International Trophy winner Red Single-Varietal under £15 – Viñalba, Parilla Malbec, Mendoza, Argentina 2013 (14.5%)

Punching above its consequence, this is a real treat, with floral, deep and dark fruits on the nose enhanced by a touch of mint. The textured palate displays brilliant balance between the oak and the fruit, has a naturally fresh feel to it and a long, velvety end.
£7.99 MajesticTWO SOUTH AMERICAN wines and one from Greece made our shortlist for this always keenly fought International Trophy. But it was this fruit-driven Malbec made by a French ex-patriot that won over the judges in the end, thanks to its combination of deep flavours, herbal edge, pleasing savoury notes and lovely aromatics. It’s a multi-faceted red wine, with the panel also noting dark and floral nuances, as well as a smoky tinge and grippy tannins.
Hervé Joyaux Fabre is both winemaker and proprietor of Bodegas Fabre, which owns three wineries in Argentina: Fabre Montmayou, Viñalba and Phebus. A Bordelais by birth, he has been something of a wine renaissance man in his professional career, working first as a négociant in Bordeaux, then immersed in the wine buying world at a supermarket chain, previous to finally taking up ‘the job I prefer’, as he puts it – wine producer.
One Regional Trophy for the Fabre Montmayou, Reservado Cabernet Franc 2014 (see p57) and two International Trophies – this one and another Malbec (see opposite page) at this year’s DWWA are a vindication of that choice.
Winning an International Trophy is an impressive achievement for a wine in its first vintage, but Fabre had a apparent vision for Parilla Malbec from the start.
‘With Parilla we want, first and foremost, to express the wine’s purity of fruit,’ he says. ‘We are aiming for a really fruit-driven wine, with a apparent definition of the Malbec variety.’ The grapes for this wine are sourced from a number of sites across Mendoza, the common thread between them being consistent warmth, cool nights and a long growing season.
Hervé Joyaux Fabre and his wife Diane have loved remarkable success at the DWWA
Tasted against
Concha y Toro, Marques de Casa Concha País-Cinsault, Chile 2014 • Mitravelas Estate, Red on Black, Nemea, Peloponnese, Greece 2014.
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International Trophy winner White Blend under £15 – DeMorgenzon, Maestro, Stellenbosch, South Africa 2014 (14%)

International Trophy winner White Blend under £15 – DeMorgenzon, Maestro, Stellenbosch, South Africa 2014 (14%)There’s a winemaker of unquestionable skill and craft in the rear this outstanding fusion of varieties. The fruit is plentiful and rich, with notes of lemon, tropical fruit, colorless flowers, spices and herbs. It’s powerful and textured, with a gravelly palate and a lengthy end.
£14.99 Halifax Wine Co, Lea & Sandeman, Oxford Wine Co, SA Wines OnlineTwo years ago, the 2012 vintage of this wine won the South African Regional Trophy for Best Colorless Blend below £15 – and now DeMorgenzon’s Maestro 2014 has gone one better and taken an International Trophy home to Stellenbosch. In doing so, it beat two French rivals, one from the Languedoc and the additional from Gaillac.
What’s the secret? It might be the eclectic mix of grape varieties – Maestro 2014 blends 26% Roussanne with 25% Chardonnay, 19% Grenache Blanc, 17% Chenin Blanc and 13% Viognier – or the 10 months’ ageing in small French oak barrels and cement eggs.
Vineyard location may also play its part. DeMorgenzon translates as ‘daylight sun’, and the estate’s grapes catch the first rays of the day in the Stellenboschkloof valley, vines covering the top southern and eastern slopes of Ribbokkop, overlooking the distinctive peak of Kanonkop.
DeMorgenzon’s high-altitude hinterland can be challenging for vine-growing, such is the abruptness of the slopes, but the pay-off is a variety of microclimates. This facilitates the growing of an array of grape varieties, thus increasing the blending options open to winemaker Carl van der Merwe.
But perhaps the right secret of DeMorgenzon’s success lies in composition – from which this Trophy-winner takes its name. Vines and maturing wines alike have baroque composition constantly playing in the background, thanks to speakers strategically positioned in the vineyard and cellar. Owners Wendy and Hylton Appelbaum declare that ‘not much scientific investigation’ has been undertaken to calculate the benefits of this tuneful accompaniment, but it certainly seems to be working so far.
