An anomaly of the South African wine landscape is that, generally, consumers believe our top-tier red wines are far more ageworthy than the whites; so, while the former are deemed better at ten years, the latter are considered to lose interest after four or five.
Yet again, Winemag’s 10-year-old Report for 2020 has proved the lie. In a year described by Editor, Christian Eedes, as: ‘a testing vintage due to the constant fluctuations in weather conditions throughout – a cool, wet spring caused uneven budding in many regions while summer months were exceptionally dry and windy, the heat wave at the beginning of March 2010 which lasted longer than a week going down in the annals’, it wasn’t surprising entries were down on those in the heralded 2009 of last year.
One might have thought with 53 red wine entries, 13 whites, (as well as three Noble Late Harvests and five fortifieds), that reds would dominate the top of the rankings; not a bit of it. Seven whites scored 90 or more, a much better hit rate than 17 reds. The full results and tasting report can be downloaded here.
But are either white or red wines really standing the 10-year test? This year, like last, the top scoring wine is a fortified, Morné Vrey’s Delaire Graff Cape Vintage. For this achievement, he won the coveted bottle of GS 1966 Cabernet Sauvignon, kindly donated by Amorim. Are fortified wines the best we can do; are our whites and reds just not up to scratch? Given vintage conditions, it puzzles me less that 2010 delivered a fortified winner than 2009.
The winelands have seen many, very important changes in the last ten years, but before touching on a few of those, how do the top-scoring wines stand up to scrutiny?
Winning producers (at least those not hard at work on vintage 2020) and guests were given the opportunity to taste and drink a selection at the lunch, held at Viande, Pete Goffe Wood’s newish restaurant in the Grande Roche.
As someone who doesn’t score, I grouped them according to the following levels of enjoyment: safe (drinkable but without all the benefits 10 years should bring), sad (past best – as one might hope, there were none) and superb (wines with developed complexity). Sadly, there were none in the last grouping either; to compensate, I added the qualification ‘appealing’ to ‘safe’. The few deserving of this latter accolade, are: Tokara Director’s Reserve White (sauvignon/semillon blend), Iona Sauvignon Blanc, Nederburg Private Bin Eminence and Delaire Graff Cape Vintage. I would drink all these with pleasure, if without being rendered speechless with wonder.
White Bordeaux-style blends are among my favourite, sauvignon and Semillon are each other’s ying and yang, having the ability to grow with interest and ten years is certainly achieveable. I was much more surprised by Iona Sauvignon Blanc; not only is it still so fresh and elegant (it’s from Elgin, remember!) but there’s no hint of green peas or beans, which often over take older sauvignons. I look forward to the promised 20 year vertical later this year.
Eminence remains full of live and ripe flavours; Morné’s Cape Vintage is in the drier style I prefer, not too heavy and with clean, warming spirit. We really do this style well but no one should think it’s easy compared with others, therefore achieving higher scores more readily.
When the lowest alcohol among the top reds (all cabernet or cabernet blends) is 14.7%, two consequences are givens. The wines will be bruisers and half a glass will be more than enough. Balance being more important than actual alcohol tipped the scales for me in favour of Ernie Els Signature Red (cabernet, merlot, petit verdot, cabernet franc and malbec, a medley which has some truth in the taste), as opposed to Christo le Riche’s Reserve Cabernet Sauvignon which has a noticeable afterglow.
Apart from tiring levels of alcohol, these 2010 reds (and I’m sure many others) are four-square, blockish wines that could have been consumed around three years ago; I doubt they’ve changed that much in that time.
We are moving on from this big, brutish style. I chatted to Aidan Morton, viticulturist at Tokara since 2000, and Christo le Riche about changes they’ve made in the past ten years. It all centres on viticulture; getting rid of virused vines, undertaking multispectral imagery which helps determine when certain parts of the vineyard are ripe; matching this up with vintage conditions creates a great resource for future vintages. Le Riche cabernet now includes some different vineyards from those in 2010, which Christo believes provide better balance, but he’s also picking earlier – another trend across the winelands to capture freshness with ripeness.
Whatever the results, whether or not the wines warrant ten years, and whoever enters – or doesn’t – in Winemag’s 10-year-old Report, they offer an informative general insight into a particular vintage, as well as a reminder how far we’ve come since then.
Sweet wine is a strange category. Many of the wines are universally admired but what relationship do we have with them? Do we interrogate a sweet wine in the same way as we would a chardonnay or cabernet and, if not, why not? Surely they have the potential to develop in the same way as other wines? Vertical tastings of that chardonnay and cabernet would undoubtedly be well attended but how many vertical events are held for sweet wines. They are few and far between, as are tastings of sweet wines generally; perhaps that’s why so little is written about them.
I was going to say that there’s not even a competition devoted to sweet and/or fortified wines, but then Winemag announced its tasting programme for 2020, which include a Report for the pair.
This lack of attention is undeserved; many producers have pioneered new styles or local styles of classics with fascinating background stories.
How many know the origins of Vin de Constance, the modern-day recreation of the famed 18th and 19th century Constantia? It began when previous owner of Klein Constantia, Duggie Jooste, purchased the farm in 1980. One evening, Duggie was standing overlooking the vineyards with the late Professor Orffer, renowned authority on wine varieties, when the Professor revealed Constantia, the one great wine made in the southern hemisphere, came from vineyards now part of Klein Constantia. Thus, the dream was born to re-create that luscious, sweet wine.
Of the several varieties used in the original wine, Muscat de Frontignan was chosen, matching as closely as possible the clone (possibly from original stock from van der Stel’s time). The vines, planted in 1982, yielded the maiden Vin de Constance in 1986, along with other maiden vintage wines of restored Klein Constantia. Like Constantia, Vin de Constance is an unfortified, natural sweet wine, more oxidative in style in the early years. Today, in a dedicated cellar, each picking is vinified separately, blending taking up to six months before ageing for around three-and-a-half years in a mix of new and used oak. Today, Vin de Constance has greater freshness and definition, one entirely worthy of the elevated position it holds worldwide.
Muscat de Frontignan is also known as muscadel, under which label are found South Africa’s traditional fortified wines, many from the Breede River Valley. Unfermented grape juice is fortified with neutral grape spirit and usually unoaked, they are immensely sweet and often fiery when young but can develop more interest with age; Nuy Wine Cellar has a wonderful history of picking up Museum Class trophies with their old Muscadels.
