Red Gold

A Happy New Year to our readers!

Following on from previous articles on wine investment, I thought the new year should contain some further validation of wine’s inherent value. Over the past 12 months, fine wine has fared better in investment terms than Gold, crude oil or traditional shares.

The Liv-Ex Fine Wine Exchange provides a trading service for Fine wines to satisfy the speculative urges of investors. Their benchmark for gauging the health of the market tracks first growth Bordeaux Chateaux across ten vintages to collate their Liv-Ex Fine Wine 50. This index has seen a genuinely staggering 57% increase throughout 2010.

Meanwhile, amidst soaring commodity prices, this rise has outstripped traditional investment options. The value of gold has risen 35%, crude oil has risen by 20% and the FTSE 100 by 11%. Developing markets in Asia are seen to be the strong driver for this growth, with the success of Lafite Rothscild a useful example of this phenomenon.

It’s unlikely I’ll be dipping my toes in the water, short of a lottery windfall, but it makes interesting reading for oenophiles around the world!

Playing to the Gallery

Much has been made of the potential for export growth to emerging luxury markets in both China and Russia. Many of the largest European and American brands who trade in such commodities have upped their representation overseas and staged large fairs and PR exercises designed to communicate ‘Old World’ sophistication and bolster their cultural capital. Wine has been one at the forefront of this development as an easily exportable status symbol with infinite potential for specialisation. The notion that one culture’s status symbol can be an instantly recognisable cipher for different values is an Ad man’s dream. When a product speaks of more than its qualities or production method, it gains a certain power. When that power becomes global, the product itself becomes a sort of gnomic reference to a whole litany of associations.

Andy Warhol once commented on the conceptual power of Coca-Cola in its unification of consumers across class, geography, sex and any other division. In his own eloquence:

“You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good.”

Juxtaposing these different situations presents a stark reminder of the socially levelling potential which the standardisation of products brings. Yet, at the same time, Warhol’s reflection presents us with a fairly interesting inverse. Those products which retain cultural cache and survive as unassailable status symbols in the modern world do so for exactly the reason that you can’t imagine their consumption by disparate social groups. Chateau Lafite is Chateau Lafite and whilst the President may drink it and Liz Taylor may well have done, the odds are that you can’t. Ouch. Don’t get me wrong, neither can I – that’s sort of the point of the whole status symbol thing. Yet these sorts of status symbols interest me not for their reserved nature, but for their transferability.

Chateau Lafite has massively boosted its profile in China with a culturally attuned move to enhance their appeal to that market.  Their newly bottled 2008 vintage has been daubed with the Chinese symbol for 8 – a specifically lucky symbol in a culture which values such charms. Incredulous western news reports often recount the exorbitant sale of phone numbers or vehicle registrations which predominantly feature the number 8. Regardless, the bottle’s labelling provides an approving nod from a genuine status symbol.

Lafite’s market share has since rocketed, as sales have risen on the back of this new engagement with Chinese culture.   UK wine sellers have reported wide-ranging stock shortages, as initial allocations flew out of the cellar and replacement stock has evaporated just as quickly. Indeed, investors reported an approximately 20% rise in prices, as a case surpassed the £10,000 mark for the first time. Investors have almost solely been Chinese or working towards the Chinese market.

For the brand spokespeople at Lafite, “the shape of the symbol seems to offer a perfect representation of the slopes of the vineyard and commemorates the launch of our Chinese wine project.” Indeed, the move is not wholly cynical. The symbol specifically commemorates the cooperation of Lafite with the Chinese State in planting 25 hectares of vines in the Penglai peninsula, Shangdong province. The seaside area, famed for dramatic coastal views and the Penglai Water Castle, boasts a moderate climate influenced by its position nestled between mountains and the sea. Long touted for investment, the Penglai are has been praised for the successful cultivation of noble varietals such as Chardonnay, Chenin Blanc and Ruby Cabernet. Some have even gone so far as to label it ‘China’s Bordeaux’, a moniker which will only be strengthened by Lafite’s investment.

Another interesting engagement with the Chinese market was made on behalf of Chateau Mouton Rothschild. Speculation that they were employing a Chinese artist to design the label for their 2008 vintage saw prices rocket on the back of market speculation. Playing to the gallery, it seems, pays well when done correctly.

Yet the eager courting of such markets brings with it abiding dangers. Such dangers don’t relate specifically to the Chinese market, or indeed any other, but instead stem from an over-reliance on the opinion of some. I have written before about Robert Parker and the perils of purported ‘Parkerisation’, which has seen French vineyards attempt to guide production towards the whims of one man’s critical empire. What then is to become of the next dominant market? Will the lure of China’s export potential drive changes in the production of wine in Europe?

This is an interesting prospect, made even more so by the prominent role of high status wineries in courting that market. If a recognised status symbol alters itself to suit an emerging market, does it change the value of the product as a status symbol? Likewise, it could be argued that the task of Lafite or any other prestige brand is to shape the market to their tastes. In an interesting economic dance, the competing influence of established product and eager consumer can lead to profound adaptation on both sides.

