Frédéric Rouzaud, Maria Sukkar and Darius Sanai

LUX and Louis Roederer co-hosted an event for collectors of art, design and champagne where Frédéric Rouzaud, Maria Sukkar and Darius Sanai had a lively panel discussion about art, sustainability and responsibility. Some rare and celebrated champagnes from the Maison were served, including Cristal Vinotheque Rose 2002 and Cristal Vinotheque 1996, from magnum

Frédéric Rouzaud, Darius Sanai and Maria Sukkar

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Alexandra Tilling, Richard Billett, Samantha Welsh, Lorna Mourad, Malek Sukkar, Ege Gürmeriçliler, Nadim Mourad

Read more: Louis Roederer Photography Prize for Sustainability

Philippe Starck designed the label for Roederer’s zero added sugar Brut Nature

Maria Sukkar, Jennifer Boghossian, Lorna Mourad, Malek Sukkar and Rob Boghossian

Lorna Mourad, Jennifer Boghossian, Rob Boghossian, Ege Gürmeriçliler, Darius Sanai, Laurent Ganem, Maria Sukkar, Laurent Ganem, Anne Pierre d’Albis Ganem,
Nadim Mourad, Richard Billett, Samantha Welsh, Malek Sukkar

Anne Pierre d’Albis Ganem, Ege Gürmeriçliler, Samantha Welsh and Maria Sukkar

Frédéric Rouzaud, Darius Sanai and Maria Sukkar

Louis Roederer’s cristal rosé

www.louis-roederer.com

Under the theme of “Conversations With Nature,” this year, six artists from five continents have traveled to Reims and created works of art based on their personal impressions of the landscape they encountered there

Brazilian artist Henrique Oliveira is creating a scuptural installation for Ruinart, preferred champagne house of every self-respecting next gen oligarch, at Frieze London this year. Cleo Scott investigates

Henrique Oliveira’s forms spring out of the ground like inverted roots. A Brazilian-born painter and sculptor who works between his São Paolo and London studios, his large-scale sculptural installations are known as ‘tapumes’, or ‘fencing’ in Portuguese, which reference the wooden construction fences seen throughout São Paolo.

Oliveira is known for his works exploring the tension between nature and urban life

Oliveira uses lengths of stapled wooden tubing to create organic forms, which are then covered in layers of thinly applied wood, which he selects for their weathered and knotted surfaces. This results in bark-like forms that are at once natural and supernatural.

Oliveira’s project for ‘Conversations with Nature’, part of the Carte Blanche 2024 artists’ initiative from chi-chi Champagne house Ruinart, draws inspiration from the underground world of the Champagne region.

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From a network of chalk pits that provide the ideal environment for vines to grow, to the wine cellars of Ruinart, there seems to be as much life beneath the soil as above. Oliveira unearths this subterranean realm. His forms are roots of vines climbing above ground, seemingly alive in their writhing and twisted compositions.

While Oliveiras paintings evoke an organic proliferation of colors, his sculptures create the illusion of vegetal roots emerging in the urban environment

Forms are taken directly from nature and created using its very materials. However, the impossible distortion and scale of the work introduces an element of the supernatural – something beyond nature – only possible with the hand of man.

Ruinart’s Carte Blanche – not to be confused with Ruinart Blanc de Blancs, the maison’s all-Chardonnay champagne which is the daily pick-me-up of the ultra high net worth party set – this year brings together an international group of artists who centre their work around their connection and commitment to the natural world

Read more: Joel Mesler’s Californian Art at Château La Coste

Six artists travelled to the Champagne region, invited by Ruinart to use their diversity of mediums and practices to ‘converse’ with the landscape of the Maison Ruinart vineyards. Of this collective, the work of Henrique Oliveira and Marcus Coates will be exhibited within the Ruinart Art Bar at Frieze London, amid a backdrop of much Blanc de Blancs imbibing, from October 9th to 13th.

