When Jean-Marie Fourrier bought legendary Australian estate Bass Phillip in early 2020, he envisaged being there a lot – even being there for the 2020 harvest. “But ‘a small virus’ can make things very challenging very fast,” he said, raising an eyebrow. With the arrival of Covid-19, Australia promptly shut its borders – and the winemaker has only been able to visit his new domaine via conference call.   Fourrier is one of Burgundy’s superstars. Since taking over his family estate at the age of just 23 in 1994, his wines have rapidly become some of the region’s finest and most desirable. Based in Gevrey-Chambertin, he crafts wonderfully elegant, pure expressions of Pinot Noir – wines that, given the significant demand, are strictly allocated each year.   When news broke last year, however, that he was venturing Down Under, it was unexpected. In his youth, he did a stint at Domaine Drouhin, Oregon. And while many Burgundy producers have set sail for the US (De Montille, Méo-Camuzet, Drouhin and Lafon, to name but a few), there is something culturally improbable about a Frenchman taking to Australia. (Although it’s not the first Franco-Australian project – with Australian Andrew Nielsen’s Burgundy micro-négoce Le Grappin and Jane Eyre two others.)  Even more unusually, perhaps, he hasn’t set up his own project, but taken over an existing one – and one with quite the legacy.  Bass Phillip – in Gippsland, Victoria – is one of Australia’s iconic wineries. Phillip Jones planted the first vines in Leongatha in 1979, an unlikely choice given, at the time, the area was known for its dairy production rather than viticulture. The first wines were released in 1991 – and established the producer’s reputation for outstanding, age-worthy Pinot.   Phillip Jones has been running the show here ever since. Now 74, and with no children to take Bass Phillip on, he started the search for a successor several years ago.  Enter a consortium led by Soo Hoo Khoon Peng (a Singaporean wine importer and former owner of the Wine Advocate) and Kent Ho (a Hong Kong entrepreneur) who approached Fourrier three years ago. For Fourrier, it seemed like fate, having consulted for the winery briefly in 2002.   “Sometimes you can see the stars aligning,” Fourrier tells me. “I wasn’t specifically looking for Bass Phillip, but it came on my desk, after 20 years.” The deal was signed officially in March 2020.  It was, in Fourrier’s words, “a turning point” in his life. Having already added a négociant arm to his Burgundy operation in 2011, he was looking to expand further – but even for a grower of his success, Burgundy land prices are prohibitive.  “If you don’t expand, you see the next generation fighting over a small company,” explains Fourrier. With two children, an inheritance plan is key to preserving what he has worked so hard to build. This combined with the threat of climate change – excessive heat and frost, and associated yield fluctuations – made diversification to other parts of the world the obvious way forward, providing a sustainable way to preserve the family business.   Australia offered the “possibility to make wine twice a year… and the chance to be a student again,” Fourrier says – his eyes lighting up at the potential.   Some of the appeal was the boutique size of the operation, as well as the age of the vines (planted in 1979 and 1986, and all massal, rather than clonal, selections – something Fourrier is insistent on). He also has a man on the ground – with his brother-in-law Adam Francis, who worked several vintages with Fourrier in Burgundy. Francis, along with his family, has relocated from Adelaide to take on the role of General Manager, handling the day-to-day at Bass Phillip.  While the property’s reputation is for Pinot Noir, Jones initially planted Cabernet Sauvignon – with Ch. Ducru-Beaucaillou the original inspiration behind his Gippsland vineyard. After becoming enamoured with the wines of Henri Jayer (whom, coincidentally, was one of Fourrier’s mentors), Jones switched to Pinot Noir, later planting Chardonnay and small plots of other varieties (including Gewürztraminer, Nebbiolo and Gamay).  