The three pillars of sustainability

People – Planet – Profit. 

Sustainability. A hard and complex thing to define, as it covers so many different aspects but it does seem to be the current buzzword as we are all increasingly becoming more aware of our health, well-being and the environmental issues around us.

I recently attended a webinar on sustainability where it was mentioned that 25% of all greenhouse gases come from agriculture and animals, and the care of vines is no exception. The concept of ‘regenerative farming’ is central to an increasing number of wine producers who believe in the importance of biodiversity and the harmony of nature in the vineyard.

As a vineyard is in essence a monoculture of a perennial plant, disturbance to the soil should be kept to an absolute minimum to ensure that the natural micro-organisms in the soil are encouraged and maintained. Cover crops can be grown to capture carbon and to minimise water use, particularly where water used for farming is expensive to buy and may be short supply at certain times. Sheep are sometimes encouraged to graze in the vineyard on grass, and cover crops to encourage plant growth and biodiversity. Selected rootstocks may also be used to restrict the vine’s vigour, requiring less control. All of these different processes will encourage vines to use their own resources to work hand in hand with nature.

A good proportion of a winery’s emissions come from the use of diesel vehicles so far-thinking producers are making the investment in electrical vehicles for working their land – as we all will probably need to do in the not too distant future. Or indeed, revert back to the traditional use of a trusty plough horse leads to less compaction of the soil and is also a lovely thing to see!

A few of our producers are installing beehives in their vineyards to promote pollination and obtain honey as a welcome by-product! The composting of pruning and grape pomace for natural fertilisers is also becoming more widespread, rather than sending for distillation as in the past. Using sexual confusion in the vineyard from insect pheromones as an alternative to chemical pest control is becoming increasingly popular with growers as they realise the advantages for the environment.

Many people would automatically think that an organic wine would be sustainable by definition but with the contentious use of copper as a treatment against diseases in the vineyard, which is allowed under organic viticulture, and which can contaminate the soil as a heavy metal if it is used too frequently; the issue is more complex than just acceptance of all organic wines as sustainable.

Biodynamics are a continuation of this theme, where all vineyard practices (and winemaking) are carried out according to the moon phases, using specific treatments for disease prevention as well as natural fertilisers and which are now being recognised as more main stream – previously perhaps dismissed as rather hippy and ‘woo-woo’. I know from tasting wines which are produced using biodynamic and organic techniques that they seem to have more depth of flavour – more ‘soul’ and energy, if I can express it that way. One of our producers, the redoubtable Gérard Bertrand in the South of France is fully embracing this way of working with all of his estates either already certified as biodynamic or in conversion, and the results in the quality of his wines speak for themselves.

While researching the sustainable credentials of our suppliers, I was struck by how many of them have this ethos central to their production values and guides everything they do from vine to bottle. A great many of them have gone the extra mile and gained certification in their country – such HVE (Haute Valeur Environmentale) in France, WIETA (Wine and Agricultural Ethical Trade Association) in South Africa, Sustainable Wine of Chile, Bodegas de Argentina Certified Sustainability, Sustainable Winegrowing New Zealand, to name a few – all of these regulate the use of insecticides and pesticides as well as fertiliser and water usage with protection of the environment in mind, and to maintain the biodiversity of the local area.

Climate change is also necessitating a rethink by wine growers who have difficult choices to make if their vineyards are affected by the extremes of weather which we currently seem to be experiencing – by rot in the case of excessive humidity or Summer hail damage, whether to irrigate (if even allowed and if the vineyard is set up for it) in case of drought, loss of fruit caused by Spring frosts; the challenging factors are unfortunately endless.

If they are passionate about the environment and their philosophy is to avoid chemical treatments, the choice is stark. Either compromise on their principles and lose their sustainable or organic status or accept the loss of their crop with the accompanying loss of income. I remember talking to one of our organic producers a few years ago who had had to make that choice – and he decided to remain organic and lose the majority of the crop. I felt so sorry for him but admired his tenacity and adherence to his principles. The news coverage of the frost in France’s vineyards in April where the countermeasures taken in the form of burning straw or heaters raised their own issues with complaints about damaging the environment through smoke contamination is another case in point – faced with losing your burgeoning crop or taking these extreme measures, what decision would we make ourselves?

We are probably just at the start of the sustainable journey and I look forward to seeing how viticulture, and winemakers, adapt over the years to come.

WOTM: Brezza, Vigna Santa Rosalia, Nebbiolo d’Alba 2018

A new addition to the Hallgarten portfolio, our July Wine of the Month is Vigna Santa Rosalia, Nebbiolo d’Alba 2018, from Brezza was made organically, with minimal addition of sulphur. Recently awarding it 16.5 points, Jancis Robinson describes the wine as having “freshness and texture in spades.” We are very excited to have this, and the full range from Brezza, in our portfolio!

In a nutshell

A pale, perfumed wine with notes of berried fruit with characteristic hints of roses, violets and subtle earthy, savoury and leather notes.

The producer

The Brezza family own 12.5 hectares of vines split between the commune of Barolo (in Cannubi, Castellero and Sarmassa), the two hectare Santa Rosalia estate just outside the Barolo DOCG zone between Diano d’Alba and the town of Alba itself, and two further plots in Monforte d’Alba and Novello. Throughout the vineyards, the family practices an environmentally friendly approach to viticulture and the estate has been certified organic since the 2015 vintage. In the cellar, winemaker Enzo Brezza follows a traditional approach with minimal intervention. In order to maintain freshness and purity, many of the wines are bottled with glass Vinolok closures.

