Change”).
My father has always emphasized the importance of doing the obvious when pursuing a goal. Too often, we view our aspirations as unattainable, frozen by the notion that we need to plan each step meticulously. Yet, it is through small, deliberate actions that we begin to move toward achieving an objective.
My hope for all of us is to confidently progress toward our goals, one step at a time. Thank you for being part of our collective journey at Maze Row.
Joe C. Gallo Founder, Maze Row
Editorial: Spinach Branding
Leigh
Nargess
Simon
Léa
Product
Photography: Helen Cathcart
Marketing: Maze Row
Suzanne
A benchmark producer of structured and elegant
well as a
Amarone, as
leader in Valpolicella for terroir-driven IGT wines.
