A few of my favourite things: Wine & Comics

First, a confession: two of my favourite things are wine and comics. That may not make me a billionaire playboy, but it certainly keeps me entertained. Sadly, they are interests which seldom coincide.

As you can well imagine, my interest was piqued when I heard recently that the renowned French comic writer Eric Corbeyran is currently producing a series of graphic novels based in the world of wine entitled ‘Médoc’. The Bordeaux resident’s best-selling titles include Le Chant des Stryges, Atavisme and Epreuve and this new work will co-authored by Sébastien Portet, also known as Espé. Volume one is reported to be complete and will be released in 2011, with an expected run of three volumes. The story is rumoured to be a family saga, focussing on a young American woman whose inheritance of Château Chêne Courbe after her father’s death, proves more difficult than she first imagined as the problems of winemaking are exacerbated by a slew of long-lasting feuds.

Corbeyran is not the first to mix wine and comics, however. The manga series ‘Kami No Shizuka’ (The Drops of God) has been a popular line of comic books since 2004. The story focuses on two brothers searching to discover the identity and location of 12 legendary wines recommended by their father which they call  the ‘Twelve Apostles’. The prize in the hunt is their late father’s 18 million dollar wine cellar and the competition is fierce. The series specialises in lyrical and off-beat descriptions of real wines with accompanying illustrations. It is these idiosyncratic tasting notes which have been credited with driving interest in fine wines all across Asia.

The Japanese importer Enoteca has admitted that it has begun to consider the recommendations of characters in Drops of God when making orders from its suppliers. This isn’t unique to Japan, however, and fine wine sales in South Korea have seen a marked increase which can be directly linked to the popularity of the series. Likewise, wine magazine ‘Decanter’ called Drops of God “arguably the most influential wine publication for the past 20 years”.

Whether Corbeyran’s series will have the same impact as The Drops of God remains to be seen, although I’m certainly looking forward to finding out myself.

Investing in Wine

People have been using wine as an investment for centuries.  It is hardly surprising, given that many red wines take years, and sometimes even decades, to reach their true potential, that a large number of those who want to buy wines want to do so when it is ready to drink, and not wait for the wine to reach full maturity.  Likewise it is fairly obvious that wine growers do not want to have to wait until their wine is at its optimum drinking maturity before they can sell it, as this would further delay the process of getting paid for the production of a bottle of wine, soemtimes for as long as 20-30 years.   A market has therefore grown up where investers buy wine as it is produced and trade it as a commodity until it is bought by its final consumer when it is ready to be drunk.

Of course not all wines are traded in this manner, and it has become customary for certain wine growing regions to attract much more in the way of investment buyers than others.  It is fairly self evident that a wine which needs to be drunk within the next year and will not last beyond that without turning to vinegar is not going to be a sound investment.  Red wine, and some white wine including desert wine, tends to have a much longer maturing period, and this makes it a much more appealing investment.  Likewise fine wine which matures for several years, and may last for decades gives an investor plenty of time to be able to sell his wine.  One of the other major factors, and perhaps one of the most important, is the ‘brand’ which is associated with a wine growing region and wine estate.  Estates such as Chateaux Latour and Chateaux Lafite-Rothschild are renowned for consistently producing some of the best En Primeur wine (wine which is bought as an investment whilst it is still in the Barrel).

Whilst prospective buyers may be easily lured in by past performances of some investment wine (the top Bordeaux wines have consistently yielded around 20% per annum over the last 15 years) and by prospective gains (Bordeaux 2009 is tipped to be one of the finest vintages of recent decades) there are a number of pitfalls which are worth baring in mind before you jump in wallet first.  Like all markets there is no such thing as a guaranteed return, and whilst you can follow fantastic advice, any investment may go down in value as well as up and this is a risk which you take on if you invest in wine just as if you invest in stocks and shares.  Tax on wine can also have a huge impact on your gains, with VAT and other associated alcohol taxes payable only once the wine is ‘released’.  This means any future rises in VAT (for example VAT is set to rise in January 2011) and future rises in alcohol related tax might be unforseeable and outwith the investors control.  These taxes combined with Capital Gains Tax, added to any cellar fees and the wine broker’s fee can quickly diminish what looked on paper to be a fantastic bet to a rather smaller return.