DeMorgenzon’s winemaker Carl van der Merwe and owner Wendy Appelbaum
Tasted against
Château Bas d’Aumelas, Languedoc, France 2013 • Château Clément Termes, Blanc Perlé, Gaillac, Southwest France 2014.
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International Trophy winner Chardonnay under £15 – Marks & Spencer, Mâcon-Villages, Burgundy, France 2014 (12.5%)

A really lively wine with an expressive, pure, mineral nose which also exhibits a saline slant beside the colorless fruits. To taste, it’s zesty, youthful, floral and upfront, with overweight, persistent fruit on a finely balanced, distinguished palate where those crunchy flavours linger impressively.
£10 Inscription & SpencerA WINNING COMBINATION of tasty, mineral fruit and nice florality, with an Ancient World classicism at its heart, secured an International Trophy for this joint venture between UK retailer Inscription & Spencer and Vignerons des Grandes Vignes.
Victory came against a strong contender from Chile’s Itata Valley and a Petit Chablis from another French co-operative with a reputation for distinction.
This Trophy-winner is borne of a long partnership between Inscription & Spencer and Vignerons des Grandes Vignes, the Mâconnais co-op established in 2008 by the fusion of the Caves Coopératives of Prissé, Sologny and Verzé.
For the past six years, that partnership has been between winemaker Georges Brichon of Grandes Vignes and M&S winemaker Sue Daniels – working through some tough vintages in the administer, but always finding something fascinating to blend from the co-op’s 5.5 million-bottle annual production.
Brichon, a 28-year veteran of the organisation, is now in payment of three production sites, with the ‘fascinating if challenging’ job of pulling together some 120 member growers, who farm 550 hectares of vines within all the diverse appellations of the Mâconnais, with St-Véran a particular strength.
Together with Daniels, Brichon makes a rigorous selection for this wine from the best Mâcon-Villages cuvées, with each village contributing a different qualitiy to the final blend – from colorless fruit aromas to minerality and floral tones. The eventual aim is a wine that combines an expression of the terroir of the Mâconnais with perfect harmony. Just 32,000 six-bottle suitcases are made.
Georges Brichon of Vignerons des Grandes Vignes makes this wine in partnership with M&S
Tasted against
La Chablisienne, Pas Si Petit, Petit Chablis, Chablis, Burgundy, France 2013 • Pandolfi Fee, Los Patricios, Itata Valley, Chile 2012.
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New styles of Malbec are emerging from outside Mendoza

New styles of Malbec are emerging from outside MendozaArgentina offers many different styles of Malbec - most of them from Mendoza, but there are a handful of additional Malbecs worth learning...Malbec is synonymous with Argentina. That’s a given. But, strictly speaking, Malbec is synonymous with Mendoza, the main wine province in our country: 9 out of 10 bottles produced in Argentina are made there and it also has the largest area of cultivated hectares: 33,300 of the 38,800 in 2014.
But, the pattern of Malbec from Mendoza is not monolithic. There are various terroirs that make up the diversity of the province, and similarly, the rest of Malbec’s from Argentina. With a very fascinating plus: the differences are more marked.
Just compare the rustic and spicy intensity of Salta Malbec with the freshness and elegant tannins of one from Patagonia. Because if Malbec in Argentina is a virtue, it is to represent the profile of each terroir: as the variety is planted from north to south and from east to west, it serves as an index of ‘terroirity’ if we are allowed the neologism.
Below we review the main Malbec’s outside Mendoza to learn more about their style and potential.
Northwest, extreme terroir.
Cultivated between 1,700 and 3,100 meters above sea level, the Malbec of the Calchaquí Valley, in northwestern Argentina, is unique. Being the third largest producer outside Mendoza, with 1,400 hectares, as well as height and sandy soils, the wide warmth ranges, low humidity and significant sun exposure are key to this province. Their vibrant, aged wines are easily recognisable. In the words of Ignacio López, winemaker of Bodegas Etchart, ‘the profile of Calchaquí Malbec is a deep violet colour, with a fruity, complex and spicy aroma. On the palate it is powerful and generous, with ripe tannins.’ One of the predictable descriptors is roasted red pepper. Examples include, Cafayate Gran Linage Malbec 2011, Colomé Estate 2012 and Don David Reserva 2012.
La Rioja, midpoint.