A whole new level is reached when muscadel is aged in oak; few are, thanks to little consumer enthusiasm for muscadels generally. A situation not helped by less than active promotion by Muscadel South Africa, whose quoted mission is ‘to establish and promote the image of Muscat de Frontignan’.
It’s left to individuals, like Thelema, to raise its image. Thelema Gargantua Muscadel 2000 should change more than a few minds. Fascinated by Nederburg’s sweet Muscat de Frontignan, Gyles Webb planted his vineyard in 1986; it’s still going strong, producing what Gyles calls his ‘swimming pool’ wine, a fresh, light white. In 2000, the team tried something different; the grapes were left to raisin, fermented on the skins for 24 hours, pressed and fortified with neutral grape spirit before being left to slumber in an old French oak barrel for 19 years (yes, 19!). This transformed the wine into a luscious, creamy mouthful reminiscent of toffee, molasses and nuts, its huge 324 grams of residual sugar invigorated by an arresting acid. Packaging and price – R1400 for 500ml – projects an image of something very special, which indeed the wine is. If any muscadel can capture consumers’ imagination, Thelema’s should.
One can’t talk about sweet wines without mentioning chenin blanc. Nederburg’s Edelkeur pioneered Noble Late Harvest, prior to which, such residual sugar levels weren’t permitted; it was also a driver for the Nederburg Auction.
David Trafford was another pioneer employing chenin to make the first local Straw wine or Vin de Paille – bunches air-dried which concentrates the juice. The first 25 litre glass jar made in 1995, lead to a 225 litre barrel the following year; by 1997 regulations had been changed and the wine was certified. Earlier regulations allowed for wine to be made only from ‘fresh’ grapes, no older than three days, (a period which allowed for the Co-ops to harvest on a Friday and deliver to the cellar on a Monday). David had come across awed mention of Vin de Paille whilst researching syrah in the Rhône. His interest led him to experiment with chenin blanc, which he knew from the Loire made exceptional sweet wine while holding its acidity. Trials with sauvignon blanc and chardonnay proved chenin’s strength. Just over 20 years later, around 30 producers make a Straw wine or Vin de Paille.
Among those producers are Chris and Andrea Mullineux, who, as far as I know, have come up with an original. In 2015, they blended some of their straw wine from every year, starting with their first 2008 through to 2014; this fractional blending echoes Sherry’s solera system. As each vintage is unique, so is the final blend. With just 11% alcohol, a soaring 260 grams residual sugar, the wine struck me as ‘exhilarating and incredibly fresh considering the older wine included’. The original bottling (in 375ml) of Olerasay (a play on solera) has long sold out, but recent hints from the Mullineux cellar suggests another tranche could soon be on its way.
There are many others which demonstrate South Africa’s amazing versatility with wines that go beyond sweetness. They all deserve more attention.
It’s summer, it’s hot but never mind, we’ll still drink red wines with our meals. I suspect, whatever the weather, the default colour for most wine lovers’ evening meal at least, is red. Being the meat-eating nation we are, I can understand why, but it also shows a lack of adventure and experimentation.
I’ve spent the year so far being both adventurous and experimenting by drinking white wines only; I assure you there is success and much enjoyment to be found beyond red wines, even with meat on the menu.
South African white wines are regularly singled out as being innovative and singular, not only for their varietal make up but increasingly for their structure and ability to benefit from age. As I’ve already mentioned, the many different vessels used for fermentation and ageing are influential but there’s also the possibility of making white wine in the same way as reds, with skin contact.
It’s nothing new, Georgia, Slovenia and Friuli are well-known for their Orange wines, those made with skin maceration. The story is recorded in Simon Woolf’s book Amber Revolution, which has also given energy to growing international enthusiasm for skin-macerated white wines.
Locally, it was around 2008-2010 when a few winemakers started experimenting; by 2018 there were more than enough to hold a tasting dedicated to a wide range. Our opinions and results are available here.
I’ve found that success depends to a large extent on the winemaker’s experience; those who have a regular source of fruit and several vintages under their belt, are making excellent wines.
Jurgen Gouws is one of them. He started his Intellego label in 2009, though I first came across him when he worked at Lammershoek with Craig Hawkins in 2011. Craig was already trialing skin-maceration on white wines and Jurgen caught the bug.
He’s now based on the Paardeberg in the old Observatory Cellars and takes in fruit from organic vineyards across the Swartland.
His labels are a delight, each has a story to tell, all suggest the wines are something different. They are indeed. The latest vintage, 2019 apart from the 2018 and 2017 syrahs, were introduced to a group of media and sommeliers by Jurgen this week.
Wine is celebration of the vineyards it comes from, runs Jurgen’s philosophy; in the cellar, the wine’s journey is unhurried and not forced into any predetermined style. It says much for Jurgen’s now assured hand that the results are invariably excellent.
There are a pair of chenins; the one labelled Chenin Blanc didn’t receive skin maceration, was naturally fermented in old oak (used as a container rather than flavourant) with 11 months lees enrichment. The colour is as one might expect from such vinification: bright, pale lemony straw. Think flavour – spice, ginger – rather than fruit– but overall more weight and texture.
For any cautious about white wines with tannins (they’re accepted on reds, so why not whites?), Elementis Skin Contact is a perfect introduction. Colourwise, it’s darker buttery lemon rather than amber or orange, even after 13 days on the skins, a flexible period depending on vintage. There is tannic firmness but in no way intimidating and never outpaces the fragrance, freshness and concentrated flavour. Like all Jurgen’s wines, it is totally dry, adding a note of firmness. Of course, everything is in place for ageing. I recently drank, with great pleasure, a 2016.
A greater sense of adventure is required for The Sleeping Co-pilot, a viognier, again 13 days on skins, here producing a dark gold hue and much more austere wine with an earthiness dimming the rather vague dried peach aromas. Not endearing in a tasting format, but probably more amenable with food, maybe even red meat. The name recalls a scary time when an intern from Switzerland was driving Jurgen to collect grapes; Jurgen himself was aroused from drowzing to find his Co-pilot asleep at the wheel! All was well that ended well.
Whole bunch plays a role in the reds as well as whites, helping to give Pink Moustache, a 70% syrah no skin contact, 30 cinsaut three days on skins as whole bunches, freshness and energy in its wild berry and spice flavours. Classed as Alternative Red, there’s no need to be alternative to enjoy it.
Halagasha takes a refreshing new look at pinotage, a variety Jurgen also worked on with Craig Hawkins at Lammershoek. The only reason this would require a sense of adventure is if there’s disbelief that pinotage can be anything other than big, thick and jammy. Bursting with energy, ripe cranberry fruit and freshness that has much to do with the fine tannins, it does pinotage great service which deserves to receive wide recognition.