It is not all caution, however, and if your wine investment turns out to be a bad one and it is very much a case of In Vino Veritas rather than In Vino Argentum, at least you can look on the bright side: you can’t drink stocks and shares…

Scores on the Doors: A Question of Numbers

The attractiveness of quantifiable values attached to wine is obvious and yet, at times, a little misleading. Problems arise when tasting becomes an exact science. Obviously there are subjectivities in anyone’s palate and it is these foibles which make wine so attractive to me. I’d rather engage in a discussion surrounding the merits of wine than arrive at a score out of 5, 10 or 100.

I’ve been round International Wine Fairs and tasted a quantity of wine ranging wildly which almost defied a ratings system and certainly wouldn’t have benefitted from it. The perfect example would be the Wines of Slovenia stand this year at the London Wine Fair. This year they were of a good quality and well presented, with an interesting range and informed discussion encouraged. This certainly beats last year when I was served some of the worst wine I had ever tasted by a man barely conversant in English. My worry is that quantifiable scores would consign an emerging area such as that to a spiralling reputation when little is known of competing varieties and producers within the country. Limiting tasting responses to specific reactions relating to specific bottles allows us a broader vocabulary than that of the scoring index. After this year’s London Wine Fair, I’m actively considering going to Slovenia on holiday, not to mention a quick tour of their vineyards!

Part of what concerns me about such scoring is its unspoken limitations. I’m also a University Tutor and mark 1st year Undergraduate Essays regularly. These essays are marked out of 100, yet an unspoken rule is that they cannot score over 75%. This is unfair, you may cry, yet it recognises the limitations of students at an early stage of their training. With Wine Spectator’s scores, however, I’m often taken with the fact that minimum scores can be achieved simply by producing something which meets the dictionary definition of wine. At either the top or bottom end of such grading systems, I’m a little wary of unspoken limits which haven’t been justified. I feel that such scoring indexes should always have the ability to fail an entry if they are to be honest. Yet, as I’ve just said, I’m wary of the smear that this could leave on more obscure offerings.

I must admit that I have been attracted by Parker’s scores in the past and I have bought wines based on an exceptionally high rating. Obviously wine producers boast of any accolades on their bottle, as is only sensible. I’ve likewise seen American wines with Gold medal stickers advertising wins in county fairs. Such baubles are almost solely for decoration and designed to draw the eye on a crowded shelf. Scores in the upper 90s on the Wine Spectator scale dazzle and draw the eye likewise. The problem is that, personally, I’m not the wine world’s ultimate arbiter. I find that my personal tastes don’t always follow those of such prescriptive grading criteria. Problems arise when wines are crowded out because of a low score in this one index. I’ve sampled some wines which have scored poorly on Parker’s index which appeal far more than some of the exceptionally high-scoring prestige wines I’ve tasted. This seems an obvious point but it is also one worth making.

Likewise, it is problematic that prices can be driven almost solely by the endorsement of an individual (or that individual’s stable of wine-tasters). I’ve spoken about the film Mondovino before and although I wouldn’t wish to be seen as a fan-boy (or, to be honest, a Steve-Dave), I think its central message is a valuable one: respect the pluralism and traditions of the wine world and yet be suspicious of those who would speak as its ultimate authorities. Wine has always seemed a glorious riot of individuality and quirks amidst myriad definitions and styles. I’m not against using ratings to convey an opinion on specific bottles, although I am against presenting those ratings as a verifiable truth.

A trick!

