The Problem with Field Blends

Wines made from field blends are currently all the rage with a small subset of wine lovers. Ian D’Agata analyzes the art and the science of field blends and asks whether there is much logic to them

by Ian D’Agata

In viticulture and the world of wine in general, a ‘field blend’ refers to wines made from a mixture of grapes (and at times, quite the hodgepodge) picked from grapevines all grown in the same vineyard plot. In other words, a field of different vines the grapes of which are picked all at the same time and then fermented together. The reasoning for this (or as some might venture to say, the lack of reasoning) is that centuries ago this is the way grapes grew while mono-variety vineyards are a thing of these big bad modern times and aren’t in touch with nature. Or you know, something to the effect of ‘out with the new, and in with the old’, when everything was so much better.  But is that premise eve true? And are wines made with field blends better than those made by more conventional modern-day plantings? From the corner of the discussion room where I stand, the answer is a very clear ‘no’ on almost all counts of that discussion. In fact, logic alone tells me, and should tell all of us, that the concept behind field blends makes little or any sense. It follows that it would therefore be very strange if the ensuing wines would be any good. But given that some wines deriving from field blends of different grape varieties are instead  quite good, the question arises: are such wines just a case of the exception proving the rule right or are field blends a fashionable gimmick soon to go the way of the dodo?

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Ian D’Agata
Ian D’Agata

Ian D’Agata is an internationally famous, multi-award winning author who has been speaking and writing about wine for thirty years. His latest books (Native Wine Grapes of Italy, Italy’s Native Wine Grape Terroirs, Italy’s Grapes and Wines: The definitive Compendium Region by Region and the most recent, Barolo Terroir) are considered the bibles of Italian wine and have received numerous prestigious awards such as the Louis Roederer International Wine Awards “Book of the Year” title, the Gourmand World Book Awards “Best European Wine Book” and being named to the “Best Wine Books of the Year” lists of newspapers and magazines such as the NY Times, the Financial Times and Food & Wine. For eight years, Ian has also been the co-author of the Italy section in Hugh Johnson’s Pocket Book of Wine, the world’s best- selling wine guide with 46 editions to date and over 12 Million copies sold all over the world; he has since been also put in charge of the Alsace and Malta sections.
He is the is currently the President of Ian D’Agata Wine Culture, one of China’s wine education platforms, that includes the Ian D’Agata Wine Review and the Ian D’Agata Wine Academy. Ian is a former staff writer at Stephen Tanzer’s International Wine Cellar, Contributing Editor of Decanter, and Senior Editor of Vinous. His writings have always focused on the wines of Italy, France, China and Canada, for which he has won numerous international awards and accolades, including the Comitato Grandi Cru d’Italia “Best Youngest Wine Journalist of Italy” and the “Best Wine Journalist of Italy” awards, as well as Canada’s 2018 VQA award (Out of Ontario section) and 2017 Cuvée Award of Excellence.
Intensely devoted to the research and study of native wine grapes, Ian was officially named in 2015 to Italy’s prestigious Accademia della Vite e del Vino (Italy’s official association of wine academicians, researchers, and university professors) and is currently the Vice President of the Association Internationale des Terroirs.

Contacts: Instagram: @ian_dagata

Email: ian.dagata@iandagatawine.com

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Ian’s background in wine teaching and course creation Ian D’Agata has led different wine schools over the years, and has been increasingly asked over the years to set up new ones for different outfits. In the early 2000s, he taught wine courses at the Gambero Rosso’s Citta’ del Gusto, and...

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