If reds are mandatory on the menu, Halagasha as well as the Rhône style blend, Kedungu, lighter, fragrant and flavoursome Syrah 2018 and Kolbroek (Syrah) 2017 are perfect on a warm summer’s evening.
Jurgen deservedly has a following, ; both Pink Moustache and Halagasha are already sold out but the strength of these wines, the whites in particular, is when partnered with food. Restaurateurs, sommeliers and wine stewards can do much to encourage more timid wine lovers to enjoy these wines. There’s a good tip in Richard Siddle’s article in The Buyer,
‘A humble suggestion here is that more experimentation, more risk taking and being more open to change is the way forward.’ As applicable here as it is to buyers in the UK.
New Year resolutions be damned; rather have wishes, which attract no shame if they don’t come true, though hope is always there.
First wish then is for greater appreciation of cool climate wines, reds in particular. South African wine lovers are used to and enjoy gutsy reds; plush with a few grams of residual sugar are also currently favoured. That said, many producers are reining in on alcohol, extraction, oak and sugar, earlier picking also achieving greater freshness. But even these reds are from warmer areas; Stellenbosch, Swartland, Paarl. What about cool areas like Elgin, Elim, Hemel en Aarde?
Pinot noir is of course, the signature red for both Elgin and Hemel en Aarde but it is recognised as having a different structure from cabernet, shiraz or pinotage; it helps that pinot producers are focused on making pinot rather than any other red.
But the varieties associated with those warmer areas are also grown in the cooler ones. So how to approach shiraz, for instance, in Elgin to reflect its cool origin? I have an answer to that, thanks to Richard Kershaw MW, who enlightened me a few years ago.
Leaving aside Elgin’s climatic details and the given of Kershaw selecting best clones for the various soils and sites and most favourable planting orientation, all meticulously explained, he maintains the human element is important in authentic expression of terroir. ‘The elegant, medium-weight style Elgin dictates comes down to the winemaker’s approach,’ Kershaw advises, noting there’s more of a tendency in South Africa to aim for a heavyweight Barossa style than an elegant, subtle one. ‘No doubt driven by South African consumers’ preferences,’ he concludes.
If any red variety lends itself to a cool climate, it’s pinotage, thanks to its pinot parentage. Apart from offering a fresher, livelier take on the grape, cool climate styles could appeal to those who don’t care for the bigger wines, which dominate show awards. An engaging example of cool climate pinotage is The Giant Periwinkle Sun Spider 2018 from vineyards near Cape Agulhas. It’s fresh, fragrant and just 12% alcohol. More of that ilk would benefit everyone.
Cabernet sauvignon might seem a less likely cool climate candidate but Tasmania’s Domaine A Cabernet Sauvignon and the classic styles of New Zealand’s Te Mata Coleraine and Craggy Range Sophia, to name but three, should convince of the possibilities. Locally, the possibility of not just perfectly ripe, but classic-style cabernet, is already realised by Restless River and the Wessels’ Main Road and Dignity Cabernet Sauvignon. Unlike Stellenbosch cabernets, there’s none of their youthful, ingratiating plushness, in fact it’s quite stern and seriously dry, yet there’s no sense of unripeness in fruit or tannins. In my humble opinion, it’s deserving of Platter’s five star award (declaration, I’m RR’s taster) but has yet to receive the nod at the blind tasting, I guess because of those plush Stellenbosch cabs surrounding it rather than its own shortcomings.
Blind tasting. What a hornet’s nest! ‘Blind tasting is the only way to rate wine fairly’ declares the headline to a Wine Enthusiast article. The author reasons the method ‘removes many opportunities for bias and levels the playing field for all wines to receive the same analysis without any preexisting expectations. .. it removes all preconceived notions, good, bad or in between.’
I beg to differ; firstly, as truly blind tastings are few and far between. Most are blind only in that the producer is unknown; variety, style and vintage are usually given. Yet, don’t judges have preconceptions about these as well? To return to the Restless River cab, it doesn’t fit the South African cabernet profile, so is less likely to be rewarded. Yet when I tasted it sighted for the guide and over a few days, I was convinced it was worthy of five stars. There are many other worthy wines which meet the same fate. In this case, it’s local judges tasting local wines but I think there’s a case to be made for the Platter five star tasting to be sighted. A topic that has been discussed many times and will no doubt be discussed many more.
Reviews are a different matter from competitions. Giving context to the wines of whatever variety or style is helpful for consumers. Where the fruit comes from, the winemaker’s approach, goal and aesthetic all inform about what to expect in the wine.
White wines in particular have undergone major advances in recent years; going from one- to three-dimensional thanks to cement eggs, amphorae, a diversity of shape of oak barrels not to mention innovative blends and new varieties. There’s a confusion of possibilities at this stage and still a great deal to understand; it would be unhelpful to both consumer and producer to blind taste these wines for review. Needless to say, an objective review of the wine itself is essential for the taster’s credibility. Of course, any conflict of interest or bias should be declared.
So, please everyone understand the purpose of the tasting before criticising.
When the idea came to me of writing about honouring our South African vineyards, I vaguely remembered an interesting story about one of the most highly-regarded pinot noir vineyards in California, Pisoni Vineyards, which belongs to the eponymous family. Several producers buy their pinot, each acknowledging the vineyard on the label. I recalled there were certain conditions under which these producers could purchase the fruit but, unable to remember all the detail, I wrote to the Pisonis asking for further information.
A friendly note from Jeff Pisoni, ‘a huge fan of South Africa and the wine regions,’ filled in the background.
‘My father, Gary, is a wonderfully passionate (and entertaining!) individual. We grew up in a conservative farming town, and he always wanted to follow his own path and vision. This is where the “purchase agreements” come in. All other farmers in the area have signed contracts, and he never wanted to do so. He loved our vineyard and grapes so much that he didn’t want it to feel like a contractual negotiation. Instead, he wanted all his fruit sales (then and still today) to be based on handshake agreements—to respect each other and the fruit.
His requirements to our grape buyers are:
1. You have to make great wine.
2. You have to be my friend.
3. And you have to pay the bill! (and always being very witty, he would joke about the last one being the hard part!)’
I like that idea very much. By reputation, producers of Pisoni Vineyard pinot noir, are making great wine and honouring the vineyard. Is there is a vineyard here where a group of wine producers all source their fruit and bottle it without blending from other vineyards? Jeff’s dad’s requirements would go a way to honouring a great vineyard.