His art is sensitive to sustainable development issues and draws inspiration from the parasitic dimension of these structures, while also highlighting the importance of a mindful use of natural resources

Oliveira’s work embodies the relationship between man and nature at the heart of Ruinart and its Carte Blanche. In observation, understanding, and conversation with his subject, Oliveira breaks down the vine and reconstructs it, rather like the journey of the grape from a vineyard to the bottling of champagne – and onwards to the upper pool deck of that yacht moored off Pampelonne beach.

Find out more: runairt.com

Yayoi Kusama portrait with La Grande Dame x Yayoi Kusama Limited Edition © Yayoi Kusama

Contemporary Japanese artist Yayoi Kusama’s artistic impressions of Veuve Clicquot’s new vintage La Grande Dame 2012 pay tribute to the lasting influence and creativity of Madame Clicquot

After her husband’s death in 1805, Madame Clicquot took the reins of the eponymous champagne house. In era when women were excluded from the business world, this was an achievement in its own right, but she was also extremely good at her job, earning her the nickname ‘La Grande Dame of Champagne’. Two centuries later, Veuve Clicquot is paying tribute to her legacy through their latest vintage and a stunning artistic collaboration with Japanese contemporary artist Yayoi Kusama.

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Renowned for her flamboyant, quirky aesthetic, Kusama’s designs for the bottle and box incorporate flowers and her signature polka dot pattern in yellow, referencing the champagne’s bubbles, and expressing a sense of joy and energy.

My Heart That Blooms in The Darkness of The Night, special object designed by artist Yayoi Kusama for Veuve Cliquot

Yayoi Kusama at Selfridges’ Corner Shop

She has also created an exuberant floral sculpture, in continuation of her Flowers That Bloom at Midnight series, that wraps around the champagne’s bottle. Available in only 100 numbered pieces (12 are available for sale in the UK), the sculpture is cast in fibreglass reinforced plastic and painted by hand in vibrant hues.

The La Grande Dame x Yayoi Kusama designs will be on display within the Selfridges Corner Shop in early Spring 2021. The limited edition is available to purchase online via: selfridges.com For enquiries regarding the special object visit: veuveclicquot.com

“I worked in nature as if it was in the studio. The vineyards seemed to me a very poetical, mysterious and playful environment.” – Marie Benattar

Louis Roederer makes what might just be the world’s most famous champagne, Cristal, and a range of others all renowned for their sophistication and complexity. Less known is the family-owned company’s visionary art foundation, and foray into the luxury boutique hotel industry. Darius Sanai speaks to CEO and 7th-generation family scion, Frédéric Rouzaud, about photography,
art, hospitality, and almost everything except champagne

Frédéric Rouzaud

Travelling from the heart of London to the heart of Paris is, in some ways, like stepping from one luxury universe into another. In Mayfair, every conversation is about money – what’s for sale, what’s being sold, who might buy what. A brand is a currency, there to have its value inflated and sold on to the next wheeler-dealer.

Paris may be the home of the global luxury industry, but despite this, or perhaps because of it, it is – mostly – not considered appropriate to have the same conversations. For every private equity group buying and selling companies like card sharps distributing aces, there is a celebrated company (don’t call them brands) that has been in family hands for centuries.

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This is one of the first thoughts that flows through my head when I meet Frédéric Rouzaud in a hotel lobby in the chi-chi 16th arrondissement. Through the Maison Louis Roederer, Rouzaud may be the family owner and CEO of one of the world’s most celebrated luxury brands – who doesn’t know Cristal, after all – but it’s apparent that this thoughtful, understated and gently smiling gentleman in a dapper suit is a different breed to many modern CEOs. Louis Roederer is a Maison, not a brand.

Photography by Michel Slomka

We settle in quickly to an easy conversation about art, and in particular photography. Recently, Louis Roederer invited young abstract artistic photographers to create images of the champagne house, its cellars and grounds, giving them carte blanche to interpret whatever they wished, however they wanted.