I thought I’d post up this short article as a way of sharing something I recently spotted in a local restaurant whilst out for dinner. The table was annoyingly wobbly and the waiter noticed this when he put down some wine glasses. Being a decent sort of guy, he offered to fix this and we duly accepted. Moments later he returned with a cork cut in to a wedge. He put it under the table base like a door stop and the problem was solved! This seemed like an ingenious solution to a common problem with something which is widely available in almost any restaurant. Below I’ve put a brief description of how to make your own table steadying cork wedge so that you can slip one into a bag or pocket when you next visit a restaurant. The wedge is soft, light and unlikely to damage furniture. It’s the perfect solution and it’s both free and easy!

Step 1:

Take one ordinarily sized cork from a winebottle. Place it on a flat surface and find an appropriate knife to cut it.

Step 2:

Cut it from top left to bottom right, diagonally across the cork as shown. Watch out as the cork can be a little tough to cut and you should obviously be careful when using a knife.

Step 3:

Two cork wedges perfect to slip under any wobbly tables!

What exactly are Sulphites?

If you’re in the UK, or even anywhere else within the EU, you’ll have no doubt noticed the small sentence on your wine’s label which says “Contains Sulphites”. Many people worry about such declarations, as they assume it means someone’s been dabbling with the chemistry set and you’re about to sit down to a glass of bubbling E numbers haphazardly mixed with grape juice. Clearly, this is not the case. If you’ve been keeping an eye out, you’ll notice that this declaration is made on all bottles of wine which you can buy. So, let’s try and answer some common questions.

Firstly, what exactly are sulphites? Sulphites are any compound which contains the chemical Sulphur dioxide. The statement on the label has been mandatory since November 2005, when new regulations necessitated the declaration of any additives to wine. The vague declaration is not, in itself, a particularly useful guide to what’s going on, however. There are maximum levels, yet the declaration doesn’t tell you whether your wine contains a bare minimum or the very maximum.

Secondly, why are they in my wine? To put it simply, they are a preservative. I’m not talking microwave meal/ freezer food preservative, however. Sulphites allow wine to age, and wines with absolutely no added sulphites would be unlikely to age more than even a few months. Even in wine where no preservatives have been added at all, sulphur is still present to the tune of 10mg per litre as it is a natural by-product of the fermentation process. Sulphur dioxide serves as an anti-microbial agent which helps to limit the growth of potentially ruinous yeasts and bacteria in wine. It is also an antioxidant which prevents browning by preserving the colour of the grape skins in the wine. White wine generally contains larger amounts of added Sulphur Dioxide as it does not contain as many anti-oxidants from the grape skins as red does.

Sulphites have been a recognised additive in wine since at least 1487, when the first recorded decree permitting their usage was issued by the Prussian Royal state. At this moment, Sulphur Dioxide was being added to wine in small quantities to permit it to travel for trade or supplies in exploration. Indeed, the practice had been inherited from the Romans, who first developed the trick of burning sulphur candles inside wine barrels before filling them, which was taken up by British and Dutch merchants in turn.

Thirdly, do I have a choice? Broadly, the answer is no. When working at wine shops in the past, I have had people ask for Suplhite-free wine and insist that they’d had it before. To be honest, they’ve probably been mis-sold in another shop, with a sales assistant happily telling them exactly what they want to hear in order to get them to the till then out the door. As made clear in the answer to the last question, Sulphites are a natural by-product of the fermentation process which distinguishes wine from grape juice. You cannot drink wine which is totally free from Sulphites. Some Biodynamic and Organic producers commit themselves to using an absolute minimum of additives and this often means lower levels of Sulphur dioxide. If you’re dead set on trying to avoid them, you’d be best to go for organic or biodynamic red wines.

A very tiny minority of people are sensitive to Sulphites, as with just about any other substance on earth. It can give people migraines and skin conditions and even worsen Asthma. As someone who is asthmatic, I can attest this has never bothered me. If you are affected, laying off the wine is sadly the only realistic answer. The very lowest quality of wine may also contain an excess of Sulphites, added recklessly to ensure a long shelf-life for bargain basement wines. If you smell something like a burnt match when you open a bottle of wine, it’s probably had a little too much added. However, the use of Stelvin closures now means that this smell can be more common with white wines with no fault, as a perfect air seal prevents any gradual dissipation of excess Sulphur dioxide during transit. If it clears after opening, taste the wine as usual and determine any faults from the glass, not the bottle. As always, drink better and smarter and you’re less likely to run into problems.

