Last: South African wine industry coming of age despite 1600s' origins
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South Africa and its wines are classified as new world, but considering the history of their industry, which dates to the 17th century, it's the oldest of the new, if that makes sense. Things really began with the arrival of the French Huguenots in the late 1600s, fleeing religious persecution in France, and their arrival ushered in a new tier of winemaking skills. Things progressed swimmingly thanks to newfound knowledge coupled with ideal terroirs, only to have the ugliness of apartheid crush their burgeoning export markets.
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It takes a long time to recover from atrocities; a lesson the world seems doomed to repeat. Apartheid ended in 1994, but it took roughly a decade before their wines began to resurface in export markets. I've visited South Africa and explored its wine regions, and the key regions that include Stellenbosch, Paarl, Franschhoek and Constantia are among the most picturesque on the planet.
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South Africa's claim to fame is Pinotage, a red grape variety created by Abraham Izak Perold, a professor of viticulture at Stellenbosch University. He decided to cross two French varietals, pinot noir and cinsault, although nobody is quite sure why. It's kind of like crossing a dog with a cat – amusing, sure – but the result can be an animal with conflicting ideologies. While some wineries championed it as a local specialty, others felt obligated to grow it in the shadow of Bordeaux varietals, most notably cabernet sauvignon, which can be exceptional.
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I should note there are some very good examples of pinotage, although the better examples tend to be north of $30, but it's worth splurging on one of those. They can grow pretty much anything in South Africa, but for white wines, they have adopted chenin blanc as the wine they hang their hats on. The grape is native to France's Loire Valley, where it makes racy, mineral-driven wines that can age for decades in the right hands. The South African versions tend to be a little rounder and not quite as steely, but that's not a bad thing. The diversity of terroir in South Africa allows them to produce excellent examples of chardonnay, sauvignon blanc, syrah and cabernet sauvignon. If you're looking for a substitute for your favourite Napa Valley cabernet – and many are – South Africa is a good option, particularly the ones from the Stellenbosch region.
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Calgary Herald
a day ago
- Calgary Herald
Last: South African wine industry coming of age despite 1600s' origins
Article content South Africa and its wines are classified as new world, but considering the history of their industry, which dates to the 17th century, it's the oldest of the new, if that makes sense. Things really began with the arrival of the French Huguenots in the late 1600s, fleeing religious persecution in France, and their arrival ushered in a new tier of winemaking skills. Things progressed swimmingly thanks to newfound knowledge coupled with ideal terroirs, only to have the ugliness of apartheid crush their burgeoning export markets. Article content Article content It takes a long time to recover from atrocities; a lesson the world seems doomed to repeat. Apartheid ended in 1994, but it took roughly a decade before their wines began to resurface in export markets. I've visited South Africa and explored its wine regions, and the key regions that include Stellenbosch, Paarl, Franschhoek and Constantia are among the most picturesque on the planet. Article content Article content Article content South Africa's claim to fame is Pinotage, a red grape variety created by Abraham Izak Perold, a professor of viticulture at Stellenbosch University. He decided to cross two French varietals, pinot noir and cinsault, although nobody is quite sure why. It's kind of like crossing a dog with a cat – amusing, sure – but the result can be an animal with conflicting ideologies. While some wineries championed it as a local specialty, others felt obligated to grow it in the shadow of Bordeaux varietals, most notably cabernet sauvignon, which can be exceptional. Article content Article content I should note there are some very good examples of pinotage, although the better examples tend to be north of $30, but it's worth splurging on one of those. They can grow pretty much anything in South Africa, but for white wines, they have adopted chenin blanc as the wine they hang their hats on. The grape is native to France's Loire Valley, where it makes racy, mineral-driven wines that can age for decades in the right hands. The South African versions tend to be a little rounder and not quite as steely, but that's not a bad thing. The diversity of terroir in South Africa allows them to produce excellent examples of chardonnay, sauvignon blanc, syrah and cabernet sauvignon. If you're looking for a substitute for your favourite Napa Valley cabernet – and many are – South Africa is a good option, particularly the ones from the Stellenbosch region.
