Wine labels become an art in themselves

Press, 19 July 1988, Page 10

Wine labels become an art in themselves

Although it is recognised that one does not drink the label, wine companies go to incredible trouble and great expense with label design. After all, what use is it to fill a bottle with the best wine in the world if the label does not attract attention? Thank goodness that we no longer see labels with fatuous statements such as “The classic grapes for this wine were grown on the sunny slopes of Somewhere Valley where the hours of sunshine are equivalent to those of the province of Bordeaux. Long, slow ripening, followed by cold controlled fermentation — etc. etc.” ' While some of this baloney may be true, it is quite possible that the grapes were, in fact, bought from a completely different area. In a bad season, when supplies are hard to get, winemakers will take material from any source, without worrying too much about the small matter of accuracy on a label.

In any case, they are just meaningless words which tell us nothing about the contents. The better-designed labels do not tell us a great deal either for that matter, at least, not in so many words. The tendency is for the label to carry the message by its standard of design and for any technical details to be conveyed on a supplementary label on the back of the bottle.

A fine example of good labelling is provided by the Blenheim winery of Cloudy Bay, owned by the Australian company of Cape Mentelle. Its sauvignon blanc, for instance, carries a front label depicting a suggestion of a forest against a background of misty mountains and the simple statement that it is sauvignon blanc 1987 from Cloudy Bay. Its very simplicity indicates that the wine is of such quality that nothing more need be said — as, indeed, it is. The back label, although containing a reference to soil types, climate and hours of sunshine, is remarkably honest in telling us that the grapes were grown by

Corbans in their Stoneleigh vineyard and made by winemakers David Hohnen and Kevin Judd.

Similarly, the new labels adorning . Villa Maria and Vidals wines are of classic design, visually pleasing and indicate, by inference, the quality of the wines. The Vidals cabernet sauvignon/merlot, before me at the time of writing, states the year, the blend and the maker on the front label and, on the back label, the proportion of blend, the character (intense, rich dry red with full round finish), the acid content and it maturation (in French oak for 12 months) — all the information we need to know what to expect when the cork is drawn.

In Canterbury, Giesens have embarked on an ambitious programme of relabelling the range by purchasing the right to use reproductions of paintings by well known artists.

No indication of cost was given, and I felt that it was no business of mine to enquire but, in addition to the cost of purchase of the rights, the photo-

GRAPEVINE

graphic process of reproduction and printing would be considerable.

The Giesen family say that matching the illustration with the wine was a difficult exercise, and I must say that, in one or two instances, the association is not immediately apparent. But the inference that a work of art on the outside indicates a similar work of art inside in certainly novel.

“Still Life with Crayfish,” by C. Jansen, adorning the dry riesling 1987, is certainly most suitable. And this bone-dry riesling, although still a little high in acid, is showing signs of developing fruit, and its relatively high alcohol, at over 13 per cent, ensures

a long bottle life. This is one for the cellar. The 1987 fume blanc, with a reproduction of Evelyn Page’s “Still Life with Apricots,” a delightful mix of bright colours, is certainly eye catching. The wine is lightly restrained, with both bouquet and fruit yet to develop to its full extent, but crisp and fresh in the finish and with delicately handled oak just showing through without being overdone.

Another still life is provided by Loveday Kingsford for the 1988 muller thurgau; a table setting depicting fresh fruit and elegant dinner ware which marries well with an extremely fragrant and

floral muller thurgau. It has a mouthful of fruit and a lingering finish which will be very well accepted by lovers of this style.

The 1986 pinot noir is associated with the “TheFlowering Cherries,” by lon Brown. A shady grove of white blossomed cherries offset by shades of grey and pale green, indicates that the wine would be enjoyed in a quiet, relaxed atmosphere. Light in body, and with a fresh lift of tannin, this is one which would stand a very light chilling for a summer afternoon.

Finally “The Verandah,” by Olivia SpencerBower, also conveys a relaxed attitude with a peaceful scene, in subdued pastel shades, of a cat drowsing in the sun on a wisteria decked veranda. This constitutes the label for the 1986 cabernet sauvignon/cabernet franc/shiraz 1986. This is a well balanced blend of rich colour, clean bouquet and ripe fruit balanced with skilful oak treatment. It has a fresh, palate-cleansing finish which lingers on most satisfactorily.

A 1987 botrytised riesling, marketed in 375 ml size only, is incredibly rich and full, the concentrated fruit, redolent of raisins, filling the palate in no mean fashion. This delightful dessert wine is the only one of the range so far which has not been artistically labelled.

Since there is a great deal of interest being shown in regional wines, and not all of the Giesen’s wines are produced from Canterbury material, it would be helpful if information on the source, and a few simple technical details, such as the percentage of blend, acid and sugar levels, and maturation were to be provided on back labels. This may be in the pipeline.

But there is no doubt that these labels will catch the eye — and how nice to be able to relax over good food and discuss the artistic merits of the label while enjoying the contents.