Basically, there’s no need to panic. Sulphites appear in all wines and you should only worry if you’re drinking industrially cheap wine or are one of the tiny minority with a dietary sensitivity. Best get drinking up!

Bargain Hunt: House Wines and ‘Second Bottle Syndrome’


House wines can be very good indeed. They can also be appalling. The cheapest bottle of wine on the menu plays an interesting role in any restaurant and can say quite a lot about that particular restaurant’s ethos. If you’re in a Michelin starred palace of food, I’ll wager that house wine will be superb. If you’re at a cut-price eatery looking for a quick meal, I’m betting it won’t be. Of course, there’s a world in between, and this is where many of us live. It’s this situation I’d like to briefly mention.

Many people are put off by the notion of buying a house wine, especially if they are eating with friends and want to appear magnanimous. The standard reaction, in this situation, is to opt for the wine directly above the house wine – the next cheapest, as it were.

It is important also to recognise particular reactions that can be manipulated. Again, this is a perfectly valid way of going about things if it has served you well in the past. However, it is also important to realise that it’s not just you doing this and that you haven’t single-handedly cracked the system. Many restaurants place their highest margin wine in this position in order to drive sales with the many people who choose in exactly this way.

Many years ago, when working for the now-defunct Threshers, we were preached to about the virtues of the ‘Power Shelf’. This was the shelf which sat at eye-level amongst a wall full of wine. For the less selective customer a bottle placed here and covered in point-of-sale was the end of the search. Yet again, however, it was also the highest margin bottles placed on this shelf. It didn’t make them bad quality, it just made them high-margin.

Judge yourself whether or not your restaurant is looking to make a statement with a house wine. If it is, so much the better. If it isn’t and you’re looking only at the cost, that’s fine too. The same applies to automatically choosing the second bottle. The point of this post is not to give you hard and fast rules to live by, but merely to point out that some gut decisions can be a bit predictable…

There is no spoon: Does a silver spoon keep the fizz in Champagne?

Traditional wisdom runs that leaving a silver teaspoon, handle down, in the neck of a champagne bottle can help preserve the bubbles in an open bottle for longer.

There is an element of truth to this, but also a wide-ranging mythology which has grown up around it. Part of the problem in coming to an accurate judgement is the fact that all bottles of sparkling wine produced in the Champagne method are essentially unique micro-climates. Whilst this sounds technical and confusing, all it implies is that the second bottle fermentation which takes place leaves all bottles in slightly varying conditions. This isn’t to say that flavour or the fineness of the bead (a fine bead means that the bubbles in the wine are small, tightly packed and vigorous) varies, simply that its reaction to air once it has been opened is an essentially unknowable variable. The French refer to this loss of fizz as ‘éventage’, and it’s from the Gauls we inherit the spoon trick to prevent exactly this phenomenon.

Now, there have been plenty of investigations into different means to keep Champagne sparkling which have claimed to be scientific. Some are merely PR exercises for wineries, brands or universities, whilst others are led by industry bodies keen to develop best practice. One thing to watch out for is the tone with which the subject is approached. Even studies from respected universities tend to be phrased and conducted in the style of ‘And in other news…’ segments for TV News programs.

What seems clear from the various studies, most notably one from Stanford University, is that the spoon being silver had little to do with the end result. Many studies also found that the spoon’s influence was negligible, if detectable at all. That said, it was certainly not a negative influence. Indeed, the Stanford study found that the best results came from a refrigerated bottle left completely open and unsealed. Yet, the sticking point was that notionally identical bottles tested by the same methods produced differing results due to their innate differences – the micro-climates we spoke about earlier.

