Robb Read: Breaking Fashion’s Cycle
Luxury brands are finally taking sustainability seriously. But why now?
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Using recycled and past-season fabrics is one of the most innovative things we can do right now—it’s what modern luxury looks like.”
Designer Stella McCartney doesn’t mince her words. Perhaps not unexpected given she’s long been carrying the (recyclable) can as fashion’s eco frontrunner and a standard-bearer for sustainability across the industry.
“And if we want to keep producing luxury fashion that’s not harmful to our planet, then it’s the way we have to go.”
Responding to the environmental crisis and various negligible, standard manufacturing processes has, until recently, proved little more than lip service— pledges have been made by some of the world’s commanding fashion figures with little actual action following.
But the past 12 months have proven different. There has been an unmistakable surge in the use of recycled fabrics, upcycled garments and deadstock materials, infusing stylish and exciting collections of menswear and beyond; garments designed and produced, ultimately, with newfound ethical credibility.
Many such materials are a direct response to the most widely acknowledged environmental crisis: plastic waste. Econyl—one of the most commonly adopted fabrics in notable collections from the likes of Prada, Gucci and Burberry— is a sustainable nylon yarn made from discarded fishing nets, carpets and other industrial plastics.
Recycled polyester has also been employed as a replacement for goose down in padded outerwear from the likes of Ralph Lauren and Ermenegildo Zegna. Wool, especially cashmere, yarns have been rewoven from factory and post-consumer waste to create sweaters and coats by Marni and the aforementioned McCartney.
Elsewhere, surplus fabrics have been pressed into action to create stunning pieces from Louis Vuitton and Alexander McQueen, Loewe has upcycled military tents into luxury garments and the choice of recycled menswear, as we continue into 2021, is vast.
McCartney frames such change by pointing to Covid-19. “I think the pandemic has really put everything into sharp focus,” she says. “It’s perhaps encouraged this trend for using recycled fabrics. For the first time in history, we can truly measure the damage done by human activity and we have seen in such a short period of time how incredible nature is and how she bounces back so quickly, so I think brands have really been inspired to act.”
Alessandro Sartori is the artistic director of Ermenegildo Zegna. He agrees with McCartney’s sentiment—that fashion’s reaction to a global resource crisis has
been quickened by recent events.
“It’s evident that we need to take care of the planet and its natural resources to build a better world for future generations,” he offers. “And I think that the pandemic has accelerated attitudes.”
Sartori’s Zegna solution is encompassed by a #UseTheExisting brand ethos—clothes manufactured by reusing discarded materials from pre-existing garments and waste sources. A shining example of this is the ongoing Achill farm tailoring project—two-piece suits remixed and rewoven entirely with merino wool remnants from Zegna’s sprawling Australian farm located in southern NSW.
“This is an ever-evolving project to make the dream of zero waste possible,” says Sartori. “It’s our promise to rethink our supply chain by giving new life to pre-existing or post-consumer materials.”
This circular production process also informs Zegna’s outerwear, such as a 100 per cent recycled nylon padded jacket with replacement down insulation, as well as luggage and accessories across its most recent collection.
Recycled coating and layering pieces such as these have been a common thread in numerous recent capsule collections.
Prada’s Re-Nylon range came from repurposed ocean plastic and includes both long- and short-sleeved zipped shirts, a blouson jacket and sleeveless puffer.
Emporio Armani has worn its heart on its sleeve—or at least the torso—with a range of menswear staples under the umbrella of its “RE-A” capsule. The company’s “I’m Saying Yes to Recycling” motto is boldly emblazoned across standout pieces such as a recycled wool/polyamide sweater, field jacket and timepiece featuring a recycled nylon strap.
Burberry, meanwhile, turned up the heat with notable statement pieces from its ReBurberry collection of garments, born from the label’s commitment to recycled fabrics and bio-based materials. Its reversible check nylon puffer jacket, created from recycled polyester and nylon, features a Burberry house check and is also available as a gilet.
