But among wine critics, there is a deep suspicion that the natural wine movement is intent on tearing down the norms and hierarchies that they have dedicated their lives to upholding. The haziness of what actually counts as natural wine is particularly maddening to such traditionalists. “There is no legal definition of natural wine,” Michel Bettane, one of France’s most influential wine critics, told me. “It exists because it proclaims itself so. It is a fantasy of marginal producers.” Robert Parker, perhaps the world’s most powerful wine critic, has called natural wine an “undefined scam”.
For natural wine enthusiasts, though, the lack of strict rules is part of its appeal. At a recent natural wine fair in London, I encountered winemakers who farmed by the phases of the moon and didn’t own computers; one man foraged his grapes from wild vines in the mountains of Georgia; there was a couple who were reviving an old Spanish technique of placing the wine in great clear glass demijohns outside to capture sunlight; others were ageing their wines in handmade clay pots, buried underground to keep them cool as their predecessors did in the days of ancient Rome. (...)
At first glance, the idea that wine should be more natural seems absurd. Wine’s own iconography, right down to the labels, suggests a placid world of rolling green hills, village harvests and vintners shuffling down to the cellar to check in on the mysterious process of fermentation. The grapes arrive in your glass transformed, but relatively unmolested.
Yet, as natural wine advocates point out, the way most wine is produced today looks nothing like this picture-postcard vision. Vineyards are soaked with pesticide and fertiliser to protect the grapes, which are a notoriously fragile crop. In 2000, a French government report noted that vineyards used 3% of all agricultural land, but 20% of the total pesticides. In 2013, a study found traces of pesticides in 90% of wines available at French supermarkets.
In response to this, a small but growing number of vineyards have introduced organic farming. But what happens once the grapes have been harvested is less scrutinised, and, to natural wine enthusiasts, scarcely less horrifying. The modern winemaker has access to a vast armamentarium of interventions, from supercharged lab-grown yeast, to antimicrobials, antioxidants, acidity regulators and filtering gelatins, all the way up to industrial machines. Wine is regularly passed through electrical fields to prevent calcium and potassium crystals from forming, injected with various gases to aerate or protect it, or split into its constituent liquids by reverse osmosis and reconstituted with a more pleasing alcohol to juice ratio.
Natural winemakers believe that none of this is necessary. The basics of winemaking are, in fact, almost stupefyingly simple: all it involves is crushing together some ripe grapes. When the yeasts that live on the skin of the grape come into contact with the sweet juice inside, they begin gorging themselves on the sugars, releasing bubbles of carbon dioxide into the air and secreting alcohol into the mixture. This continues either until there is no more sugar, or the yeasts make the surrounding environment so alcoholic that even they cannot live in it. At this point, strictly speaking, you have wine. In the millennia since humans first undertook this process, winemaking has become a highly technical art, but the fundamental alchemy is unchanged. Fermentation is the indivisible step. Whatever precedes it is grape juice, and whatever follows it is wine.
“The yeasts are the key between the vines and the people,” Pacalet told me, in a reverent tone. “You use the living system to express the information in the soil. If you use industrial techniques, even if it’s a small operation, you’re making an industrial product.” Viewed in this quasi-spiritual way, the winemaker’s job is to grow healthy grapes, tend to the fermentation, and intervene as little as possible.
In practice, this means going without the methods that have given modern winemakers so much control over their product. Even more radically, it means jettisoning the expectations of mainstream wine culture, which dictates that wine from a certain place should always taste a certain way, and that a winemaker works like a conductor, intervening to turn up or tamp down the various elements of the wine until it plays the tune the audience expects. “It is important a sancerre tastes like a sancerre, then we can start to determine levels of quality,” says Ronan Sayburn, the head of wine at the private wine club and bar 67 Pall Mall.
In France, which remains the cultural and commercial centre of the wine world, the acceptable styles of winemaking aren’t just a matter of history and convention; they are codified into law. For a wine to be labelled as from a particular region, it must adhere to strict guidelines about which grapes and production techniques can be used, and how the resulting wine should taste. This system of certification – the appellation d’origine contrôlée (AOC), or “protected designation of origin” – is enforced by inspectors and blind-tasting panels. Wines that fail to conform to these standards are labelled “vin de France”, a generic designation that suggests low quality and makes them less attractive to buyers.
Some natural winemakers have rebelled against this legislation, which they believe only reinforces the dominant styles and methods that are ruining wine altogether. In 2003, the natural winemaker Olivier Cousin opted out of his local AOC, complaining in a letter that meeting their standards meant that “one must beat the grapes with machines, add sulphites, enzymes and yeast, sterilise and filter”. When he refused to stop describing his wine as being from Anjou, he was actually prosecuted for labelling violations. In response, Cousin put on a good show, riding his draft horse up to the courtroom steps and bringing a barrel of his offending wine to share with passers-by. But he ended up changing the labels.
“The AOC are liars,” Olivier’s son Baptiste, who has taken over several of his father’s vineyards, told me. “The local designations were created to protect small producers, but now they just enforce poor quality.”
The expectations of how a wine from a certain region should taste go back hundreds of years, but the global industry that has been built atop them is largely a product of the past century. If natural wine is a backlash against anything, it is the idea that it is possible to square traditional methods of winemaking with the scale and demands of that market. There is a sense that alongside economic success, globalisation has slowly forced the wine world toward a dull, crowd-pleasing conformity.
France has long been the centre of the wine world, but until the mid-20th century most vineyards were small and worked mainly by hand. In the eyes of natural winemakers, the rot began in the decades after the second world war, as French vineyards modernised and the industry grew into a global economic behemoth. To these disillusioned observers, what seems like a story of technical and economic triumph is really the tragic tale of how wine lost its way.
by Stephen Buranyi, The Guardian | Read more:
Image: uncredited