The results, which have never been publicly exhibited, are published on these pages. But Rouzaud, who expresses an enthusiasm for photography and 20th and 21st century art, is doing so much more in the world of art through the Fondation Louis Roederer (a private foundation), and has a plan to develop a collection of luxury boutique hotels. Here is a polymath who is plainly not interested in being pigeonholed. And, of course, the Louis Roederer brand owns several wine estates and makes some of the world’s most celebrated champagnes – not just Cristal, which needs little introduction – including a personal favourite, the complex yet ethereal blanc de blancs.

“I found in champagne perfect elements related to dreams… it appears as a perfect opportunity to explore a fairy direction.” – Marie Benattar

LUX: Tell us more about your hotel projects?
Frédéric Rouzaud: We bought our first hotel last November, in the Alps in France. A hotel seems far away from the wine world, but not so far when you look for a long-term strategy that you need to have for hotels. Like for wine, it’s about the French ‘art de vivre’. It’s about gastronomy, the experience and wine. My idea is to create a small boutique hotel collection, and also by having some private houses open to private consumers who would like to live a very nice experience around wine in our different properties. [Outside of Champagne] we have wine properties in Provence, Portugal, two châteaux in Bordeaux, one in California. The idea is to create a small collection either by buying hotels like we did in the Alps or by creating some hotels within our winery sites, which are generally very nice places to stay.

Read more: Wes Anderson & Juman Malouf curate an exhibition at Fondazione Prada

LUX: Will there be a particular aesthetic?
Frédéric Rouzaud: We will try to make people feel comfortable and at home. We will work with some designers that have this sense of conviviality, [to create] a nice experience. We will adapt to each place – the style, the sense of the place. It will be a five-star hotel that is casual and comfortable, family friendly.

“I worked at night by the light of the moon. I have aspired to build mirage images in order to reveal what can not be mastered by man, the very power of nature. The artificial lights were developed to unmask ghostly presences, unreal scenes, dreamlike horizons.” – Lucie Jean

LUX: There is a very powerful partnership between your Maison and the art world. The photography for the prize that you do is very abstract. Is that something you initiated yourself and how has it grown?
Frédéric Rouzaud: The story started 20 years ago, when we met the president of the Bibliothèque Nationale de France. They have a fantastic collection of more than five million images – old photographs from the beginning of the creation of the photography – but they didn’t know what to do with it because they are more book-orientated. So they asked us if we would be interested in helping them show the fantastic collection to the public. That is how we started our collaboration, and we did a lot of very nice and interesting exhibitions there. We sponsor all of the exhibitions and they are fantastic. It is a very serious, rigorous and interesting collection of photography with plenty of artists.

“Views from above of the symbolic interiors of Roederer were completed with images of starry skies from the vineyards. This face- to-face seemed to us to be a poetic metaphor for what champagne represents, a kind of cosmic union between earth and sky.” – Simon Brodbeck and Lucie de Barbuat.

LUX: What about the young photographers we feature here?
Frédéric Rouzaud: We asked the Bibliothèque Nationale de France to select for us eight or ten young photographers who went to Champagne; there was lots of creativity and they decided to photograph Roederer as their own perception.

LUX: What did you think of what they did?
Frédéric Rouzaud: I think it was great. I think it was so different and their approach was phenomenal.

LUX: You must have a personal passion for photography to give it such support?
Frédéric Rouzaud: I am interested by art and photography – because photography is really a contemporary art form. I think it is approachable for people who sometimes do not understand or find it difficult to approach contemporary art. Photography is always approachable, understandable… and I see a big future, a big potential for photography. It is a very nice, aesthetic art.

“The intervention of man gives a very graphic aspect to the vines. I sought, through the strength of this vegetation and nature,
visual haikus which would plunge us between the lines from what is immediately visible.” – Lucie Jean

LUX: Do you collect photography yourself ?
Frédéric Rouzaud: I have some, I don’t only collect photography – I collect many things. I buy lots of intuition and inspiration (laughs). I am not a collector in the sense that I buy everything, I am more for going into galleries on the weekends/ auction sales to see what is going on – I can buy photography, a chair, a lamp…