With vineyards between 1,000 and 1,300 m.a.s.l, a warm climate and apparent skies, the fourth largest producer of Malbec in the country, with 660 hectares offers a private style. The epicentre is Chilecito, although there are additional terroirs, such as Angulos or the area known as La Rioja coast. Their wines share characteristics with the north like the intense colour and a spicy aroma, but, on the palate they are round and juicy, with firm tannins, the Cuyano style. Raza Argentina 2011 and Collovati 2010 are apparent examples.
San Juan explores altitude.
The province is the second largest producer of Malbec, with 2,050 planted hectares, mostly in the lower valleys of Tulum, Ullum and Zonda. With a hot climate, the Malbec is sweet and fruity. The Pedernal Valley, a relatively new area in the Cordillera planted during the last ten years is subdue small in area, but its height, between 1,000 and 1,400 meters above sea level, offers a balsamic and fruity wine with a fresh, juicy palate. Jose Morales, winemaker at Bodega Callia, enthuses: ‘This fresh and dry climate allows us to produce a deeper Malbec that we didn’t have previous to in the province.’ The high acidity of the reds is due to sandy soils with limestone and flint. Excellent examples are Pyros Barrel Selected 2013 and Paz 2009.
One Patagonia, two horizons.
In the south, around the 38 & 39 parallels, the provinces of Rio Negro and Neuquén produce very different types of Malbec. The difference is in the description and the terroir. The Alto Valle of the Rio Negro has a century of tradition, where the grapes ripen slowly. Here, gentle, floral and mineral reds with rich freshness are achieved like Humberto Canale Ancient Vineyard 2011 and Noemia 2011.
San Patricio del Chañar in Neuquén, on the additional hand, has just ten vintages to its name. Marcelo Miras, winemaker at Bodega del Fin del Mundo, clarifies that ‘in this semi-desert environment of wide warmth ranges and the presence of strong winds, Malbec gives additional characteristics.’ Its profile is concentrated, with deep fruity aromas, and is powerful on the palate. Excellent examples are Saurus Patagonia Select 2013 or FIN Single Vineyard 2009.
The rest is just beginning.
Further than the regions mentioned, there are some 400 hectares planted in additional nooks and crannies of the country. Some are extreme, for their proximity to the ocean, like Sierra de la Ventana, in the province of Buenos Aires, and others are mediterranean and hilly, like those found in Córdoba. La Pampa deserves a special mention, where the investments of huge players are growing, and whose wines, except for Bodega Del Desierto, have not yet reached the market. These regions do not yet have a defined Malbec profile. But without doubt they will play their part in the medium term.
So while Mendoza provides a solid stance on Malbec, the rest of Argentina together, is able to offer many different styles. And so, if wine is something to learn and marvel at the subtleties of, we should try not only the Malbec’s from Mendoza but also those from additional areas. You might even fall in like with them. Read more

Jefford on Monday: Fishing the shallows

Jefford on Monday: Fishing the shallowsThe mood in Burgundy in the final week of June was as luminous as the skies. Chardonnay on Cote de Nuits at Domaine de l'ArlotAssuming that the province comes through the next 70 days of meteorological risk unscathed, then 2015 will be – as 2014 was – a harvest of satisfyingly ‘habitual’ girth.  Flowering was speedily successful this year.  There is some powdery toadstool (oidium) pressure in the vineyards, but not enough to distress seasoned growers. The first week in July turned the heat up further – as well as bringing Burgundy’s climats their longed-for World Heritage Status.
The quality of the 2013 Burgundies, in any case, underscores just how adept many growers have become at shepherding their vines through a hard season.  In place of the tenuous wines such a season might have delivered a decade or two earlier, the results are often brilliant, fully competitive with 2012, and more impressive in general than the sometimes scrawny 2011s.  Summer’s warm end in 2013 helped.  Most seasons in Burgundy – like most human lives – slip off the rails at some point or additional.  It’s best if the derailing happens earlier rather than before long.
Tasting the poised, perfumed ripeness of Caroline Lestimé’s 2013 Chassagne Premier Cru Caillerets (at Jean-Noël Gagnard); or the impeccable fruit definition, ripeness and concentration of the 2013 Santenay Premier Cru Clos des Tavannes at Patrick Landanger’s Domaine de la Pousse d’Or was a shock.  The 2013 Pousse d’Or Corton Bressandes was magnificent, too – but those are Rolls Royce soils; that Santenay could be so outstanding in 2013 was a surprise.  (Jasper Morris writes, in his fine book Inside Burgundy, that this site ‘can be one of the classiest of Santenays, indeed tasting it blind one’s thoughts might wander towards the Côte de Nuits’.  Quite.)