To this day, Bass Phillip remains unusually isolated given its success – surrounded by dairy farms rather than other vineyards. This cool corner of Victoria is lush and green, cooler and wetter than Burgundy – Fourrier compares it to the climate of Burgundy in the late 1980s and ’90s. “It’s why [the wines] have this purity and character,” Fourrier explains. With water becoming an increasingly precious resource, the site’s 1,000mm of annual rain (compared to 750mm in Burgundy) is a major asset, and the vines have always been dry-farmed.  But with Fourrier at the helm, what lies ahead? “Evolution not revolution” is the philosophy here – and not to imitate Burgundy, Fourrier emphasises, but continue Jones’s work and take Bass Phillip to the next level. In that spirit, much of the original team is staying on – including Senior Winemaker John Durham and Vineyard Manager Mick Kelly.  The winery needs some attention and Fourrier wants to change the trellising of the vines, but the first priority is ensuring that every bottle released performs as expected. “I think Bass sometimes could be a bit inconsistent, a bit bumpy,” Fourrier says. “If I’m not happy to drink a bottle at home with my friends, I’m not happy to sell it. Everything has to be spotless.”  The Burgundian has already started addressing this with the soon-to-be-released 2019s. While he didn’t make the wines, he made the selections for bottling – selling off a third of the volume made and reducing the range significantly. There will now be only four tiers to the range of Pinot Noir and Chardonnay: Since 1979 (the newly named entry-level cuvées), Estate, Premium and – the top bottlings – Reserve.  He is also going to change the closures – to help ensure the wines age as well as they should. Corks will – as of 2020 – be courtesy of the same supplier he uses in Burgundy, and foil will be switched for wax (something he feels balances the natural variation in cork).  Otherwise, he plans to gradually reduce the use of new oak (“I don’t like to see the waste of oak, a natural resource”), focusing on the fruit and terroir of Bass Phillip, and he’s examining the philosophy in the vineyards – which are currently farmed biodynamically.  The Burgundian bought the estate just after the 2020 harvest and, with travel impossible, Jones agreed to stay on to make the vintage. The 2021s will be the first wines over which Fourrier had complete control, from vineyard to winery – albeit from afar (“My first digital harvest,” he says, laughing). He’s in constant conversation with the team, talking every couple of days (more during vintage), and very happy with the 2021s. “For me, I can really see the step up of where we want to go,” he says.  Australia’s borders are set to reopen in November and Fourrier plans – restrictions allowing – to be physically present for the 2022 harvest. With his son now 16, he plans a six-year transition in Burgundy so that he can spend more time at Bass Phillip, but he’s also exploring options in the US (he does, after all, have not one but two children). “For whatever reason, I have a secret dream: to make Chardonnay and Pinot in Burgundy, the US and Australia…” he confides. He has concerns regarding the Californian climate, with recent fires and excessive heat troubling his mind, but is considering higher elevations to combat this threat.  The Burgundian has big ambitions – but, fortunately, the talent to match. The world and these new terroirs are, for Fourrier, just “a way to diversify my passion to places I love”. He’s certain he’ll make mistakes along the way – that’s the nature of running a business – but, as he tells me, “Imperfections make the beauty of wine.”  Find out more about and browse listings from Bass Phillip, Domaine Fourrier or Jean-Marie Fourrier. 