Read more: Geoffrey Kent on travelling beyond the beaten track

LUX: Does your foundation have a physical home that people can visit?
Frédéric Rouzaud: No, not yet. The purpose of the foundation is to help institutions and museums like Palais de Tokyo and Le Grand Palais to show to the public their fantastic collections. I think we are much more for that approach rather than to say, ‘Hey, look at my foundation, look at my collection, come and visit it.’ We are a small company, we are more for helping the French big institutions, like Bibliothèque Nationale, trying to choose the artists that really talk to us in a way – that is the first point. The second point is the different prizes that we have created now; we like to discover new talents. That is really the two things helping the institution with known artists – because there are lots of artists who we have sponsored who were known, but we also like to give prizes to new talents.

“For me, photography is a way to discover and observe the world, to embrace its complexity without feeling too much gravity. It is also a way to take time, spend it and even try to stop it.” – Marie Benattar

LUX: Is the private sector becoming more important in supporting art?
Frédéric Rouzaud: Museums don’t always have the means to do these exhibitions for the public so they seem very happy to have that kind of foundation to help. I think it is very important, yes. Even if in France it is less usual to have funds from a private company or foundation like it is in the UK, it is very normal. But I think it is coming and definitely there are never enough funds to help art. If the approach is quiet, organised, long-term and focused on what we like, I think there is no reason that it doesn’t work, because again in our approach we are more behind museums that have the savoir faire, the connection. We prefer to be maybe a little bit behind the scenes.

LUX: Are wine and art similar?
Frédéric Rouzaud: Of course, there is a link. But I always say to my team, ‘Don’t consider yourselves artists. We are not artists. We are artisans, dedicated to nature, trying to interpret each year what nature likes to give us: climate, size of grapes, concentration…’ And we try to make, modestly, with that, a wine that we sell. Artists have total freedom. We don’t. We have to ferment the wine, we have to press the wine, it has to be vigorous. It’s close to the artists’ work – but we don’t have the freedom. The only thing you have to do as an artist is express what you have in your head. So there is a very natural link between the world of wine and the world of art, but we are not artists.

“The need and the desire to create cannot be explained. It’s like a breath, a small voice and sometimes even a cry that animates you and takes you to creation.” – Laura Bonnefous

LUX: Is it true to say the world of wine is more objective than art?
Frédéric Rouzaud: Yes, in the world of wine we have to follow rules, some tools, some gestures. In art, you do what you want – you are much more free. We are free in the way that we are free to search the best soils to plant the vineyards, we are free to search the best way for pruning the vineyards, the way of fine-tuning our grapes, our methods, our pressing process, our fermentation, our storage – we are free for that. But at the end of the day, the focus has to be a bottle of wine that is appreciated by the consumers. An artist, if he makes something and it pleases collectors, it is good. If it doesn’t please them, it is fine also!

Read more: Spring Studios’ Founder Francesco Costa on building a creative network

LUX: With wine, is the product the most important thing? Or the brand?
Frédéric Rouzaud: (Laughs) The brand comes after the product, in our approach. We do small quantities, small production in our own vineyards. We don’t buy grapes, we don’t buy wine, so it is a small production and we produce a small quantity of wine – not enough for the world and we are fine with that, because we don’t know how to do more at that level of quality. For us the brand is more a Maison; it is a family-owned company and we make a product the best way we can and if it becomes a brand, fine! But we are not trying to make a brand and then make the product. We were founded in 1776 and my brothers and sisters have done a great job to make a brand today – called Roederer – but still the team is really not in that approach of branding. We are really behind our product, behind our vineyards.

“A Cristal bottle is transparent; I tried to make the production process transparent by highlighting the talented people working in the vineyard, the cellars, the factory, the office…” – Sandra Reinflet

LUX: Tell us why you chose Val-d’Isère for your first hotel?
Frédéric Rouzaud: Why Val-d’Isère? This resort in terms of value, authenticity, purity of skiing… it really is the resort in France, if you like to ski. I like to ski and I have been to lots of resorts in France. After testing Val-d’Isère you will be disappointed if you go elsewhere – if you like to ski. Plus the fact that it is a historic hotel, one of the first of the resort, and it belonged to a family – the same family who built the hotel.