Polo Ralph Lauren’s Earth Polo is manufactured from recycled plastic bottles, while its Custom Packable vest and jacket not only employs repurposed plastic waste for its Primaloft padding and nylon for its outer but is also—as the name suggests—customisable with different colours, logos and even your name.
Maison Margiela and Marni are also onboard, with recycled and regenerated pieces proudly influencing recent drops.
In Milan, the recently reinstalled cool that has come to cloak Gucci also means a greater emphasis on sustainability—though the Italian standout has for some years now used recycled wool. Last year, the label—as led by acclaimed maestro of reinvention, Alessandro Michele—overtly announced that it had hit the eco button in a large way, with a debut Circular Lines “Off The Grid” collection. A typically lively and genderless array of ready-to-wear elements, shoes and accessories, it includes low-top sneakers (even the thread they’re sewn with is recycled polyester), a zip-up jacket and a vast choice of wallets and day bags.
The materials for the entire collection are either recycled, organic, bio-based or sustainably sourced. Crucially, many of these Econyl examples are not only recycled but also recyclable.
“Recyclable garments promote circularity and will not end up in landfill,” insists McCartney. “And this also provides opportunity for innovation.”
Besides offering a soft regenerated cashmere sweater and a recycled puffer blouson, her eponymous label led the way in recyclable pieces with its Loop sneakers. Using a method of attaching the upper to the sole without glue (usually full of harmful chemicals), at the end of their lifespan they can be taken apart and recycled. McCartney’s KOBA “fur-free fur”, introduced in 2020, is made from plant-based materials and recycled polyester, so it too can eventually be recycled.
“Right now, the equivalent of one garbage truck of textiles is burned or landfilled every second; less than one per cent of material used to produce clothing is recycled into new clothing,” says McCartney. “This means 99 per cent of all textiles and fashion is waste—that’s about US$100 billion of materials wasted each year. It’s crazy, but it can be turned into a business opportunity.”
It’s an opportunity that’s been fully grasped at Louis Vuitton. One of the biggest causes of the waste to which McCartney refers is excess “deadstock” fabric (which lingers unused in factories) and garments that are simply disposed of (having failed to sell by the end of a season or in a sale).
LV’s men’s artistic director, Virgil Abloh, found a creative solution for the label’s SS21 collection, creating more than half of the looks from either material recycled from deadstock, or upcycled from previous outings. Reconditioned garments at his 2021 Tokyo show last autumn proudly wore Louis Vuitton’s new “Upcycling Signal Logo”.
It’s been a similar scene at McQueen of late—its 2021 menswear collection was designed during pandemic-enforced lockdown and created predominantly from stock fabric which has been printed or over-dyed.
Such strong moves further McCartney’s assertion that “brands shouldn’t be afraid to use up fabrics they have left over from previous seasons.” But this use of surplus fabrics isn’t always restrained by the fashion house’s own stock.
Jonathan Anderson created a collection for Eye/Loewe/Nature strongly inspired by military surplus—repurposing army jackets, vintage fleeces, military tents and flannel check shirt patches for pieces such as shorts and a patchwork cotton shirt.
“Surplus and excess materials are abundant and only waiting to be incinerated; there is so much opportunity for creativity,” says Christopher Raeburn, whose RÆBURN label produces garments under its RÆMADE banner and which are upcycled from the likes of bivouacs, anti-gravity suits and air brakes.
Adopting an unwavering re-use approach is just one of several hurdles the industry faces if it wants to forge a better future. And McCartney believes that for further engagement of superior sustainability practices, greater external assistance, guidance and policy is required.
“One of the biggest things standing in the way of making real change is our governments,” she says. “We’re coming together as an industry because governments have failed to enact any meaningful legislation to the protect the environment.”
McCartney believes companies that choose to use sustainable materials, via the likes of recycling et al, should be incentivised via legislation.
“Offering lower import tariffs could accelerate the use of these materials. Right now, it’s a cost to the business which prohibits some from embracing more sustainable options.”