Up in Chablis, meanwhile, 2013 is widely accepted as a excellent vintage – the botrytis needed weeding out and, according to Vincent Dauvissat, the grapes often looked horrible, but the province’s magical balance and purity was there.  I found additional lessons up in Chablis, too.
Chablis flowering. Credit: Andrew Jefford
Having tried three brilliant young Petit Chablis wines (the 2014, all lemons and stones, from Fèvre; Dauvissat’s own seaweedy 2013; and the pungent, nearly percussive 2013 ‘Pas Si Petit’ from la Chablisienne), I realised that I had misunderstood this appellation.  As the canny cooperative suggests, it isn’t ‘small Chablis’ at all, but a different sort of Chablis, usually from higher sited vineyards, and always from stonier limestone soils (those customarily called Portlandian) rather than the richer, more fossiliferous limestones predictable of the province as a whole (usually described as Kimmeridgian).  Climate change has worked in its favour, and there is no longer anything threadbare about it; indeed if I was sitting down to a plate of oysters, Petit Chablis like this would be my first choice.  It comes clattering down like horseshoes on cobblestones, showering its acidic sparks into the saline flesh of the mollusc.
Why not a better name?  Growers have searched, according to Hervé Tucki of La Chablisienne, but no one can find a satisfactory alternative.  ‘Hautes Côtes de Chablis’ isn’t liked, and ‘Chablis Portlandien’ would need too many explanations.  (Nowadays it should be Tithonien, or Tithonian in English; Portlandian is an archaic term.)
The tasty 2013 whites led me to reckon that I might even try buying a small colorless Burgundy all over again.  I can’t be alone in having given this activity up a decade or more ago, disheartened by premox (or, if you prefer, random oxidation) problems, and the haphazard manner in which colorless Burgundy seemed to age.  There is some evidence that the problem is lessening: after a near-catastrophic showing for the 2005s, those monitoring the problem for the ‘oxidised-burgs’ wikisite report that wines from the 2006 and 2007 vintages (with the notable exception of Domaine Leflaive) are proving less vulnerable than their forbears.  See the reports of the Assessment Dinners held in Los Angeles here.
I won’t, though, be buying the grand colorless Burgundies which insist on age.  Like many, I can’t afford them any more – but is there the same need? Something else has changed: Burgundy’s own high-latitude climate seems to have ripened.
I was with wine students in Burgundy, and described in my introductory explanation to them how colorless Burgundy was harder to taste than red in its youth due to its tautness and its inscrutability.  Classic red Burgundy is built on fruit flavours in its youth; classic colorless nearly seemed to get by on sap prior to its fifth birthday.  (This difference is in part due to barrel-fermentation of the whites.)
What we then tasted over the course of the week, though, no longer bore this out.  Modest bottles of colorless Burgundy, even from troubled recent vintages, seem to be more expressive and forthcoming in their youth than in the past, and less insistent in their hassle for age than formerly.  They ‘get there’ more quickly.  Premox may therefore become, for many purchasers, a theoretical problem.  If you don’t need to keep it, you run small risk of its oxidising.  Just drink soon.
If you’re in the market for Caillerets, for Les Pucelles or for Montrachet, of course, then you should continue to keep your wines for a decade or more, and hope for the best: a fantastic colorless grand cru cannot attain full articulacy in less.  But for lesser mortals, low rollers and flighty chancers like me, it may be safe to tiptoe back into the water.  Pay less; risk less; don’t wait.  The shallows are more rewarding than they used to be.
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Google Street View offers virtual tours of California wineries

Google Street View offers virtual tours of California wineriesVirtual visitors to California can now take a panoramic tour of dozens of the state’s wineries thanks to new additions to the Street View feature in Google Maps.
Users can effectively explore California wineries, such as Frog's Leap The internet giant has added 360-degree panoramas of nearly 80 of California’s 1,000-plus wineries as part of an initiative that has extended Street View to more than 200 new locations across the state.
Via a ‘See Inside’ tab, internet surfers can now enter the premises of a number of leading producers, including Dry Creek Vineyard, Frog’s Leap, Schramsberg and Artesa.
Using the ‘See inside’ tab, users can effectively explore California wineries
‘Delight in the sunny elegance and wonderful scenery at wineries like William Hill and Wolff Vineyards,’ said Google Street View program manager Deanna Yick in a blog post.