Jean-Marie Fourrier is already one of Burgundy’s leading names, but the winemaker is restless. We caught up with him to hear about his new venture in Australia – and why he’s always got one eye on the horizon 

Burgundian winemaker Jean-Marie Fourrier on his new venture in Australia – and why he has always got one eye on the horizon

Jean-Marie Fourrier – from Burgundy to Oz

Jean-Marie Fourrier: from Burgundy to Oz

It’s 20 years since Eduardo Chadwick gathered some of Europe’s most famous wine writers for a blind tasting – one to rival the famous 1976 Judgement of Paris (when California proved its wines could compete with – and beat – France’s best). Chadwick was convinced that critics were underestimating Chilean wines – for no reason other than snobbery against the nation. The Berlin Tasting pitched Chadwick’s top wines (Viñedo Chadwick, Seña and Don Maximiano Founder’s Reserve) against Bordeaux’s First Growths and a lone Super Tuscan (Antinori’s Solaia). Chadwick charged the late Steven Spurrier with running the event. “I never imagined that what happened was about to happen,” Chadwick tells me. To his and everyone else’s amazement, the 2000 Viñedo Chadwick took the top spot, followed by 2001 Seña, then 2000 Ch. Lafite Rothschild, and 2000 Ch. Margaux – tied equally in fourth place with 2000 Seña. Finally, there was proof that Chile’s wines deserved a place on the world stage.  But, for Chadwick, one watershed moment wasn’t enough. He repeated the tasting, first in São Paulo, then Tokyo – and onward, hosting the same blind tasting 22 times around the world, all with similarly spectacular results for his wines. It takes nerves of steel – and a certain amount of ego – to be willing to risk repeating such a tasting, and yet Chadwick was justly rewarded. His campaign is just one way in which he has forged a path for fine, Chilean wine – with a relentless, dogged determination.  Chadwick is the fifth generation of his family to make wine in Chile. Don Maximiano Errázuriz emigrated from the Basque country and was the first to plant vines in the Aconcagua Valley in 1870. He identified the location, 100km north of Santiago, with its cool ocean breezes, hot summers and rainy winters, as perfect for growing grapes. Operating under the motto of, “from the best land, the best wine”, he planted vines in this idyllic site, near Panquehue, and built a winery – that still stands today.  Gradually, the business grew – and it became the largest vineyard in the world owned by an individual, with 1,300 hectares under vine at its peak in the late 19th century. Despite this early prosperity, Chile’s wine industry didn’t continue to thrive. There was no export market and domestic consumption (which reached up to 80 litres per capita annually) was slashed by severe taxation, while political and economic turbulence, with communist then military rule, put not just the industry, but nation, in crisis. By the early 1980s, wine was cheaper than water and around half of the nation’s vines were ripped out.  It was onto this unstable scene that Eduardo Chadwick arrived. He had initially trained as an industrial engineer before deciding to focus on wine instead, going to study in Bordeaux under the legendary oenologist Emile Peynaud. His father bought the family winery back from the banks, and Chadwick started dusting away the cobwebs, re-opening Viña Errázuriz and – armed with new, technical knowledge – made the first vintage of Don Maximiano Founder’s Reserve, the property’s flagship wine, in 1984. The operation was still rudimentary – with rauli vats (a native hardwood), no temperature control and pergola vines planted on the fertile flats – but it was an early indication of what was possible. Tasting the wine four decades later, it’s held up remarkably well – with surprising vibrancy on the nose and a chiselled, savoury profile of pure Cabernet Sauvignon.  Gradually, Chadwick invested in equipment – stainless steel tanks, modern presses and barrels – and started to plant vineyards on slopes with poorer soils. Alongside this shift, pivotal elections in 1989 saw Chile become a democracy once more – and key figures from the world of wine visited. Soon entry-level wines were being exported by the likes of Oddbins and Victoria Wine. The doors had opened for Chilean wine. Robert Mondavi visited Chadwick in 1991 – and the two men hit it off, sharing an unrelenting drive to push their industry forward, and Mondavi recognised in Chile the potential he had seen in Napa in the 1960s. He knew that his partnership with Ch. Mouton Rothschild (Opus One) had been key to changing Napa’s reputation – and the duo hoped that their own joint venture might do the same for Chile: Seña (literally meaning “signal”) was born. Bob’s son, Tim Mondavi worked with Chadwick on the project and suggested looking for a site closer to the coast in the Aconcagua Valley, in search of even greater finesse, producing the first vintage in 1995.  And Chadwick didn’t stop there. His father had purchased an estate in the Alto Maipo in 1945, home to a polo field (Eduardo’s father, Alfonso, had captained the Chilean team for years). In 1992, Chadwick convinced his father to let him transform the polo field – with its pure gravel soils and 15˚C diurnal swing – into a vineyard, feeling it was perfect for Cabernet Sauvignon. Alfonso died the following year, but the first vintage of this project – Viñedo Chadwick, named in honour of his father – was made in 1999.   Chadwick knew the wines were good – but convincing the world of that fact was the challenge. He’s clear that Chile made a major error in churning out great-value, entry-level wines – good, but not fine wines – a price-point that came to define the nation. “That’s why it was very difficult to convince the audience that we can also produce world-class wines,” says Chadwick. “Chile had no recognition. We had no ratings, no Parker points, no Suckling points.” And so he set about changing that with the Berlin Tasting.  With that event’s market-shifting results (then echoed around the world), he’d created momentum for change. A decade later, he went on to break through another boundary: the 2014 Viñedo Chadwick became the first Chilean wine to earn 100 points (from James Suckling). Just last year, the 2021 vintage was the first Chilean wine rated 100 points by the Wine Advocate. When I sat down with him March this year, it was at an event paying tribute to the two decades that have passed since the Berlin Tasting – featuring early vintages from each estate, and their greatest successes. The 1998 Seña was a particular standout – a cool vintage that today is perfumed, elegant, bright and effortlessly long. Any doubters of Chilean wine were instantly quieted. And, as with the Berlin tasting, the event was being replicated around the globe – the campaign to champion Chilean wine never ending.  When Chadwick started in 1983, Viña Errázuriz had just 10 hectares of vineyard. Today, across their estates, Chadwick farms 900 hectares of vines. He bought out his siblings years ago, when he found they were more interested in dividends than growing and investing in the business. Now three of his four daughters are working alongside him – excited by the potential of coastal sites (where they make the Las Pizarras wines) and a new sparkling project. There has been no shortage of challenges along the way, but they’ve only fuelled Chadwick’s relentless pursuit of recognition for Chile and its wines. “Where we are today is beyond my wildest dreams,” he tells me, and yet it’s only because of his tireless ambition that Chilean wine has made it to this point. Fortunately, it looks like his children have inherited his determination – ready to rule over the next chapter of this epic story.  Explore all listings of Viña Errázuriz, Seña and Viñedo Chadwick or read more about Chile 