Perhaps in their plans to plant vines in Penglai, Lafite are stealing a march on their competition. If China is to emerge as a fine wine producer rather than just fine wine consumer (excepting the presence of many wineries such as Shanxi Grace which, although quality, lack the cache of Bordeaux’s leading houses), then European wineries would do well to get in on the ground floor. The adaptation of status symbols could well be worked round, as an organic brand emerging from within China and bearing the important association with French Chateaux could translate the competing desires of product and consumer. In this way, the negative aspects of processes like Parkerisation could cede to a genuinely sympathetic development which broaches the divide between emerging markets and existing products. Playing to the gallery need not be reductive if its chock full of other actors!

Digging for Victory!

Since the emotional and inspiring rescue which liberated 33 Chilean miners, the world’s attention has been firmly centred on the South American nation. Eyes were glued to rolling news which depicted rescuers’ attempts to tunnel down to the startling depth of 700 metres. Their eventual rescue in the tiny Fenix pod had anxious viewers on the edge of their seats, as the cable inched up for 15-20 minutes per ascent.

Chilean wine has been a growth area for many years now, slowly gaining a reputation as somewhere with decent value and some unique attributes. I’ve written before on this blog about Carmenere and its resurgence in the unique Chilean climate, although Chile’s far-ranging diversity has been perhaps its greatest merit. Crisp Sauvignon Blanc, lush Viognier and classics such as Chardonnay and Cabernet Sauvignon have found a new home in their high altitude vineyards.

In the wake of the historic rescue, however, this growth has been massively augmented. Waitrose are reporting a growth of 23% in sales, with a 5% increase in reds alone. Asda and Tesco are likewise reporting increased sales, with both attempting to take further advantage of the momentary enthusiasm by boosting advertising and promotions surrounding Chilean wine. The buyer for Oddbins likewise commented on a 10% surge in their sales in the last few weeks.

The surge in wine sales is somewhat ironic, given the widely commented upon ban which saw the miners refused wine during their subterranean incarceration. Rescuers worried that the stress of the mine would only be exacerbated after the men had a belly full of wine. This could well have been true, considering that they had barely eaten during their time and were understandably straining under the pressure of being stuck underground. Here’s hoping that those thirsty miners managed a drop themselves on emerging bleary eyed into the sunshine of ground level! Indeed, it may be that it was their celebrations which caused the upsurge!

Keeping the home fires burning

The most recent Decanter World Wine Awards have recently been presented. The prestigious competition turned up a fair few surprises, however, amongst its nearly 11,000 entries from 41 countries. With so many countries represented, a few awards were always likely to find their way outside of France, California, Italy and all the usual suspects. In recent years New Zealand has been somewhat of a darling of the award scene, with fresh interesting produce attracting praise and recognition from many sources. Yet this year, the biggest winners were a little closer to home.

Welsh wine may not be the most internationally renowned, yet it certainly has a base to build on after its performance this year. Ancre Hill Estates in Monmouth picked up an award for the first ever wine it has produced. The tiny grower has picked up a regional award for its White blend, much to the surprise of onlookers. The Decanter site was proud to broadcast the views of its winners, especially in such an unusual case. They quoted Richard Morris of Ancre Hill Estates as saying ” The wine has been very well received in Wales but we were surprised it was so successful in the competition… We are incredibly proud to be flying the flag as the only Welsh winners and we look forward to entering our 2009 bottles again next year.”

Wales was not the only surprising winner, however. The exclusive and prestigious title of best sparkling wine is generally the preserve of the top Champagne houses and the occasional Champagne producer trying their hand with overseas production. Yet, despite strong entries from Taittinger, Heidseick and Thienot it was an English wine that triumphed. Ridgeview winery, with 5.8ha located in East Sussex, surprised both the audience and themselves with a historic win which saw English wine upstage the giants of Champagne. The popular winner was founded in 1995 and is a family run affair, drawing in husband, wife, son and daughter to the operation. The founder, Mike Roberts, expressed complete surprise at the victory, verging on disbelief.

The Decanter site again quoted the congratulations of judges. Their Tastings Director, Christelle Guibert, was quoted as saying that the superb performance “unequivocally rubberstamps England’s membership to that exclusive club of truly world class, sparkling wine producers. Up against a clutch of Champagne’s finest, Ridgeview has produced a stupendous wine that defeated them all. It’s a truly remarkable win.”

A surprising and successful night then for the underdogs! If there is a lesson for the consumer, outside of the obvious and inspiring success of hard-working individuals, it is to be adventurous in your choices. With Welsh and English wine winning awards, perhaps it may be time to try a tipple from close to home alongside your clutch of old favourites. Well done to the winners, a full list of which can be found on the Decanter website.

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.

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!