The wine

The grapes come from a 1.2 hectare single vineyard called Vigna Santa Rosalia, which was planted in 2004. Located around the town of Alba, it has been organically farmed since 2010. Situated at 300 metres’ elevation, the vines are planted at a density of 4,000 vines per hectare and have a westerly orientation, capturing the afternoon sunshine. The Nebbiolo vines are the Lampia and Michet clones and are grown on rootstocks K5BB and 420A. Guyot pruned and espalier trained, the vines are carefully cultivated by hand, with green harvesting and thinning taking place to control yields and increase the concentration of flavour in the grapes. Green manure is employed to enhance the vitality of the soil and the cuttings from the grass cover crops are left on the soil, to help increase the nutrient value. In accordance with organic viticulture, copper and sulphur are used when necessary; herbicides and pesticides are not employed. Harvest takes place by hand.

Wine descriptions, are they a waste of ink?

So let’s just say I’ve got some previous with wine descriptions on lists. Saying that I’ve got beef might be a little strong, but you could definitely conclude that I’ve had a love-hate relationship over the years.

From very early on in my wine career I decided that the generic descriptions made available to sales reps left a lot to be desired. Now this sounds a little arrogant but I remember thinking at the time, they don’t really mean anything, let alone activate sales. Let’s take a look at the following tasting note and see how inspired we all feel:

‘A lovely, refreshing wine with aromas of grapefruit, citrus, stone fruits and delicate notes of fresh acacia flowers on the nose.’

Blah, Blah, Blah! It’s just so boring and are consumers really that interested in this kind of information? Do they even know what acacia flowers smell like? I don’t, and I love a bit of gardening. I’ve always believed that customers would only read one or two generic descriptions before switching off.

Anyway, more on this later, but for now let’s get back to a young Joe Wadhams who thought he was going to reinvent the wine description. So the first problem that I encountered was that writing your own quirky descriptions takes a very long time. You’re constantly trying to not repeat yourself – which when you’ve got a limited Essex vocabulary like me was pretty tough. My theory was simple though: try to describe the wine in a way that consumers could relate to, and try to make them laugh at the same time. Some were definitely more random than others. I once described an Assyrtiko as a ‘volcanic Chablis on steroids’ or I might have even said it was ‘like licking a volcano’ – I was drinking solidly back then so it’s a little hard to recall. So you get the general idea, they were pretty random but strangely consumers were lapping them up. They actually sat at the table and took the time to read them, I was amazed but at the same time I felt vindicated. If you want someone to read something just make it interesting.

Anyway fast forward a few years and I moved onto one of the big boys in our industry. So my less than orthodox talent for writing rubbish and getting people to read it soon got noticed. Before I knew it I was thrust into a huge project with Matthew Jukes to write interesting descriptions for about 100 of our wines. Let’s just say our approaches were a little different, but after a couple of months we’d completed the mission. Matthew’s way of writing is fantastic but his descriptions were incredibly detailed, so I was tasked with giving them a little trim. So you could say that for two months I was Matthew Jukes’ Editor – I like the sound of that.

Moving on a couple of months and I was standing at our portfolio tasting and the company had decided to put some of our wine quotes up on the wall. One of the ones they used from me I’d actually ripped off Olly Smith after I’d seen him on the box. I remember it as if it was yesterday – ‘this wine is like taking a chair lift up the rock face of sheer freshness’. So you can imagine my unease when Olly and I are standing under this quote at our tasting with his eyes moving upwards towards my undoubted plagiarism. He took one look at me and then thankfully we both started laughing!

It’s safe to say that after this period I completely lost the plot. I’d quite simply OD(ed) on writing descriptions so I then took them in a new direction. I decided I no longer wanted to tell the customer anything about the wine, and instead concentrated on writing descriptions that made little sense. Two of my weirdest were as follows:

‘A smoking jacket and beagle are recommended with this Claret’

And my all-time favourite:

‘Anglo French writer Hillaire Belloc once wrote “I forget the name of the place; I forget the name of the girl; but the wine was Chambertin.” 

The crazy thing is customers still loved them. It does make you think that customers just want to read something that’s engaging. This reassured my belief that notes about flavour mean very little to the average consumer.

After this period of tasting note madness I went into retirement and haven’t written a wine description since. I reckon my hiatus has lasted for roughly 8 years now. During this period I played around heavily with style headings. My theory was that many consumers only needed to know what style of wine it was. For example with whites were they Crisp, Aromatic or Rich. This approach might seem incredibly simple, but it seemed to work a treat and did make training staff a whole lot easier. Plus I was no longer sitting up half the night spewing out random quotes from Anglo-French poets!

So as I’ve said, this carried on for some time until the other day when I was hosting a tasting with one of my key accounts. We were tasting a wine from Kefalonia which is aged underwater, and to be honest is a little leftfield but damn good. The common consensus from around the table was, ‘we love it but how are we going to sell it’? I then had some sort of out of body experience and shouted across the table, ‘why don’t we do descriptions’?

I tried to catch the words but it was too late, I’d said it. So it looks like I’ve now gone completely full circle and I’m back where I started. What style am I going to go for? I think they will definitely be more grown up but I’m hoping they will still be interesting. My boss sent me an email the other day about a new Mencia we’ve brought in from Ribera Sacra. He said: ‘A sort of mid-way point between Pinot Noir and Syrah, but with high acidity’. I thought to myself, if I can combine information like this with a touch of light humour the balance would be perfect. So wish me luck.

The reality is descriptions can work but let’s make them count, and try to engage and relate to the customer. If we don’t that really would be a waste of ink.