Coincidentally, Jeff told me he’s been here a few times for harvest and, seeing my article on Iona, remarked he’s tasted with Andrew Gunn ‘and really love his wines’. Jeff’s wife was at one time assistant winemaker at Saronsberg, while on another South African-related note, he tells me; ‘in addition to the wines I make for my family, I also make wines for Fort Ross Vineyard, where the owners are South African. And as a result, they grow (and I make) a small amount of Pinotage here in California. Fun stuff.’
We’ve honoured winemakers (too much), we’ve started to honour viticulturists (not before time), now we need to honour vineyards.
South African vineyards have had a rough ride. The scourge of leafroll virus is still rife; a few, with rigour, dedication and general sanitary practices, have eradicated it; Vergelegen is a notable example. Sadly, a newly planted, virus-free vineyard can soon turn: virus-free vines doesn’t equal virus-resistant.
Until 2006, individual vineyards were spoken of only in whispers and behind locked doors; they certainly didn’t receive official recognition. The Cape Estate Wine Producers Association saw to that; they enjoyed and protected their status as the smallest unit under the Wine of Origin scheme. With changes to the Estate legislation, so the single vineyard designation became legal. Such vineyard has to be registered, planted to a single variety, be no larger than six hectares and ‘single vineyard wine’ has to appear on the label (whether or not it’s accompanied by a particular name of the vineyard), as does the designated Wine of Origin.
Judging by the numerous responses to my request for designated single vineyard wines, even among knowledgeable wine friends, there is confusion – I received dozens of proprietary names, few of which are labelled ‘single vineyard wine’.
So how many registered single vineyards are there? According to the latest SAWIS figures – 1711; many producers register multiple blocks, some the whole farm; these are often listed as Block 5 or similar, only a few have a name. It might look a large number but not when one considers the extent of South African vineyards.
An interesting recent proposal suggests ‘in addition to the other stated objects (sic) (I think they mean objectives), in the case of single vineyard wine, the objects are “to express the distinctive characteristics of a small specific site as determined by soil, cultivar, rootstock, clone, meso-climate, exposure and viticultural and winemaking purposes.’ One might have thought such details would have been top of mind when the legislation was first passed.
It is relevant not only to the wine’s distinctive characteristics but its consistency. The old Vine Project has increased awareness of not just old, but quality vineyards. This recognition now needs to spread more generally; top vineyards need to be recognised alongside the top wines produced from their fruit. The chain shouldn’t stop at the winemaker nor viticulturist.
Of course, not all single vineyards are capable of producing stellar quality; nor are single vineyards the be-all-and-end-all, but the single vineyard does focus on the issue of matching variety and site for the purpose of revealing a sense of place in the wine.
This doesn’t happen overnight or it shouldn’t; it requires experience and understanding.
It was while reflecting on the issue of honouring vineyards that serendipity offered a hand. Andrew Gunn of Iona Vineyards invited me and my colleague, Tim James, to taste and discuss new wines, including the maiden single vineyard wines.
The single vineyards, Kloof, Kroon and Fynbos, are defined by both aspect and soil. North facing Kloof (both chardonnay and pinot noir) is on silica quartz with clay; Kroon (pinot noir) comprises alluvial gravel, sandstone and Ferrocrete underpinned by clay and faces south; north-facing Fynbos (chardonnay) lies on alluvial gravel, sandstone with underlying clay.
An important self-imposed restriction is that the vineyards have to be at least 10 years old before they’ll be considered for the single vineyard label; a period during which the vineyard can prove its quality credentials and the winemaker his understanding of it.
While waiting for ten years to elapse, these and some older chardonnay and pinot noir vineyards are channeled into Iona Chardonnay 10 Barrel and Iona Pinot Noir 10 Barrel, currently both 2018 and sold exclusively through Woolworths, where they offer terrific value for R250. There’s no dumbing down, no new oak, pure flavours and freshness that offer ready pleasure but are soundly built for a good few years.
Next level up incorporates the former Iona Chardonnay and Pinot Noir, both 2018 and now indicated by Elgin Highlands on the label. A gentle introduction to perhaps a future new Ward, from which Elgin would benefit. Selling for just R40 more than the 10 Barrel pair, they are drawn from blocks of older vines, evident in their increased concentration which is well able to handle 30% of larger format new oak. The fragrant pinot is particularly charming; very Elgin in its lively freshness, with a delicacy matched by concentration.
The single vineyard quartet, all 2017s, selling for R500, are labelled ‘Limited edition’ as the official single vineyard wine label will come into effect with the 2018s. I think of them as unadorned, essentially holding up a mirror to each vineyard. The Kloof chardonnay and pinot pair are firmly built, their full flavours needing time to develop. The pinot stony, dark-fruited with a suggestion of truffles; concentrated and prolonged but again, with lightness and delicacy. There’s stony quality to the chardonnay too, complemented by a grainy texture and a sound acid backbone: it might sound unlikely but this is a graceful wine.
Kroon pinot and Fynbos chardonnay are more forthcoming; seductive, juicy and luscious .. but plenty of support to benefit from ageing.
Much of the wines’ freshness, purity and alcohols around 13.5% can be attributed to long, slow ripening with harvest taking place in mid-March, a full two weeks later than the rest of Elgin.
The approach Andrew and Rosy Gunn with winemaker Werner Muller are taking shows first and foremost they are respecting their vineyards; at every step doing all they can to ensure each vineyard’s voice is heard loud and clear.
We may be far off a vineyard classification but it’s a goal that would duly honour our vineyards.
Palladius, Eben Sadie’s white blend, is a reflection of the evolution of the Swartland. As with any wine, its development remains a journey rather than destination, but last Saturday’s vertical of the first 15 vintages fascinatingly revealed achievements along the route from 2002 to 2016 .
It was never Sadie’s intention to make a white wine; his focus was on a single red, Columella but while exploring vineyards for this, his attention was caught by the many old chenin and chardonnay vines. At the time, sauvignon blanc-chardonnay blends were popular, which encouraged him to experiment with not just a new blend, but a new category, which even until today defies categorisation. As Sadie noted, his Platter White Blend of the Year, Palladius 2017 is described on the award certificate as ‘White blends, other’.
As much as our white blends receive high praise from international commentators, winelovers don’t understand what they are about, so these blends are difficult sells. We are still a varietally-driven wine-drinking nation; such a pity as many blends, Palladius a star among them, offer something unique.