‘Explore the drums where wine is aged at Quintessa Winery previous to enjoying the open-air patios that overlook the green hillsides of northern California.’
Yick said the addition of the new locations to Street View was designed to offer ‘a peek of what awaits you along Route 101’, adding: ‘With Google’s headquarters nestled alongside the San Francisco Bay in Mountain View, Calif, this imagery of our fantastic state is especially close to our hearts.’
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Producer profile: Hugel

Producer profile: HugelThe 13th generation has just started working at this well-known Alsace producer, notable for background the rules for (and before long boycotting) the province’s grand crus. Margaret Rand meets a few of the family.Hugel at a glance
Holdings 30ha of estate vineyards plus grapes bought from another 100ha
Grape varieties Riesling, Pinot Gris, Pinot Blanc, Gewurztraminer, Muscat, Sylvaner, Pinot Noir
Annual production 1 million bottles
Key personnel Marc Hugel, winemaker; Etienne Hugel, sales and exports; Jean Philippe Hugel, CEO
Exports 90% of production Wines produced Classic (including Gentil), Tradition, Jubilee, Vendange Tardive, Sélection de Grains Nobles; new Schoelhammer
It is said – usually by the producers themselves – that there are Catholic and Protestant wines in Alsace. The former are more oxidative, forward and ebullient; the latter more reductive, austere and slower to reveal themselves. Riquewihr is a largely Protestant village, and the Hugels of Riquewihr are Lutheran. So there you have it, the style in a nutshell: Hugel wines are forceful, structured, mineral and dry – unless they’re sweet.
The last point sounds obvious until you remember that for years now, Alsace sweetness levels have been rising quicker than Greek borrowing. Thirty years ago, says winemaker and viticulturist Marc Hugel, the problem in Alsace was getting ripe grapes. Now the issue is avoiding overripe ones. Wines that were routinely dry are now regularly off-dry or sweet, and sweet ones are super-sweet.
To insist on dryness for anything not marked Vendange Tardive (VT) or Sélection de Grains Nobles (SGN) is to swim against the tide. To turn down to place the words ‘Grand Cru’ on the front mark when your Jubilee range comes from the grands crus of Schoenenbourg and Sporen – Hugel’s finest estate vineyards, with Jubilee wines only made in the very best vintages – is also to swim against the tide. And the irony is that Johnny Hugel had been in payment of background the grand cru rules.
Three generations of Hugel. From top left: Etienne, Andre, Jean Philippe, Marc, Jean Frederic & Marc Andre
Johnny Hugel (his name was Jean, but the British trade renamed him) also drafted the guidelines for the 1984 regulations governing VT and SGN; previous to that, the German designations were used. He was an influential figure in an influential family: the Hugels, like so many wine families in Alsace, arrived during the Thirty Years’ War (1618-48) and have made wine ever since. Johnny ran the companionship, with his brothers André and Georges, between 1948 and 1997, when the next generation came to the fore. André subdue visits the office each day and is a formidable historian of Riquewihr. His mission now is to obtain honest treatment for Alsace veterans of the Second World War, who were conscripted into the German army and receive no pensions.
Johnny tramped all over Alsace with a geologist for three years, examining where the grand cru boundaries should go. ‘If the classification had been trustworthy,’ reflects André’s son Marc, ‘it would have taken one minute, because everyone knew where the boundaries should have been.’ Instead, they were drawn generously. ‘There should probably be 20 grands crus, and the rest should be premier cru,’ says Marc’s nephew Jean Frédéric. So Hugel, having been instrumental in background up the classification, walked away from it. Trimbach did the same; so did Léon Beyer. No Hugel wine has ever been declared as grand cru, even though many could have been.
The distress with building a high-minded choice is that the rest of the world goes on without you. Everyone agrees the Alsace Grand Cru classification is not all it should be; but at the same time, most people accept that, overall, it has been a excellent thing. The choice to boycott it is clearly a hard one to go around, yet one wonders how much it benefits Hugel these days. In some Alsace tastings, its flagship Jubilee wines will be ranged with basic Alsace – and that is not necessarily an advantage, given that the former are forceful and silent, and the latter mostly off-dry and come-hitherish. And so Hugel’s grand cru position is below discussion.