But are financial incentives of concern to some larger fashion houses clinging to historical industry traditions?
“I have great respect for the history and the craft of what I do, but the way things are done, the fabrics that are commonly used, they haven’t changed in a century. So, I do think there is a resistance to innovation in certain parts of the industry.”
McCartney has a firm ally in Alessandro Sartori—keen to stand by her, and beyond that, to prove that their aligned approach has finally moved well beyond fashionable tokenism. “If we all work together with the same mindset, we can make the difference,” states Sartori. “Zegna’s green philosophy began in the 1930s when our founder, Ermenegildo Zegna, began planting 500,000 conifer trees across the landscape surrounding his wool mill. We continue to maintain this ecosystem as our commitment to the future. And all the fashion industry should care about it.”
Ultimately, though, such change needs to be embraced at consumer level.
“I think customer attitudes towards sustainable fabrics have changed over the years and people are now more open to trying new fabrics,” offers McCartney. “As long as they’re getting a beautifully made product, it doesn’t matter if it’s not made from a traditional material.”
Given some of the newfound practices, consumers are not only offered beautiful products but those that are truly unique. “Based on the result of our upcycling, no two RÆMADE products are the same, resulting in truly exclusive, innovative and treasured pieces,” says Christopher Raeburn, who is also the global creative director of Timberland, another label to have committed to a net positive impact through a combination of circularity and regenerative farming practices by 2030.
“If anything, the exclusivity, uniqueness and craftsmanship behind RÆMADE is a strong appeal for traditional luxury consumers,” continues Raeburn. “Look, the pandemic starkly evidenced the dangerous cycle of overproduction and overconsumption we are in—we need to stop making more stuff. But I think we’ll look back on 2020 and, despite the challenges, we’ll know this was the moment we woke up to our obligations.”
That recognition of obligation, the spirit of collaboration and the need for accountability are points at which modern and youthful consumers make valuable brand connections. And McCartney firmly believes (as Whitney Houston once famously chimed) that the children are fashion’s sustainable future.
“Today’s youth have shown time and time again that they’re natural-born activists and are willing to say ‘no’ to the status quo. They’re the ones standing up and telling us our house in on fire and that we need to respond because we are in a crisis.
“It’s now cool and modern to wear something made from recycled or repurposed fabrics, and it’s amazing to see so many brands follow suit in recent years. But it’s clear we still have such a long way to go.”
That it has taken climate and health crises of global proportions to get us to this point is lamentable. But the rising number of designers finally showing a demonstrable commitment to finding a solution to fashion’s questionable former ways lends hope for the future.
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Watch of the Week: TAG Heuer Formula 1 | Kith
The legendary sports watch returns, but with an unexpected twist.
Over the last few years, watch pundits have predicted the return of the eccentric TAG Heuer Formula 1, in some shape or form. It was all but confirmed when TAG Heuer’s heritage director, Nicholas Biebuyck, teased a slew of vintage models on his Instagram account in the aftermath of last year’s Watches & Wonders 2023 in Geneva. And when speaking with Frédéric Arnault at last year’s trade fair, the former CEO asked me directly if the brand were to relaunch its legacy Formula 1 collection, loved by collectors globally, how should they go about it?
My answer to the baited entreaty definitely didn’t mention a collaboration with Ronnie Fieg of Kith, one of the world’s biggest streetwear fashion labels. Still, here we are: the TAG Heuer Formula 1 is officially back and as colourful as ever.
As the watch industry enters its hype era—in recent years, we’ve seen MoonSwatches, Scuba Fifty Fathoms, and John Mayer G-Shocks—the new Formula 1 x Kith collaboration might be the coolest yet.
Here’s the lowdown: overnight, TAG Heuer, together with Kith, took to socials to unveil a special, limited-edition collection of Formula 1 timepieces, inspired by the original collection from the 1980s. There are 10 new watches, all limited, with some designed on a stainless steel bracelet and some on an upgraded rubber strap; both options nod to the originals.