2002 – a cool vintage, 2003 – one of the warmest vintages, 2004 – cooler vintage
The blend in these years was chenin, chardonnay and viognier, with grenache added in 2004. Fermentation in very old Burgundian barrels obtained from Gyles Webb, occurred naturally. A mistake saw a few grams of residual sugar in 2002, which, due being unfined and unfiltered, started to re-ferment in the bottle leaving a slight spritz, which the Japanese enjoyed and complained when there was none in 2003.
Bottles of 2002 can be hit and miss; here the mellowness of age is accompanied by some sweetness, fruit richness and 14.8% alcohol with the spritz introducing an unusual but welcome freshness. Not unpleasant but without great distinction.
2003 is dry, again very ripe and big – 14.9% on label, actually 15.5%. Eye-catching bright yellow gold colour; viscous, creamy and rich delivering an immediate impact; it received big scores outside South Africa. It would appear old style now. Lower acid but still flavorsome.
2004 One of Eben’s favourites and mine of the older wines. I had a bottle in London earlier this year; this one too showed similar complexity, vitality and tension. Grenache blanc adds to the flavour dimension. Delicious now, though unlikely to head downhill anytime soon.
2005 – great vintage here and in Europe, 2006, 2007 – Sadie’s most perfect vintage of early years
Start of a major change with grenache blanc playing a more important role (up to 40%) and viognier reduced to 10%. Larger, 500 L barrels introduced ‘for greater stability’. Chardonnay was dropped in 2006 when Sadie realised ‘Swartland isn’t chardonnay country’. Clairette blanche, picked fully ripe at 11.5% alcohol, filled the gap and brought alcohol under 14.3%. Roussanne, which ‘gives volume’, joined the blend in 2007.
2005 has a glowing yellow gold colour. Impact here is from the firm structure, freshness and grainy grip, as opposed to richness of earlier vintages. Grenache’s thatchy, dry hay character adds a new flavour dimension.
2006 more developed, strong reddish gold and suggestion of oxidation. Follows 2005’s style but unlikely to gain further interest
2007 speaks of sunny climes and the Swartland but also has great energy and a saline edge in its subtle complexity. Lovely wine with real personality and plenty in store.
2008, 2009, 2010, 2011
Changes beyond the blend itself in this trio of vintages. In 2008, the bottle changed from Bordeaux shape to one with a sloped shoulder, indicative of the wine going its own way and reaching a stature similar to Columella. Picking was earlier for greater freshness. 2009 was a reference year for Sadie; Palladius became a blend of specific vineyards rather than varieties. Viognier and roussanne were dropped, being replaced by semillon blanc and gris and palomino. A dream vintage, as everything was harvested prior to the heatwaves. 2010 an easy year, the only problem being it came after 2009. The blend settled at 11 varieties, each of which has a place in the Swartland though not all liked by Sadie. 2011 identical weather pattern to 2009. Verdelho added to the blend.
2008 – Platter’s White Wine of the Year. Underwent an extended 18 months’ fermentation with a vigorous burst to dryness in October 2009. Deep yellow gold, quiet and developed with a touch of sweetness. Offers some pleasure without vitality and dimension of 2007.
2009 extraordinarily youthful, pale lemony, green; compact build with a silky undercurrent. More a sense of flavour – savouriness, herbaceousness – than anything specific. Elegant and ageworthy.
2010 youthful, pale colour contrasted by broad, mouthfilling richness with some oxidation. Lacks freshness and complexity, maybe an unrepresentative bottle if not, drink up.
2011 semillon’s beeswaxy character and satiny texture plus undertone of verdelho’s smoky, tropical melon add distinction to the freshness and precise finish. Needs good few more years to show at best.
A moderate vintage that went well, 2012 is notable for the first Palladius under 14% alc. 2013 is marked by Paul Jordaan joining the team in the cellar, sales of Palladius taking off and the style settled.
2012 more open, expressive than 2011; Sadie believes it’s a vintage that would better fit now on a restaurant wine list. Balance between freshness, weight and smooth flow. Doesn’t demand introspection, so good partner to conversation.
2013 the best from the old cellar regime. Multi-dimensional both in flavour – fynbos, wild herbs, dried grass – and texture – lots of energy, silky weight and grainy grip. Great precision and potential.
2014, 2015, 2016
A key change in 2014 was a new cellar, concrete eggs and clay vessels. Sadie’s thoughts on the purpose of each vessel is instructive. ‘Introvert grapes go into concrete eggs, where they are in contact with lots of lees. Louder grapes ferment in the amphorae which have a small base and less lees contact.’ After a year in these vessels, the wine’s blended and spends a further year in large, old foudres. No other oak is involved.
Colombar joined the mix in 2015. Sadie discusses psychological maturity, a term coined by Adi Badenhorst and meaning when the winemaker wants the wine to mature. Ripe and smooth reds for drinking in the year of release or tighter and structured for ageing. In relation to Palladius, Sadie believes the wine can’t get any leaner and still be a reflection of the Swartland.
2016 confirms a growth in complexity and confidence started with 2013’s stylistic change and 2014’s vinification modification.
2014 with alcohol under 14%, energy, a spring-like fragrance of fynbos and hay, juicy flavours held by a tightly-wound core, this is a charmer with plenty finesse.
2015 less exuberant than 2014, a more serious, complex and complete blend; still closed and very firm. I guess it needs at least three or four years to start showing its best.
2016 aromatically expressive, ripe but just 13.4% alc, prolonged concentration, brimming with vitality and refreshingly dry. For the long haul.
Turning 40 deserves celebration, especially when achieved by something as niche as a wine guide. Platter’s South African Wine Guide, as it is now known, has also managed, to an extent, to withstand the digital onslaught and is still published in print, with an app also available.
When there were fewer wines and wineries to review, more space was devoted to stories of the farms, wines and winemakers; thus it was an excellent repository for a small piece of history of South African wine. Sadly, today there is little space for such details.
But how much of Platter is actually read? Most turn to the star ratings and maybe read the actual reviews of the wines. Do many even glance through the Editor’s note, Trends in South African wine or Our Method and The Accolades We Award, which now are part of the guide?
In recognition of Platter’s milestone, I’ve compiled a selection of John Platter’s notes and thoughts from the first ten editions, as well as extracts from the luminaries who wrote a Foreward. Significant introductions to the guide are also mentioned, as well as the first and other early five star awardees.
For those who cannot wait to learn this year’s results, page down to the end, but please do return to read the rest!