There is something else: the best parcel of Riesling in Hugel’s Schoenenbourg land has just been released, in April 2015, as a break bottling called Schoelhammer. The first vintage will be 2007, which neatly gets around the grand cru problem, because if you want to declare a grand cru, you must apply to do so previous to the vintage. So it won’t be. But it is splendid.
What makes it so excellent? Tension, in a word. If you want another word, minerality. Schoenenbourg is impressive to look at – it rises steeply from just outside the ancient walls of Riquewihr – but it’s not homogeneous. Schoelhammer is a perfect kernel of 30 south-facing rows mid-slope, and it was the first Hugel parcel to go organic. ‘It’s apparent to the taste when a wine is terroir-driven or varietal,’ says Etienne; and it’s apparent here.
The world moves on. They’re all keen to stress that they’re not averse to change; it’s just that they like to do things gradually – change the details rather than take U-turns. The Jubilee range, named to mark the companionship’s 350th year in 1989, is being renamed because few people know what it refers to; each wine will now have a break name.
Does this, along with the Schoelhammer launch, constitute a grand cru appearance-out? ‘It’s a terroir appearance-out,’ says Jean Frédéric. They’re going to make more of a fuss about their undoubtedly brilliant vineyards. And Marc is the person to talk to about these: geology has become a passion of his. Did you know that the ancient vineyard roads in Alsace follow geological fault lines? There are umpteen faults running southwest to northeast, with additional, oblique faults running across them. It’s as intricate as the Côte d’Or, which clarifies why the soils are so many, and so different.
Obsession with precision
Marc’s winemaking style has evolved over the years. He likes finesse and elegance, and he doesn’t want the mechanics of winemaking to show in the wines, but in 2007 he started doing a small battonage (lees stirring) – not much, and only when it suits the year – just to open up the wines. And he wants absolute accuracy in everything. When he picks for SGN these days, it’s individual berries, not whole clusters. ‘The first 15 minutes of picking [for SGN] are the most vital,’ he emphasises, for pinpoint accuracy and purity in the final wine. ‘If you want the best possible wine, you have to be incredibly precise.’
Sweet wines – VT and SGN, and especially the former – are flagships for Hugel. ‘Gewurztraminer VT is 90% of our sweet wine production,’ says Etienne, Jean Frédéric’s father. ‘People confuse sweet wines with dessert wines; it goes further than pairing them with dessert.’
But the same climate change that has made the general run of Alsace wine sweeter than it used to be has made VT and SGN less exceptional. When Jean Frédéric lists fantastic sweet-wine vintages, he names 1989, 1997, 2000 – then 2005, 2007, 2008, 2009, 2010 and 2011. Yes, they are more selective than ever, make less per year than they used to, and, says Etienne, sweet wine is subdue only 2% of their production, but subdue. Fantastic sweet wine is no longer a rarity in the world – and world demand has not risen. ‘We sell all we produce,’ says Etienne, but one might surmise that shouting a bit louder about the rest of the range might not be a terrible thing.
The world moves on. If Schoelhammer is the future, then it works.
Margaret Rand was the 2013 Louis Roederer Feature Writer of the Year for her articles in Decanter
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Historic New Zealand winery destroyed by fire

Historic New Zealand winery destroyed by fireA huge fire has ‘devastated’ one of New Zealand’s most historic wineries, Vilagrad in Waikato, destroying parts of the cellar, kitchens and offices. Vilagrad Winery in Hamilton, New ZealandThe burn broke out in the early hours of this daylight (29 June) at the winery near Hamilton, damaging about 90% of the building, but leaving winemaking equipment mostly intact.
Owners the Nooyen family said in a posting on the Vilagrad website that they were ‘completely devastated’ by the burn, but expressed their relief that nobody had been hurt in the fire.
Vilagrad, established by Croatian ex-pat Ivan Milicich Snr in 1922, is now in the hands of his fantastic-grandsons, and combines winemaking with events, food and accommodation.
The Nooyens have cancelled plans for two mid-year ‘Christmas’ parties, but have pledged to rebuild, possibly using a mobile kitchen as refurbishment work continues.
Winemaker and co-owner Jacob Nooyen told the New Zealand Indication that he hoped to be back in business by about October, adding that the restaurant and most of the winery had been saved.
The most heartbreaking part was the loss of precious family photographs which were stored in the 100-year-ancient cellar, he added.
‘It’s pretty devastating for the family at the moment, but we are hard workers, we will get this place cleaned up and rebuilt,’ Nooyen said.
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