Seven are exclusive to Kith and its global stores (New York, Los Angeles, Miami, Hawaii, Tokyo, Toronto, and Paris, to be specific), and are made in an abundance of colours. Two are exclusive to TAG Heuer; and one is “shared” between TAG Heuer and Kith—this is a highlight of the collection, in our opinion. A faithful play on the original composite quartz watch from 1986, this model, limited to just 1,350 pieces globally, features the classic black bezel with red accents, a stainless steel bracelet, and that creamy eggshell dial, in all of its vintage-inspired glory. There’s no doubt that this particular model will present as pure nostalgia for those old enough to remember when the original TAG Heuer Formula 1 made its debut.
Of course, throughout the collection, Fieg’s design cues are punctuated: the “TAG” is replaced with “Kith,” forming a contentious new brand name for this specific release, as well as Kith’s slogan, “Just Us.”
Collectors and purists alike will appreciate the dedication to the original Formula 1 collection: features like the 35mm Arnite cases—sourced from the original 80s-era supplier—the form hour hand, a triangle with a dot inside at 12 o’clock, indices that alternate every quarter between shields and dots, and a contrasting minuterie, are all welcomed design specs that make this collaboration so great.
Every TAG Heuer Formula 1 | Kith timepiece will be presented in an eye-catching box that complements the fun and colour theme of Formula 1 but drives home the premium status of this collaboration. On that note, at $2,200 a piece, this isn’t exactly an approachable quartz watch but reflects the exclusive nature of Fieg’s Kith brand and the pieces he designs (largely limited-edition).
So, what do we think? It’s important not to understate the significance of the arrival of the TAG Heuer Formula 1 in 1986, in what would prove integral in setting up the brand for success throughout the 90’s—it was the very first watch collection to have “TAG Heuer” branding, after all—but also in helping to establish a new generation of watch consumer. Like Fieg, many millennial enthusiasts will recall their sentimental ties with the Formula 1, often their first timepiece in their horological journey.
This is as faithful of a reissue as we’ll get from TAG Heuer right now, and budding watch fans should be pleased with the result. To TAG Heuer’s credit, a great deal of research has gone into perfecting and replicating this iconic collection’s proportions, materials, and aesthetic for the modern-day consumer. Sure, it would have been nice to see a full lume dial, a distinguishing feature on some of the original pieces—why this wasn’t done is lost on me—and perhaps a more approachable price point, but there’s no doubt these will become an instant hit in the days to come.
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The TAG Heuer Formula 1 | Kith collection will be available on Friday, May 3rd, exclusively in-store at select TAG Heuer and Kith locations in Miami, and available starting Monday, May 6th, at select TAG Heuer boutiques, all Kith shops, and online at Kith.com. To see the full collection, visit tagheuer.com
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8 Fascinating Facts You Didn’t Know About Aston Martin
The British sports car company is most famous as the vehicle of choice for James Bond, but Aston Martin has an interesting history beyond 007.
Aston Martin will forever be associated with James Bond, ever since everyone’s favourite spy took delivery of his signature silver DB5 in the 1964 film Goldfinger. But there’s a lot more to the history of this famed British sports car brand beyond its association with the fictional British Secret Service agent.
Let’s dive into the long and colourful history of Aston Martin.
The origin of the Aston Martin name
The company that would become Aston Martin started out as a car dealership. In 1912, Englishmen Robert Bamford and Lionel Martin partnered to sell cars, but soon after they decided to build their own models. Their first prototype debuted in 1915, named in honour of Martin, a racing driver, and his favourite racing venue, Aston Hills. Thus, the name Aston Martin was born.
A speed-demon co-founder banned from driving
Aston Martin co-founder Lionel Martin wasn’t just a keen racing driver—he was an all-out speed demon. As a student, Martin won numerous gruelling bicycle racing records, including riding nearly the full width of England in one 22-hour stretch. He competed in motorcycle and sidecar races and automotive hillclimb competitions. It seems he also brought that need for speed to the public roadways: In 1909, having neglected to pay a previous speeding fine, Martin was caught driving 41.5 km/ph in London and was banned from driving for two years—during which he set yet another cross-country bicycle record.