First edition Preface – John Platter
This guide is intended for the average wine drinker, for the aspiring enthusiast – and for the confused; confused by the proliferation of wines with labels often bewilderingly vague about what’s inside the bottle.
The star system is NOT intended to indicate a wine without stars is inferior It is simply to praise those wines we do know. ..almost any yardstick is better than none and this guide would be the poorer without one. Five stars – Kanonkop Cabernet Sauvignon; Nederburg Paarl Edelkeur
Revised 1982 edition
We are now witnessing the first of the Cabernet Sauvignon blends containing Merlot and Cabernet Franc – the traditional Medoc way.
At last we seem in reach of an important goal: to produce wines deeper and more complex in fruity flavours – unaccompanied by sweetness.
Until more farmers stop overfeeding and overwatering and overcropping their vines, the quality of our wines will never rise much above a good average. … Cape wines have reached nothing like their quality potential yet, partly because of the vast and stifling quasi-official interference.
The reception of the first edition … seems to show there are lots of average drinkers and/or aspiring enthusiasts out there ready to join the cause. Cheers.
1983 – Dave Hughes Foreword
But if we are to be frank about our dry whites, we must admit they are, with few exceptions, boring. … in the case of chardonnay, we must speed up matters and here the authorities have a crucial role. … among all the thousands of entries at the annual National Goodwood Wine Show in 1982, there was only one solitary chardonnay entry.
Elgin, Ceres, Walker Bay – these are among areas that might provide prospects for improved performances of such vines (cool-climate loving riesling, gewurztraminer and pinot noir). But production there is restricted. Introduction of a General Index of variety/style
1984 – Jan Boland Coetzee Foreword
The impression I have is that we have produced and distributed wine without ‘selling’ it. The French .. ‘sell’ a story with every bottle.
It would be a great tragedy if the strides in quality were not matched by imaginative and fresh approaches … to loosen up and re-structure the industry .. to meet the challenges of the times ….
1985 – Author’s note
… we have modified our method of assessment and as a result a number of wines have a lower star rating than in previous years.
… the growing number of Cape wines vinified from inherently superior grape varieties, such as chardonnay and sauvignon blanc …, made it increasingly inappropriate to continue assessing wines by cultivar. A ‘very good’ chenin blanc would in the past receive four stars, the same as a ‘very good’ sauvignon blanc when the latter invariably was instrinsically a better wine. (Of course, John’s view of chenin has since gone through 180 °; see pp 46-47 in his book My Kind of Wine)
1985 – Peter Devereux Foreword
Times of change are times of high excitement. For many winelovers they are also times of confusion – old knowledge becoming obsolete, new labels arriving in the shops … How important, then to have an annual update like this .. an assembly of well-presented reference. Five stars – Backsberg Cabernet Sauvignon; Delheim Edelspatz Noble Late Harvest; Kanonkop Cabernet Sauvignon & Paul Sauer Fleur 1982; Meerlust Cabernet Sauvignon & Rubicon; Nederburg Private Bin R103 & Edelkeur; Overgaauw Tria Corda; Stellenryk Collection Cabernet Sauvignon; Vriesenhof Vintner’s Private Reserve; Welgemeend Estate Wine. (E&OE!)
1986 – Author’s note
More and more now, when you visit a cellar, after … tasting, the winemaker will wink confidentially and say: ‘Have we a few more minutes?’ He (Still very much ‘he’ in those days – AL) then .. pulls a cork or draws a sample. ‘Just something we’ve been trying on the side,’ he will beam proudly. Among such non-commercial wines I’ve tasted this past season are some absolutely superlative ones. In fact, they may outrank a number of the best mentioned in this book.
1986 – Nico Myburgh Foreword
The gentleman who first suggested … we have sufficient sunshine to justify not adding sugar could not have been a farmer himself, because he should have known that even in South Africa the elements do not always play ball. We are now forced to leave the grapes too long on the vines, with the result that they are over mature and have passed their peak.
We could do what the Italians do: use grape sugar (moskonfyt) to give us that extra 1 to 2 degrees of alcohol to make a really top wine .. when the weather lets us down.
1987 – Author’s note
In this latest 1987 edition we have had valuable assistance from Angela Lloyd, whose cheerful competence, whether before a computer or a glass, has lightened the load of preparing this much-expanded production. (It runs to 208 tightly-crammed pages, as compared with 119 very-spaced-out pages in the first edition – AL)
I am acknowledged as Contributing Associate Editor. Foreword featured excerpts from previous editions A wine’s rating
No star – the wine has not been assessed; (*) A star in brackets means a half-star; * – Acceptable; ** – Pleasant; *** – Good (to very good in its class); **** – Excellent; ***** – Superlative. These are personal ratings, made entirely in a South African context.
The first edition where wines rated **** and above were printed in red.
1988 – Author’s note
During this, the ninth annual marathon of tastings …, it’s become palatably clear that Cape wines at last are edging seriously towards world class and in the serious categories – Burgundies, both white and red. …only a tiny handful. But there can be no doubt … that South African wines will soon be a match for the finest of the Old and New Worlds.
We’re still releasing our reds and chardonnays too soon. The ‘elusive nuances’ of French classics take time to emerge.
The best reds and whites of just five years ago would today be considered very average.
1988 – Cecil Skotnes Foreword
I have loved dearly … Ronald Searle’s ‘Illustrated Winespeak’ amd Kingsley Amis’s ‘On Drink’. The latter’s great statement ‘you can commit to memory everything Lichine has to say about Gevrey-Chambertin and still have no idea whether you would like the wine – reading must be combined with as much drinking experiences as pocket and liver will allow’ has carried me through many meaningful moments.
1989 – Author’s note
The exercise is an exhausting pleasure; more than 3000 wines detailed, many of the re-assessed, with 230 new ones from this past season alone.
Perhaps the most exciting development … remains our chardonnays – even co-operative wineries will soon have them and are preparing to buy new French oak.
The odd contradiction in the ratings may be evident. Like all wine enthusiasts, I can be carried away here and there too, and shall spare readers any bogus apologies.
… we’ve tried to liven up the reading with numerous brief personal sketches of the winemakers, their vineyards, their methods and ideals ….. Date of establishment and current production in cases or tonnes are given where available.
South Africa, we’re told, has ‘the best average wines in the world’. It’s a put down that should not be allowed to stick.
… we must continue to hope the politics of apartheid do not forever starve our most gifted winemakers of world class competition, export markets and the stimulus of frequent international peer comparisons.