LUX: How important is China for you?
Frédéric Rouzaud: It is small yet. We are very strong in Hong Kong, but China is quite small at the moment. First, we do not have the volume. Second, the market is very young. Sometimes champagne is considered as goods which should be offered for parties. I don’t know why – champagne as a commodity. In an emerging market like that you have to sponsor a lot if you want to be in some places and we are not in this game, because we do not have the volume. We have such a respect for the wine itself that we don’t like to give it for free. We only do it sometimes, as a special prize.

LUX: We were talking about biodynamics…
Frédéric Rouzaud: We are running the Cristal estate in Champagne, 100% biodynamically, it has been ten years now so we are very happy with it. I am not a technician, but I have tastes; the grapes and maturities, the balance of the grapes concentration, acidity, level of alcohol – and it is working very well.

LUX: What difference does it make to the products when you make it biodynamically?
Frédéric Rouzaud: It is difficult to express but I think it gives it more vibrancy, more life in the wine.

Find out more: louis-roederer.com

This article was originally published in the Autumn 19 Issue

Grande Cuvée Brut, the product of as many as 1,000 tastings

THERE ARE CHAMPAGNES, VINTAGE CHAMPAGNES, PRESTIGE CHAMPAGNES, AND, FOR A NUMBER OF CONNOISSEURS, THEN THERE IS KRUG. OUR COLUMNIST, HIMSELF A LEGEND IN THE WINE TRADE, EXAMINES WHAT IT IS THAT MAKES THIS CHAMPAGNE SO SPECIAL

“Bring anything you like as long as it starts with K and ends with G.” So I was instructed before a dinner at which only the best would do and it was up to me to bring champagne. So why is Krug considered by true connoisseurs to be the best among many fine champagne houses? To help answer this question I was invited to Krug on a cold winter morning. In contrast to the many splendid champagne ‘Maisons’ in Reims, France, the Krug headquarters is an unprepossessing building that does not prepare you for the splendours inside. I was invited to a special tasting by Margareth Henriquez, the president of Krug. We were joined at the tasting by Eric Lebel, the chef de cave.

The wines to be tasted were Krug Grande Cuvée, Krug 1996, Krug Clos du Mesnil 1996, Krug Clos d’Ambonnay 1996 and Krug 1998. The wines were very different yet all had some things in common. First was a core of firm acidity, the backbone of Krug. All had a very fine mousse and were wonderfully fresh. All were richly aromatic with multi-faceted flavours that danced across the palate, suggesting perhaps grilled nuts for a moment, then a touch of honey followed by toasted brioche or dark red fruits. The sensations went on and on. All had an impression of size and volume yet were so elegant that the aromas and flavours seemed to be balanced on the point of the finest needle. Finally, a long finish that lasted minutes rather than seconds. The wines could be enjoyed on two levels; immediate pleasure certainly, but they also repaid contemplation when so much more was revealed. They are not showy wines but really quite cerebral.

The two wines closest in style were the Krug Grande Cuvée and the Krug 1996. The Clos du Mesnil, a 100% Chardonnay champagne, reminded me of a young Montrachet, but the flavours were much finer. Totally harmonious, very complex and like a ballerina poised on tip toe, supremely elegant. The Clos d’Ambonnay 1996, made entirely of Pinot Noir, had the same Krug backbone as the Clos du Mesnil but its taste profile was entirely different. The texture silkily smooth, the bouquet and flavours hinting at dark red fruits, a touch of toasted brioche, dark chocolate and as Eric Lebel suggested “that classic burgundian feature, sous bois”. There is no equivalent word in English: ‘boskiness’ gets about 20% of the way there. The richness and power of the fruit perfectly balanced by the firm acidity which is a feature not only of Krug but also of 1996. The taste went on and on, the long finish was of almost symphonic complexity. Among wine snobs it is common to look upon the Grande Cuvée as a sort of entry level Krug, a mere nonvintage wine. This is a great error.