A tractor company takes over
The years after World War I were tumultuous for Aston Martin, with financial difficulties and numerous takeovers. In 1947, Aston Martin went up for sale and was purchased by David Brown Limited, a company that specialised in farm tractors and industrial gears. Sir David Brown, grandson of the company’s founder, was a lifelong car enthusiast and racer, having built his own competition cars while working as an engineer at the family company. The first car built by Aston Martin after this takeover was called the DB1, named after the tractor company (and the man) that had saved the carmaker.
An indirect connection to Bentley
Around the same time that Sir David Brown took over Aston Martin, he purchased another struggling British carmaker, Lagonda. The company was developing a revolutionary twin-cam six-cylinder engine called the LB6, and Sir David wanted the engine for his new line of Aston Martin sports cars. The Lagonda engine had been designed by none other than W.O. Bentley—the man who co-founded Bentley Motors, who had long since been pushed out of the company bearing his name.
The history of the DB Series
Aston Martin built seven vehicles named in honour of owner Sir David Brown: The DB1, DB2, DB3, DB4, DB5, DB6, and the combo-breaker DBS all bore Sir David’s initials. In 1972, Sir David sold the car company, and the new owners ended the DB series of vehicles, but the name was revived in 1993 with the DB7 in honour of Sir David—who himself was given an honorary position at the company that same year.
Bond, James Bond
Of course, the most famous Aston Martin of them all is the DB5. Just over 1,000 examples were built between 1963 and 1965, but millions worldwide know this as the James Bond car. In the books, author Ian Fleming had specified an earlier Aston Martin DB Mark III as Bond’s car. Still, the DB5 was introduced in the 1964 Bond film Goldfinger, equipped with gadgets including machine guns, smoke screens, oil slicks, an ejector seat, and rotating license plates. Bond has driven several Aston Martin models over the years, including a V8 Vantage, a V12 Vanquish, and two DBS models, but the original DB5 will always be considered the quintessential Bond car.
The angular years
Today, the Aston Martin badge is most closely associated with swooping, evocatively curvy car designs, but in the 1970s the company was obsessed with angular, wedge-shaped designs. The trend began in 1976 with the Aston Martin Lagonda, a shockingly unconventional four-door luxury sedan with “folded-paper” body styling and the world’s first all-digital instrument panel. The Lagonda’s styling was further evolved in 1979 with the Bulldog, a radical concept car with gullwing doors and a sharply pointed nose. The Bulldog was meant to become the fastest road car on earth, but the project was abandoned before production could begin.
For Bond’s eyes only
While most of James Bond’s Aston Martins have been commercially available to anyone who could afford one, the DB10 seen in the 2015 film Spectre was exclusive to 007. As Aston Martin executive Marek Reichman explained to Variety, director Sam Mendes, producer Barbara Broccoli, and Bond star Daniel Craig were touring Aston Martin’s design studios when they saw a concept sketch on the wall. The Bond team insisted that this should be 007’s next car, and Aston Martin spent the next six months furiously working to turn the drawing into a real-world car. The DB10 was unveiled during the launch of the film Spectre, and eight of the 10 examples built were featured in the movie, with the remaining two used for promotional appearances.
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What Venice’s New Tourist Tax Means for Your Next Trip
The Italian city will now charge visitors an entry fee during peak season.
Visiting the Floating City just got a bit more expensive.
Venice is officially the first metropolis in the world to start implementing a day-trip fee in an effort to help the Italian hot spot combat overtourism during peak season, The Associated Press reported. The new program, which went into effect, requires travellers to cough up roughly €5 (about $AUD8.50) per person before they can explore the city’s canals and historic sites. Back in January, Venice also announced that starting in June, it would cap the size of tourist groups to 25 people and prohibit loudspeakers in the city centre and the islands of Murano, Burano, and Torcello.