Another study conducted by the Centre Interprofessionel des Vins de Champagne (an industry body) agreed that the spoon’s influence seemed to be non-existent. US TV show ‘Mythbusters’ conducted their own limited test and determined that the influence of the spoon was actually negative, reducing the fizz in the bottle on the whole. Such programs cast an air of authority which their methods seldom justify, however, and it seems in this case that they are in direct disagreement with both scientists and industry specialists.

Indeed, Dr Richard Zare of Stanford University has posited that it is temperature which most affects a Champagne’s fizz. Warm liquids hold less gas and this means that chilling the wine ensures that more Carbon Dioxide (what creates the sparkle) is retained in the liquid itself. Likewise, the cleanliness of the glass you pour your Champagne into affects how bubbly the wine appears. Bubble trails start when they come into contact with tiny faults or microscopic dust and lint particles (think the cloth you dried your glass with) and this can start the wine a-bubbling.

Yet circumstantial evidence suggests that the spoon helps. You can speak to any number of different friends and relatives who swear by the method and avow that only silver does the trick. The answer undoubtedly lies in the micro-climate of the bottle. Spoons may do almost nothing, yet some bottles may retain their fizz a little longer naturally, seemingly affirming the impression that it’s the spoon that’s solved the problem. This is the kind of phenomenon which fuels many urban myths.

Another modern experiment (this one done in 2009, whilst Zare’s was back in 1994) has suggested, however, that the spoon can be a positive influence! The South African winery  Twee Jonge Gezellen responded to a travel company’s query and tested the same hypothesis as Zare, Mythbusters and the Champagne organisation. They found that results showed some improvement with the insertion of a spoon into the neck of the open bottle. They theorised that the spoon worked to radiate cold air from the regrigerator into the bottle quicker, creating a seal of cold air in the neck of the bottle better than would be created by an open neck and slowing the ‘éventage’. In this model, silver helps as it is an efficient conductor. Likewise, some have posited that silver’s anti-oxidant qualities may help  in some way ward off oxidisation in the wine, though this remains anecdotal at best.

Others have spoken about a pressure phenomenon called the ‘Venturi effect’ which essentially means that within the open bottle pressure remains high with a pressure differential towards the low pressure outside of the neck. According to this wisdom, a spoon would break this barrier and de-pressurise the bottle quickly, encouraging gas to leave the wine by ventilating the bottle and encouraging ‘éventage’. What’s also important to remember is that the wine seldom bubbles inside the bottle (its almost faultlessly smooth interior belying the effect of your dirty glass) and that anything microscopic attached to the spoon could cause some kind of cross contamination which provokes excess fizz in the short term.

In conclusion, I would hazard a guess at a means of reconciling all these divergent results. Firstly, temperature is obviously important – a fact recognised in all the studies. Secondly, Zare’s tests were conducted for 26 hours, a period of time which would nullify the quick cooling effect of the spoon. This is, to be honest, a slightly unrealistic expectation and it stands to reason that whilst a silver spoon overnight may help ensure an enjoyably sparkling Champagne breakfast, it is unlikely prevent ‘éventage’ in perpetuity. Lastly, and perhaps obviously, use a clean spoon if you’re going to try it.

A silver spoon may not actually preserve the wine, but it may help in some way and is unlikely to do any harm.  The only sure fire solution, it seems, is to drink the lot!

Corks and closures: sealing the deal


Debates on wine closures can largely be the result of initial reactions to the appearance of innovations or a sentimental attachment to their fore-runner. Nevertheless, it’s interesting to consider the various merits of different closures and also their down sides.

Corks

Clearly, the traditional means of closure has been well represented for centuries. Portugal produces almost 50% of the world’s cork, much of which finds its way into the neck of wine bottles. Cork trees live for around 200 years and can be stripped about every 9 years. They are widely praised as being a positive crop with benefits for the surrounding environment and wildlife. Similarly, they are recognised as the most environmentally friendly method of closure, as cork itself is inherently sustainable and easily recyclable.