Winnipeg Free Press
2 days ago
- Winnipeg Free Press
Grandfather rock, symbolic sweat lodge on archdiocese grounds described as important symbols of reconciliation
After smudging and a prayer for the Creator's blessing, a grandfather rock and symbolic sweat lodge were unveiled Friday on the grounds of the Archdiocese of St. Boniface bishop's residence. The 1.5-metre-tall M'shoomis Asin, or grandfather rock, was donated to the archdiocese by a parishioner five years ago. The symbolic sweat lodge was welded by students at Murdoch MacKay Collegiate. Also unveiled at the ceremony was a panel about sweat lodges and grandfather rocks, which Indigenous people believe are sacred because they contain generational knowledge and a spirit. A panel with information about the grandfather rock appears in English, French, Lakota and Ojibwe. A second panel, in English and French, describes the role of sweat lodges in Indigenous tradition and culture. RUTH BONNEVILLE / FREE PRESS The 1.5-metre-tall M'shoomis Asin, or grandfather rock, was donated to the archdiocese by a parishioner five years ago. In his address, St. Boniface Archbishop Albert LeGatt said the grandfather rock and sweat lodge were important additions to the grounds, which also contain statues and panels acknowledging the work of religious orders in the province in nearby Heritage Park. LeGatt said the decision to recognize the importance of the rock was made last year when an elder told him it was, in fact, a sacred grandfather rock. LeGatt reached out to Clayton Sandy, an elder from the Sioux Valley Dakota First Nation, to find a way to acknowledge its significance. They came up with an idea to surround it with a symbolic sweat lodge, since heated rocks are a crucial part of those healing ceremonies. Together, they 'remind us of the richness of Indigenous tradition' and the history of the archdiocese, LeGatt told the 75 or so people gathered for the ceremony. He noted 'there have been moments of darkness in that history,' but by recognizing the grandfather rock and sweat lodges on church grounds the archdiocese is showing its commitment to reconciliation with Indigenous people, and to taking seriously the calls to action directed at churches by the Truth and Reconciliation Commission. In this way, the archdiocese was showing 'the inherent value and worth of Indigenous spiritual values,' LeGatt said. In his remarks, Sandy noted the significance of the two items on church grounds since, for many years, Indigenous spiritual practices and traditional teachings were suppressed by the Roman Catholic Church. The unveiling showed that Roman Catholics and Indigenous people were making progress in the journey of reconciliation, he said, adding 'if we don't come together with open minds, nothing changes.' RUTH BONNEVILLE / FREE PRESS The grandfather rock and symbolic sweat lodge are located in front of the bishop's residence, built in 1864, at the corner of de la Cathedrale and Taché avenues. Tuesdays A weekly look at politics close to home and around the world. Speaking about the students who made the symbolic sweat lodge, Murdoch MacKay Collegiate welding teacher Collin Doyle said they 'really took ownership' of the project, and through it learned about the cultural significance. Vice-principal Jordan Zoppa added that for the students 'it was not just an assignment. They took it as a responsibility… they showed up with curiosity in their hearts.' LeGatt said he hopes the additions to the grounds will indicate to Indigenous people that 'this is a safe place and all are welcome.' For Sandy, whose parents and six siblings are residential school survivors — he was a '60s Scoop child — the event was significant because it was a 'symbol of healing between Indigenous people and the church… we have come a long way.' The grandfather rock and symbolic sweat lodge are located in front of the bishop's residence, built in 1864, at the corner of de la Cathedrale and Taché avenues. faith@ The Free Press is committed to covering faith in Manitoba. If you appreciate that coverage, help us do more! Your contribution of $10, $25 or more will allow us to deepen our reporting about faith in the province. Thanks! BECOME A FAITH JOURNALISM SUPPORTER John LonghurstFaith reporter John Longhurst has been writing for Winnipeg's faith pages since 2003. He also writes for Religion News Service in the U.S., and blogs about the media, marketing and communications at Making the News. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Vancouver Sun
2 days ago
- Vancouver Sun
In Kyoto, the past and present collide for Chanel's latest high jewelry collection