So how does Krug achieve such outstanding quality? Apart from insisting on only the best for every small decision that has to be made during the whole process there are several key factors that elevate Krug above their competitors.

Of utmost importance is the raw material. As their own vineyards provide just 40% of their needs, the remaining 60% have to be bought in. The source of their grapes is not a few very large vineyards but dozens of tiny plots, some no larger than a large garden. Each terroir being subtly different, this brings great complexity to the final blend. The growers keep the yields low and the contracts with Krug often go back many generations. Several growers told me that it is considered an honour to supply Krug with grapes. It should be noted that Krug buy only grapes, never wine. Every parcel bought is kept separate. Many Champagne houses mix the many lots bought in large tanks. Not so at Krug. Amazingly, the grapes from each plot of land from each grower are fermented separately. There is a severe triage and the wines are fermented in old 205 litre oak casks. Krug is the only great Champagne house that still ferments all its wines in oak. The casks are old because the aim is not to add tannins but to allow a slow interaction between the must and the tiny amount of oxygen that the casks allow through. This method ensures a long, slow evolution of the wine and contributes enormously to its legendary longevity. A further contribution to longevity is that the malolactic fermentation is never induced. In March the growers come and taste their wines at Krug. It is quite possible to find, from one grower for example, that one wine is fine and fruity, one more structured while the third is over-ripe. This last wine will be rejected by Krug and sold elsewhere.

The most difficult task of all is the assemblage, especially for the Grande Cuvée. For a vintage Champagne, those casks whose characteristics best represent the unique character of the year will be set aside. But for the Grande Cuvée where consistency is paramount, Krug can call upon its amazing array of reserve wines which are stored in stainless steel. For the blending, Olivier Krug and a tasting committee of seven spend five months with as many as 1000 tastings, seven wines at each tasting. They will have as many as 7000 tasting notes. These are all reviewed by Lebel who will then suggest certain blending combinations to the committee until that special Krug character, taste and quality is achieved.

Clos du Mesnil

Krug use about 15-20% Pinot Meunier in their blends. Some find this surprising as it is often considered to be an inferior variety. It was explained to me by Eric Lebel and Margareth Henriquez. “The character of Pinot Meunier is the most variable of the three grape varieties. It is not so much Pinot Meunier per se that we seek but a little touch of spice or fruitiness or je ne sais quoi that a certain grower in a certain village can produce,” said Margareth. It is incidental that it happens to be Pinot Meunier. It also acts to enhance and enrich the other two varieties so that the final blend is a more complex, exciting and harmonious wine.

They have a similar attitude to grand and premier cru rated villages. The tasting committee never discusses the benefits of adding say a little more grand cru village wine, preferring to suggest perhaps a little more Chardonnay from a certain grower in say Trépail for its extra elegance and finesse or a little more Pinot Meunier from a grower in Sainte Gemme whose Pinot Meunier has, say, an extra charm, fruitiness or spiciness. In other words, the grapes used depend solely on their quality and character regardless of what the grape variety is or which village it comes from. There is no formula though it almost always ends up with Pinot Noir being the most used followed by Chardonnay and then by Pinot Meunier.

Krug is not afraid of modernity. They use giro pallets for the riddling of the standard sized bottles but for all other sized bottles the riddling is done traditionally by hand. A rosé wine is also produced as is Krug Collection which is a vintage wine. This is exactly the same wine as the standard vintage wine. However it has been stored in Krug’s cellars for at least 20 years prior to being released. This guarantees the provenance and therefore the freshness and condition of the wine. The actual date when Krug Collection is released depends on when the wine attains a new phase in its life story, a sort of second life when new flavours of maturity emerge. One will pay accordingly.

As Olivier Krug told me, “there are no short cuts to quality and at Krug every tiny detail is carefully considered and has only one aim which is to make the best possible Champagne in that totally unique Krug style”.

Howard Ripley founded his eponymous wine merchant while practicing as a dentist in London. He became a global legend among connoisseurs for his deep relationships with some of the most important producers of Burgundy’s wines.. He is now retired.