French growers started using corks at some point in the mid seventeenth century, replacing the previous reliance on oiled rags (amongst other wild and wacky methods) as stoppers. Corks provide the best means for ageing red wines with a limited oxygen transfer encouraging long-term changes in the wine. The use of corks by prestigious and long-standing names in the French wine industry has played into the perception of cork as the superior closure and the only means for sealing premium wine.

Corks are not without their problems, however. One of the most common complaints about wine is that it is ‘corked’. This occurs when natural cork develops high levels of a chemical called TCA. This chemical causes unpleasant changes in the wine which can vary in their intensity. You should note that wine is not corked if it has bits of cork in it! Rather, wine will smell somewhat fungal or foxy and the palate will be muted but bitter. This natural fault occurs in something like 5% of bottles and is an unavoidable result of using natural materials. Nevertheless, intrepid scientists are working on means of conditioning cork to contain less TCA and halt the production of it in later years. The only real way to avoid such corked wine is to use an alternative closure, as described below.

Synthetic Corks

These tend to be made from plastics and often appear on cheaper bottles ready to eschew a screw-cap but not willing to invest in cork as a more expensive option. Clearly these offer little in the way of ageing potential as they aren’t especially malleable and don’t allow for air transfer. This will be perfectly obvious to anyone who’s ever tried to force one back into a bottle once it’s been opened. As these don’t mould the way corks do, you may find a sharp knife called into action to help you whittle a narrower end to force into the neck (or brute force)!

Screw Caps/ Stelvin closures

Although these closures endured something of a tumultuous introduction, they’ve quietly become the standard for a whole slew of wines. Basically, anything designed to be drunk young is perfect for a screw-cap. Although they predominate atop whites, some red producers are using them to seal wines designed for immediate consumption.

There is debate as to their use in bottle-ageing. They can help some bottles lie for up to 10 years, after which the interior can become brittle and fail. They certainly keep out more oxygen than traditional corks and this can help preserve the integrity of the wine.

The problem can come with gift-giving – I personally don’t like to give screw cap bottles as presents to friends. It’s irrational and fairly silly but it remains a misgiving which affects my purchasing decisions. Perhaps it’s an air of tradition which comes with cork which I want to see repeated in gifts. Personally, I’m more than happy to buy screw caps for my own consumption or for serving at my house, it’s just a bizarre prejudice that stops me buying them as gifts. Clearly they’re the equal of corks, although the problem remains one of image,

Zorks/Crown-caps/Vino-seals/Other things I’ve heard of but never actually seen

Zorks are apparently and Australian invention which, according to the publicity, ‘seal like a screw-cap and pop like a cork’. I have never seen one and feel in no way qualified to comment on it as a result. I’m dubious whether I ever will, though. I’ll keep my eye out at the London Wine Fair this year.

Crown-caps bring the worlds of wine and beer a little closer together. Although they are used at certain stages of the sparkling wine-making process, they are generally removed before shipping. Some wine-makers are now shipping their produce with a variety of this crown-closure which allows it to be sold as is. From what I can gather, these appear to be something like the caps that appeared on large bottles of Grolsch for a while and also adorn Tuborg bottles. Imagine a cross between a pull tab (like on a soft drink can) and a traditional bottle-cap. They’re intended for low-end sparkling wines, ensuring a perfect seal cheaply whilst still giving the satisfaction of a pop.

Vino-seals are not a water-dwelling mammal with a penchant for distilled grape juice. They are in fact something more akin to a traditional bottle-stopper (as you might employ at home). They are seemingly made of glass, which makes for a high unit price and helps to explain their scarcity.

It’s interesting that so many of these alternate closure methods seem designed to imitate the cork in some way. They are all valid options with their own attributes yet the endurance of cork is a signal of its trusted reputation. Likewise, it can serve as a mark of quality to the consumer, a fact recognised by the Spanish government when they banned the use of alternatives closures in 11 of its appellations. Screw-tops, however, have a definite role to play in the wine world, both in terms of convenience and economy. When it comes to sealing the deal, I’ll take whatever works!