“We need to find a new balance between the tourists and residents,’ Simone Venturini, the city’s top tourism official, told AP News. “We need to safeguard the spaces of the residents, of course, and we need to discourage the arrival of day-trippers on some particular days.”
During this trial phase, the fee only applies to the 29 days deemed the busiest—between April 25 and July 14—and tickets will remain valid from 8:30 am to 4 pm. Visitors under 14 years of age will be allowed in free of charge in addition to guests with hotel reservations. However, the latter must apply online beforehand to request an exemption. Day-trippers can also pre-pay for tickets online via the city’s official tourism site or snap them up in person at the Santa Lucia train station.
“With courage and great humility, we are introducing this system because we want to give a future to Venice and leave this heritage of humanity to future generations,” Venice Mayor Luigi Brugnaro said in a statement on X (formerly known as Twitter) regarding the city’s much-talked-about entry fee.
Despite the mayor’s backing, it’s apparent that residents weren’t totally pleased with the program. The regulation led to protests and riots outside of the train station, The Independent reported. “We are against this measure because it will do nothing to stop overtourism,” resident Cristina Romieri told the outlet. “Moreover, it is such a complex regulation with so many exceptions that it will also be difficult to enforce it.”
While Venice is the first city to carry out the new day-tripper fee, several other European locales have introduced or raised tourist taxes to fend off large crowds and boost the local economy. Most recently, Barcelona increased its city-wide tourist tax. Similarly, you’ll have to pay an extra “climate crisis resilience” tax if you plan on visiting Greece that will fund the country’s disaster recovery projects.
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Omega Reveals a New Speedmaster Ahead of the Paris 2024 Olympics
Your first look at the new Speedmaster Chronoscope, designed in the colour theme of the Paris Olympics.
The starters are on the blocks, and with less than 100 days to go until the Paris 2024 Olympics, luxury Swiss watchmaker Omega was bound to release something spectacular to mark its bragging rights as the official timekeeper for the Summer Games. Enter the new 43mm Speedmaster Chronoscope, available in new colourways—gold, black, and white—in line with the colour theme of the Olympic Games in Paris this July.
So, what do we get in this nicely-wrapped, Olympics-inspired package? Technically, there are four new podium-worthy iterations of the iconic Speedmaster.
The new versions present handsomely in stainless steel or 18K Moonshine Gold—the brand’s proprietary yellow gold known for its enduring shine. The steel version has an anodised aluminium bezel and a stainless steel bracelet or vintage-inspired perforated leather strap. The Moonshine Gold iteration boasts a ceramic bezel; it will most likely appease Speedy collectors, particularly those with an affinity for Omega’s long-standing role as stewards of the Olympic Games.
Notably, each watch bears an attractive white opaline dial; the background to three dark grey timing scales in a 1940s “snail” design. Of course, this Speedmaster Chronoscope is special in its own right. For the most part, the overall look of the Speedmaster has remained true to its 1957 origins. This Speedmaster, however, adopts Omega’s Chronoscope design from 2021, including the storied tachymeter scale, along with a telemeter, and pulsometer scale—essentially, three different measurements on the wrist.
While the technical nature of this timepiece won’t interest some, others will revel in its theatrics. Turn over each timepiece, and instead of a transparent crystal caseback, there is a stamped medallion featuring a mirror-polished Paris 2024 logo, along with “Paris 2024” and the Olympic Rings—a subtle nod to this year’s games.
Powering this Olympiad offering—and ensuring the greatest level of accuracy—is the Co-Axial Master Chronometer Calibre 9908 and 9909, certified by METAS.
A Speedmaster to commemorate the Olympic Games was as sure a bet as Mondo Deplantis winning gold in the men’s pole vault—especially after Omega revealed its Olympic-edition Seamaster Diver 300m “Paris 2024” last year—but they delivered a great addition to the legacy collection, without gimmickry.
However, the all-gold Speedmaster is 85K at the top end of the scale, which is a lot of money for a watch of this stature. By comparison, the immaculate Speedmaster Moonshine gold with a sun-brushed green PVD “step” dial is 15K cheaper, albeit without the Chronoscope complications.