In the last 40 years, Eduardo Chadwick has single-handedly forged a place for Chile in the fine wine arena. Two decades after the pivotal Berlin Tasting, Sophie Thorpe sat down with the man himself to explore his legacy – and what lies ahead 

20 years after the Berlin Tasting, we sit down with Eduardo Chadwick – the man that created Chile’s first icon wines, Sena, Vinedo Chadwick and Errazuriz

Championing Chile – Eduardo Chadwick

Championing Chile: Eduardo Chadwick

The remote Hebridean isle of Islay has an almost otherworldly quality about it. For centuries, this eerily beautiful and beguiling postage stamp of Scotland produced whiskies that elevated some of the world’s most well-known blended malts. In recent years, however, Islay has stepped out from the shadows and become one of the most lauded single malt regions in the world – a position cemented this month when a cask of Ardbeg sold for a record-breaking £16 million.   So just how did this small whisky-producing region become the most collectable name in the world?  Adam Hannett started working as Head Distiller at Bruichladdich, on the southwestern tip of the island, in 2006. He says the difference between Islay, and Islay whisky, then and now is “pretty transformative”. When he joined Bruichladdich, the Victorian distillery was six years into what would become one of the greatest distillery revivals the whisky industry has ever seen.   “Inside the distillery gates, we were at the beginning of our journey,” the Head Distiller tells me. This journey included distilling an organic spirit, running barley experiments and bringing barley-growing back to Islay. The latter, Hannett says, has “changed the landscape of the island completely”. He adds: “Gordon, our Assistant Distillery Manager, talks about how we’ve turned fields golden, which sounds a bit cheesy, but it’s true.”  Journey due east and you’ll find Bowmore – Islay’s oldest and one of its most coveted single malt producers located in the island’s capital. David Turner, who was born and raised on the island, has worked at the distillery for 30 years – for the past 10 as Distillery Manager.   “Thirty years ago we were producing a lot of our spirit for bulk, for blending purposes, and we had a few thousand tourists a year,” he tells me. “We probably had one full-time visitor centre manager and a couple of seasonal tour guides that would come on for the summer.  “I think we’ve now got nine full-time staff in our visitor centre who do tours all year round and we’ve moved away from bulk blended whisky to just being a single malt specialist now.”  During Turner’s career at Bowmore, the distillery has transformed from a lesser-known producer to one of the most collectable names in Scotch whisky. Black Bowmore, Turner says, “put us on the map for being collectable”.  “When we took these samples out the casks, the whisky colour was black,” he says, “the quality was phenomenal.”  This discovery was made in the 1990s, around the same time as the wider whisky world started to take notice of Islay after whisky writer Michael Jackson shone a spotlight on the island’s quality in his pivotal work, Complete Guide to Single Malt Scotch.   As a region, Islay has faced hardship and several distilleries have been temporary or permanent casualties. Port Ellen, one of Scotland’s so-called “Holy Trinity” of lost distilleries, is arguably the most well-known victim, closing its doors after the downturn in 1983. Ardbeg was also shuttered in 1991 and was saved by the grace of God (Glenmorangie) in 1997. Today, the region is booming and the number of producers has reached a healthy nine. This number will increase when Port Ellen is resurrected by owners Diageo imminently – an announcement met with unfettered excitement last year. These closures and shifting paradigms have created a thrilling market for collectors, as whisky enthusiasts search for bottlings from bygone eras. The 1950s through to 1970s is of keen interest as whisky was being produced on a much smaller scale via traditional methods.  Traditionally, Islay was associated with peated whisky. For a time, distillers like Laphroaig, Lagavulin and Ardbeg competed against one another to see who could produce the biggest peat bombs on the market, which divided opinion. Bruichladdich blew all the others out the water when it released Octomore 6.3 in 2015, which registered 258 phenol parts per million (the scale used to determine the peat levels of whisky). For context, prior to that release, the highest peat levels were circa 167 PPM, also from Bruichladdich.   “I think there’s a hugely diverse range of flavour in the whiskies being produced across Islay at the moment,” Bruichladdich’s Hannett tells me. “It makes defining an ‘Islay’ whisky quite challenging as there’s so much variety from one distillery to the next.   “The general public almost expects a heavy smoke, almost medicinal flavour from an Islay whisky but even within our heavily peated Port Charlotte range, we have quite a soft, heathery, barbecue smoke.”    “Islay is famous for its peated whiskies but Bowmore is not all about peated,” Turner adds. “Bowmore sits in the middle of Islay. The north of Islay is very, very lightly peated. The south is very heavily peated. We’re in between the north and the south in peating levels. We see ourselves, and call ourselves, mid-peated, or a perfectly balanced Islay whisky.”  The people of Islay – Ileachs to give them their proper name – are integral to the whisky industry on the Hebridean island. Many of the Master Distillers and Blenders are locals and the vast majority of the production team hails from the island with an average population of 3,000 people. One of the most famous Ileachs is Jim McEwan who started his career at Bowmore, where he later worked as Distillery Manager before he left to lead Bruichladdich’s resurrection in 2000. McEwan came out of retirement to spearhead independent bottler Hunter Laing & Co’s new £12 million Islay distillery, Ardnahoe, saying it was an offer he could not refuse and beyond his wildest dreams.    The distillery, located on a four-acre plot on Islay’s northern coast, between Caol Ila and Bunnahabhain, overlooking the Isle of Jura, became the ninth working distillery on the island when it opened in 2019. McEwan designed the pot stills, mash tun and mucked in with every aspect of production to create a new-make whisky that he says is everything he looks for from a classic Islay: fruit, flower, sweet notes from the mash tun, baked cereal notes, smoky flavour from the peat, and bracken, heather and wild plants from the bog land. McEwan says the spirit he’s produced at Ardnahoe is as good as anything he’s tasted in 56 years.    Islay is at an interesting point in its history. New distilleries are opening, lost names are coming back to life, and many of the old guard are reaching retirement and are being replaced by younger distilling talent. There, arguably, has never been a more interesting time in its whisky-producing history.    Hannett, who is on the younger side, says: “I’m excited to see how distilleries can continue to adapt to support the local community. We’ve got a special thing here, with a booming industry and nine working distilleries.”  Turner picks up the point: “It’s good to see the old distilleries are still thriving. The new ones have got a good future as well but they’ve got a good number of years before they get a good standard core range." He adds: “A good Islay whisky I would say is between 12, 15 to 18 years. So they’ve got a good few years to get to that, never mind becoming collectable.”  Turner has quietly been amassing a collection of his own since the early 1990s. “I was in since the very beginning,” he says. “I was lucky to be in at the right time and I’ve got a big collection. It’s not just quantity or some of the new releases. It’s old and rare and quality I’ve based mine on.”  Initially, Turner collected Bowmore and slowly started adding other Islay and Scotch limited releases to his collection. As interest in whisky grew, the Distillery Manager rejigged his collection to focus on Islay malts – at one point exclusively Bowmore, Laphroaig and Lagavulin. After a period of selling certain bottlings to buy other, more expensive ones, Turner now has an exclusively Bowmore collection. He doesn’t elaborate on this but he does add: “Aye, it’s got smaller but it’s got more quality and rarity attached to it.” One suspects it is quite something to behold.  As for his distillery, Turner says Bowmore has got “good quality stuff maturing” and “some good aged stocks”. “We were family-owned up until 1994 and the family and the directors at the time had good insight. They kept good aged stocks, so we’ve got good 30s, 40s, 50s – 51, 52-year-old whisky – maturing. This good aged stock will keep the collectability going.”  With impressive aged stocks slumbering at Bowmore and its neighbours, there’ll undoubtedly be more records broken in the coming years from this enchanting Scottish isle.    Explore all our Islay whiskies or read more Editorial 

Islay has cast its spell over the whisky cognoscenti for decades, driving independent and distillery bottlings ever higher. Holly Motion explores how this small Scottish island has bewitched fans and become the gold standard of whisky collectability  

Exploring why single malt whiskies from the remote Hebridean island of Islay have become the gold standard of collectability with Bruichladdich and Bowmore

Exploring Islay whisky’s popularity

The enchanting isle of Islay

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