Boschendal’s Achim von Arnim and Twee Jongegezellen’t Nicky Krone have observed it would be meaningless to improve the quality of our wines without at the same time improving the quality of life of all who work in our vineyards.
1989 – Michael Fridjhon Foreword
The most accurate descriptions of all wines demand a certain poetic flair … Every wine is an historical artefact, the essence of a summer trapped in bottle.
John and Erica Platter are able to capture this essential truth without reducing the wines they describe to something sterile and two-dimensional. Man of the Year is introduced – Nico Myburgh was the first honoured, posthumously.
1990 – Author’s note
Our first edition recorded one Cape chardonnay. There are now 40. And who would have guessed then that chenin blanc, the Cape’s reliable staple, would be overshadowed so rapidly and emphatically, as a dry white wine, by sauvignon blanc, which accounted for four labels then and 121 now. Only one methode champenoise sparkling wine featured in the first edition; there are now 17.
We were reckless enough to ignore the charming gentleman at the KWV who tried to dissuade us … from undertaking such a folly. He was chief at the time of the KWV’s public relations department, charged with spreading the word of wine. ‘Hopeless’, he said ‘that sort of book is outdated so quickly you’d have to keep re-writing it.’
The first edition described 1250 wines (on 119 pages at a cost of R6,95); today’s records about 4000 (on more than 300 pages, at a retail price of R17.95).
We thought it fair ten years ago to record two wines with a top five-star rating. A decade later we have none – though rather more at four-and-a-half stars.
But Cape wines will never be completely acceptable to a wider wine world (and not only abroad) until our political house in re-ordered. This is a task beyond the powers of wine producers. But it should never serve as an excuse to lag behind in the fields in which individuals can make an impact – labour relations, housing, wages, education.
Introduction of (colour) photos taken by Dennis Gordon. Man of the Year was Etienne le Riche
1990 – Dr Danie Craven Foreword
I was brought up in an old-fashioned house where alcohol of any kind was to be avoided. … I had to travel to France, where a Springbok team was touring and where, of course, they are well-known for their wines. I told the Springbok manager that I intended to take wine with my meals but I did not, however, wish to have it at breakfast.
TOP PERFORMING WINERY OF THE YEAR Mullineux
NEWCOMER OF THE YEAR 2020
Peter Ferreira Cap Classique
FIVE STARS AA BADENHORST FAMILY WINES
Kelder Steen 2018
Dassiekop Steen 2018
Magnetic North 2018
ANTHONIJ RUPERT WYNE
Laing Groendruif Semillon 2016
Cabernet Franc 2013
ARTISONS OF ARTISONS
The Mothership Chenin Blanc 2018
When did the Old Vine story really begin? It was a question even Rosa Kruger and Andre Morgenthal had difficulty answering and they have both been involved with the Old Vine Project from its early days. Rosa started hunting down old vineyards while working at L’Ormarins for Johann Rupert. In 2007 she also established I Am Old, a website where she listed those vineyards over 35 years old; to begin with she had to track down those details from the farmers themselves and with the help of Vinpro, as SAWIS wouldn’t release them.
Trying to recall these beginnings was the prelude to a tasting I hosted of the maiden Sadie Family Wines 2009 Ouwingerds range. Eben had kindly given me the wines many years ago; it seemed appropriate to open them as the momentum of the Old Vine Project continues to grow and as the wines reach ten years old. Eben started by giving us some historical background on the range and each vineyard.
It was relevant to the wines themselves that both Skurfberg (chenin) and Kokerboom (semillon) vineyards were in good shape when Eben first took in the fruit; not so for Mrs Kirsten (chenin) which was run down. It was this wine which limited the number of Ouwingerds range cases as just 300 bottles were made each year from 2006 to 2010.
Regenerating the vineyards has required interplanting; in clean blocks like Skurfberg and Kokerboom, using their own material. In virused vineyards, such as Mrs Kirsten and Treinspoor (tinta barocca), interplantings are from clean material. These younger vines do contribute to the final wine but the grapes are harvested at a different time.
Over the years, vinification has undergone major changes. The 2009s were basket-pressed and all spontaneously-fermented in small, roughly 22 year-old oak barrels purchased from Thelema; the wine was left to clarify in cask from which they were bottled, unfined and unfiltered with just a small sulphur addition.
Small casks gave way to big, old foudres and, in 2013 600 litre clay amphora were introduced; all, according to Eben, give a much better, purer expression of each vineyard.
The importance of the set of 2009 Ouwingerds range is perhaps not sufficiently appreciated by all of us who buy at least some of the wines every year. Before 2009, the Sadies tried to sell the wines individually; it didn’t work. The wines were considered too expensive, Mrs Kirsten (as she was until the Afrikaans Mev took over in 2009 to complement the other wines’ Afrikaans names) the most pricey.
It took the set – just 300 cases at R3000 each – with the William Kentridge labels to galvanise interest in old vines. Of course, other wines had been made from old vines: Francois Malherbe of Eikenhof, Marc Kent at Boekenhoutskloof (from Eikenhof fruit) and Basil Landau at Landau du Val had bottled semillon from old vines for many years, but the fuss really started and spread with the Ouwingerds range.
Unlike many of today’s limited production wines, pricing of the Ouwingerds range has remained remarkably ungreedy. The rationale, as Eben explains is to encourage people to drink the wines and to save more vineyards. ‘If the wines sold for R800 each, fewer wines would sell, so fewer vineyards would be saved. Charging around R300 ensures a more positive outcome.’
There’s rationale too in Eben’s choice of varieties. ‘You can’t tell the history of South African wine without chenin and greengrape (semillon), cinsaut and field blends. Tinta barocca is more Swartland specific.’
So to the wines. Pofadder first. There’s a serenity in its subtle flavour and supple mouthcoating flesh. With time, it grew in purity of expression and seriousness but always in a contained rather than flamboyant manner. Although it has secondary characteristics, it belies its age and 14.5% alcohol. According to Eben, alcohols higher than 12% or 13% are necessary in the Swartland.
Skurfberg weighs in at 14.8% alc but is also perfectly balanced. Bright lemony gold in colour, there’s a mature, wet wool, mushroomy/truffly complexity throughout, its richness nicely offset by a dry, pithy finish. A favourite among many.