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The Omega Speedmaster Chronoscope in stainless steel with a leather strap is priced at $15,725; stainless steel with steel bracelet at $16,275; 18k Moonshine Gold on leather strap $54,325; and 18k Moonshine Gold with matching gold bracelet $85,350, available at Omega boutiques now.
Discover the collection here
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Here’s What Goes Into Making Jay-Z’s $1,800 Champagne
We put Armand de Brignac Blanc de Noirs Assemblage No. 4 under the microsope.
In our quest to locate the most exclusive and exciting wines for our readers, we usually ask the question, “How many bottles of this were made?” Often, we get a general response based on an annual average, although many Champagne houses simply respond, “We do not wish to communicate our quantities.” As far as we’re concerned, that’s pretty much like pleading the Fifth on the witness stand; yes, you’re not incriminating yourself, but anyone paying attention knows you’re probably guilty of something. In the case of some Champagne houses, that something is making a whole lot of bottles—millions of them—while creating an illusion of rarity.
We received the exact opposite reply regarding Armand de Brignac Blanc de Noirs Assemblage No. 4. Yasmin Allen, the company’s president and CEO, told us only 7,328 bottles would be released of this Pinot Noir offering. It’s good to know that with a sticker price of around $1,800, it’s highly limited, but it still makes one wonder what’s so exceptional about it.
Known by its nickname, Ace of Spades, for its distinctive and decorative metallic packaging, Armand de Brignac is owned by Louis Vuitton Moët Hennessy and Jay-Z and is produced by Champagne Cattier. Each bottle of Assemblage No. 4 is numbered; a small plate on the back reads “Assemblage Four, [X,XXX]/7,328, Disgorged: 20 April, 2023.” Prior to disgorgement, it spent seven years in the bottle on lees after primary fermentation mostly in stainless steel with a small amount in concrete. That’s the longest of the house’s Champagnes spent on the lees, but Allen says the winemaking team tasted along the way and would have disgorged earlier than planned if they’d felt the time was right.
Chef de cave, Alexandre Cattier, says the wine is sourced from some of the best Premier and Grand Cru Pinot Noir–producing villages in the Champagne region, including Chigny-les-Roses, Verzenay, Rilly-la-Montagne, Verzy, Ludes, Mailly-Champagne, and Ville-sur-Arce in the Aube département. This is considered a multi-vintage expression, using wine from a consecutive trio of vintages—2013, 2014, and 2015—to create an “intense and rich” blend. Seventy percent of the offering is from 2015 (hailed as one of the finest vintages in recent memory), with 15 percent each from the other two years.
This precisely crafted Champagne uses only the tête de cuvée juice, a highly selective extraction process. As Allen points out, “the winemakers solely take the first and freshest portion of the gentle cuvée grape press,” which assures that the finished wine will be the highest quality. Armand de Brignac used grapes from various sites and three different vintages so the final product would reflect the house signature style. This is the fourth release in a series that began with Assemblage No. 1. “Testing different levels of intensity of aromas with the balance of red and dark fruits has been a guiding principle between the Blanc de Noirs that followed,” Allen explains.
The CEO recommends allowing the Assemblage No. 4 to linger in your glass for a while, telling us, “Your palette will go on a journey, evolving from one incredible aroma to the next as the wine warms in your glass where it will open up to an extraordinary length.” We found it to have a gorgeous bouquet of raspberry and Mission fig with hints of river rock; as it opened, notes of toasted almond and just-baked brioche became noticeable. With striking acidity and a vein of minerality, it has luscious nectarine, passion fruit, candied orange peel, and red plum flavors with touches of beeswax and a whiff of baking spices on the enduring finish. We enjoyed our bottle with a roast chicken rubbed with butter and herbes de Provence and savored the final, extremely rare sip with a bit of Stilton. Unfortunately, the pairing possibilities are not infinite with this release; there are only 7,327 more ways to enjoy yours.