Shelter from the Storm: Wine investment bucks trends


On the back of this year’s successes with en primeur Bordeaux, investment in wine looks to have been a canny haven for cash during troubled times. Two Swiss economists have conducted a long term study which has tracked an index of leading wines against the stock market over recent years. Philippe Masset and Professor Jean-Philippe Weisskopf of Freiburg University limited their study between 1996 and 2009, with an update to the initial report made just last month in March 2010.

Over the course, their study takes in both boom and bust. Whilst charting both the dotcom crash of the early 2000s and the recent banking crisis, their study also includes the booms preceding both bubbles. The results are fairly clear, with a prudent portfolio of wines (based largely around top Bordeaux Chateaux) investors performed far better than their peers in the conventional stock market.

To quote their report:

“Our results show that since 1996, the General Wine Index and particularly first growths wines from top vintages have performed better than equities while showing a lower volatility.”

Some investment is seen to be driven by Chinese capital, with the acquisition of less conventional assets such as wine an important status symbol as well as a prudent investment.

Their report also highlights the importance of diversifying assets during times of economic difficulty, lessening exposure to market volatility. In this vein, the economists’ General Wine Index performed well. During a relative drop in some Share indexes of 47p since the market crash of mid to late 2008, their wine index dropped only 17p. The researchers specifically stated that during times of painful economic downturn “the defensive characteristics of wine are most pronounced.”

It seems that Bordeaux in particular has provided a welcome shelter from the economic storms affecting the global markets. Yet, this isn’t necessarily all positive for your every day wine lover. With investors clamouring to acquire new holdings, prices are inexorably driven higher, as partially shown in this year’s 18% increase in en primeur Bordeaux. Yet, a wealthy industry is, in part, a healthy industry and the market’s thirst for quality wine will hopefully drive investment in both production and the retail sector on this side of the Channel. I may be no closer to picking up vast stocks of first growth bordelais produce, but I’m happy in the knowledge that at least there’ll be a space for it in future markets.

Sus a la fraude! 1907 vindicated?


Fraud is still an enemy of the Midi, it seems. The cause for the great riots of 1907 has proven to be as persistent as a herring . One of the Midi’s largest winemaking cooperatives has met with problems in the Chinese market, where they have been victims of large-scale fraud. Mont Tauch is one of the region’s stars and is responsible for much of the AOC Corbieres and Fitou which we see in the UK market today. It has been active in China since 2007, with steady growth in its sales showing the investment to be a shrewd one.

When rumours began to spread of ridiculously cheap prices, however, authorities were spurred to begin an investigation into the odd market performance. It emerged in February of this year that Chinese counterfeiters have produced some 400,000 bottles of wine which claimed to be AOC Fitou. Although both the bottles and labels bear the logos of the Cooperative and their respective trademarks, the liquid within the bottle was not what it claimed to be. It seems that the liquid within the bottles was actually a very cheap South American wine of greatly inferior quality.

The forgeries were thought to be of good quality and only came to light during a meeting between Mont Tauch representatives and a customer. Nevertheless, authorities feel that they have stopped the flow of counterfeits and that customers in China can once again buy with confidence.

The impact on Mont Tauch’s Chinese business is not thought to be crippling, yet this goes to show the difficulty which fraud can pose. It does seem odd that the South is particularly prone to such forgeries and only strengthens the calls of Southern winegrowers to ensure that regulatory measures ensure wines are genuine and sales are legitimate. As one of my favourite wineries, it seems even more of a shame that such high quality wines were targeted. Nevertheless, now that the problem has been solved Chinese consumers can begin to enjoy some Southern French produce.

Often the ghosts of 1907 haunt the Midi in a negative sense, yet this event goes to show that their story is still relevant to the growers of today. The strict measures employed by the Midi winegrowers to prevent fraud are as important as ever, especially at a time when the Midi’s star is on the rise.