Inside a small workshop in Kyoto, Japan, Hiro Kiyokawa makes what's old and broken new again. The artisan has made it his life's work to embrace — and teach — the Japanese art of kintsugi. Both a tradition and a practice, kintsugi or kintsukuroi, sees broken, chipped or cracked pottery mended with urushi lacquer before being dusted with a fine powder of precious metal such as platinum, silver, and most often, gold. Taking pieces of broken pottery, ceramics and china, Kiyokawa meticulously sands and glues the broken area before applying first a lacquer material, then the fine metal powder. The repairs are carried out in slow, deliberate stages, with the curing done in a wooden, humidity-controlled muro, which looks like a simple, if slightly shabby, cabinet. Discover the best of B.C.'s recipes, restaurants and wine. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of West Coast Table will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Once completed, the broken items are given a new life, returned to both usability and beauty thanks to the unique, gilded scar of the repair. The repair, Kiyokawa notes proudly, can last up to 100 years, with the renewed pieces even rendered suitable for everyday use. Working at his craft for more than 50 years, Kiyokawa has demonstrated and discussed his expertise in international venues spanning the Vatican to Oxford University. He also welcomes students into his Kyoto workshop, with the aim of teaching others the art of kintsugi so that it doesn't die out and disappear. 'It's happening around the world,' Kiyokawa says of at-risk traditional arts and practices. 'If you have an apprentice, it's OK. You can carry on. If you don't have an apprentice, after the master dies, it ends.' Mentions of his work are now included in junior high school textbooks for students across Japan. Kiyokawa's endeavours are just one example of many artisans working to preserve and progress crafts and traditions in the city that was once the capital of Japan. Kyoto is an intersection of both Japanese tradition and innovation. It's perhaps this unique environment that prompted the luxury French brand Chanel to select the city as the site of inspiration and celebration for its latest high jewelry — or haute joaillerie — release. Titled Reach for the Stars , the collection is partitioned into three themes: the comet, the lion, and wings. 'All the symbols that are part of Gabrielle Chanel's universe, we never cease to reinterpret them. And they all encompass the proper spirit of the collection,' says Dorothée Saintville, Chanel Watches and Fine Jewelry International product marketing director. 'They never cease to evolve throughout time.' As is the case with most high jewelry collections, a category of jewelry that's considered the peak of craftsmanship and luxury, the latest creations from Chanel feature standout diamonds and gemstones set in precious metals. What's strikingly unique about the release is the balance of power and playfulness represented in the necklaces (including the first Chanel high jewelry choker), rings, earrings and more. In the Reach for the Stars collection, the recognizable comet, a symbol that dates back to Gabrielle Chanel's early high jewelry collections in the 1930s , plays prominently. 'Here the comet symbolizes the freedom,' Saintville explains of the stars, which have been elongated to 'strengthen the power of its radiance' in the current release. The lion, which has appeared in the company's High Jewellery since 2012, is present in the latest collection in a more 'celestial and airy' interpretation, according to Saintville. Stellar pieces that stretch both imagination and skill — with suspended gemstones, mixed materials and more — prompt an appreciative pause. But it's the presence of the wings, a motif that is new to high jewelry for Chanel, that are the most striking within the release. Supported by an oft-referenced quote by the brand's founder that declares, 'If you were born without wings, do nothing to prevent them from growing,' the wings are said to be a nod to Chanel's years in Hollywood creating gowns that eschewed the structured red-carpet gowns of the time. 'She used to represent her evening dresses and creations with this very unique fabric that gave a wing silhouette to her creations,' Saintville says. A centre piece of the collection, the Wings of Chanel necklace features diamond-encrusted wings, unfolded as if to almost wrap around the neck. The jewelry piece is set with a 19.55-carat pink Padparadscha sapphire that boasts subtle orange hues. A detachable pendant on the necklace can be worn as a bracelet, a nod to the appreciable transformative qualities of many high jewelry designs. 'They look like embroidery,' she says of the winged jewelry pieces in the Reach for the Stars range. 'They are very richly set with different-cut stones to create a very high-end interpretation.' Among the release are five singular brooches, each in the shape of a wing. These unique pieces tie the collection firmly to Kyoto, both in spirit and in craftsmanship, thanks to unique lacquer panels that adorn each piece. The winged brooches were made between Paris and the Japanese city, where the tradition of lacquer art is among its richest. In addition to embodying the connection between, high jewelry, glamour and artisan traditions, the collection is also a bittersweet punctuation of the passing of former Chanel Fine Jewellery Creation Studio leader, Patrice Leguéreau, who dreamed up the Reach for The Stars release, in 2024. Kyoto, it is said, was a personal place of inspiration for him, as much as it was a source for this particular high jewelry release. 'Patrice, that was his idea, to interpret glamour according to Chanel. With this invitation, ready for women to dare, dream and shine,' Saintville says. 'That was his ambition. And I think it's done.' Aharris@