‘T Voetpad (field blend of red and white semillon, palomino and chenin) 14% alc. The cork had dried out and crumbled but the wine was fine, if the most advanced in appearance (old gold) and with an oxidative note in its savouriness. Eben reckons this would be the one alive in 60 years time! If ‘T Voetpad was controversial, perhaps the most acclaimed wine of the tasting was …
Kokerboom is just sublime. Perfect balance, at 14.5% alc, provides the impression of lightness (fresh acid) with weight (dense silky texture). A true lemon honey fragrance and toasty lees-like conclusion made me think this is the best mature semillon I’ve enjoyed.
Mev Kirsten 13.5% alc. This, like the 2006, 2007 and 2008 Eben also brought along, is as dry a wine as I can remember having. Steely and sparse, it seemed to have less flavour than the others with 07 having flesh on its bones and good chenin wet wool, spicy character. Except for 09, the colours all have a degree of reddish gold. I’d probably drink up 09, with 07 the one most likely to age further.
Eselshoek 12.5% alc Hanepoot from the ‘T Voetpad vineyard. Made only in 2009, 10 and 11, this tawny-hued sweet wine has good acid to offset the sugar so it’ll live on, but when asked why he stopped making the wine, Eben responded; ‘I leave sweet wines to the Mullineux’s, one can’t compete with those.’
This was an exceptional and interesting tasting. I think someone mentioned a case of this one-off Ouwingerds range recently sold for R28 000. Thank goodness the individual wines are today within the reach of more winelovers to the benefit of old vineyards, the farmers and farm workers.
Back in the day (that’d be the 1970s/80s), visitors to the few independent wineries around would have found a wide range of wines to choose from. In their efforts to attract wine lovers away from the then all-dominant big guys like Stellenbosch Farmers Winery and Distillers, these smaller operations had to make sure they had a wine to suit every customer. Some also saw it as an opportunity to experiment with new varieties and see which worked best, both in the vineyard and the marketplace.
For anyone who never experienced this era, it took the independents a great deal of courage to bottle and sell their own wine; the producing wholesalers, on whom most relied to buy the bulk of their grapes or wine, could easily refuse to do so if they thought the independent producer was offering too much competition. In other words, going it alone could be commercial suicide.
This was particularly true of an area like Robertson where the co-operatives dominated and independent wineries were minnows by comparison. Checking through the first 1980 edition of Platter, just four non-co-operative Robertson wineries are mentioned (there may have been others not included): De Wetshof Estate, Mont Blois Estate, Rietvallei Estate and Excelsior. Only Excelsior was open to the public, the others were all marketed by the Bergkelder (part of Distillers), so carefully controlled ‘competition’.
Van Loveren might not have featured in the first guide but plans must’ve been far advanced to launch the first wine, as on 23rd October 1980 Van Loveren Premier Grand Cru, a chenin blanc, was released. Robertson then was better known for jerepigo and brandy, the latter made from chenin blanc and colombar but a dry white wine was considered a curiosity. Chardonnay, pinot noir and other red varieties were still light years away.
Wynand Retief, who made that first Van Loveren Premier Grand Cru, told guests at the 30th anniversary of the launch, it took a year to sell the 500 cases. Undaunted, by the time the farm first appeared in the 1983 Platter, a fernão pires and a hárslevelü, both 1982 had joined the range – remarkably both were firsts in the Cape. There’s confidence for you! The Retiefs were also quick to pick up on fashion. Muscat Blanc de Noir arrived in 1983, following the success of Boschendal’s maiden 1981. Wynand recalled his father’s wise advice, ‘You have to be able to give every consumer who visits what they want,’ so the range continued to grow.
After completing their studies, Wynand and Nico’s four sons joined the farm and in 2000, the Four Cousins range was introduced; the rest is history of this biggest-selling bottled wine brand.
Neither time nor the Retiefs stand still; there are always new consumers and a new generation of wine lovers to satisfy. Enter the Christina van Loveren premium range around the time of the 30th anniversary. No surprise again, then, when earlier this year, the ‘Almost Zero’ range was introduced. As Van Loveren CEO, Phillip Retief reasons: ‘Almost Zero taps into consumer lifestyle changes and especially the growing trend of fitness-focused healthy living that is driving innovation of low-alcohol and alcohol-free products. It caters to the very specific need to have a non-alcoholic drink that still has a distinctive wine character.’
Perhaps the ‘distinctive’ is optimistic but the three – um, de-alcoholised drinks (with just 0.4% alcohol, they cannot legally be called wine) – Wonderful White, Ravishing Rosé and Radiant Red do have a surprising amount of flavour. Briefly, these start as wine before being spun on a cone, where the alcohol evaporates. There’s obviously skill in retaining flavour; these contrast with many, far more insipid low alcohol wines, though the white and rosé are more successful to my taste than the red. Expect to pay around R70 for each.
Heritage and family are very important to the Retiefs. When Wynand and Nico’s parents, Hennie and Jean bought the farm in 1937, they named it after Jean’s ancestor, Christina van Loveren, who, with her husband, sailed from Holland to the Cape in 1699. With her, Christina brought her bridal trousseau chest. Passed down the generations, today it is admired in the Van Loveren tasting room.
They have also inspired the latest release from Van Loveren (although the farm’s name is only mentioned on the back label and in reference to Christina’s arrival in South Africa). Christina Trousseau Pinotage 2017 celebrates the heritage of family and South Africa’s own variety in grand style; in case anyone isn’t immediately aware on sight of its standing, just lift the bottle – sadly, its weight will still impress some wine lovers. Surely the sustainability wineries claim to be practising should extend to packaging? But to the wine, which, when I first read the press release, puzzled me, as I had no idea trousseau, a red variety from the Jura, was available in South Africa, let alone a permitted variety for making wine! Reading further, the true meaning was revealed. So, it’s pure pinotage in modern garb, with plush, ripe mulberries embellished with very good new oak. Rich in texture with the sort of seamless structure that the impatient can enjoy now, that structure is also sound, as it proved after the wine was open for three or four days. The wine should age well and gain in interest as it does so. In terms of prestige pricing, R250 ex-tasting room is hardly excessive.
I was going to end by pondering what the four cousins would be leaving for their children to introduce to Van Loveren but then I received the news that they’ve acquired the Zandvliet wine brand from the current owners of the farm, ANB Investments. According to Phillip Retief, ‘Acquiring the Zandvliet brand is part of Van Loveren’s long-term growth strategy and is an exciting addition to our core portfolio.’ Thinking ahead, thinking smart. I think even my colleague, Tim James, who recently wrote a little cynically about ‘Family Vineyards’, would agree Van Loveren Family Vineyards is indisputably a family affair.