Interviewer:

Interviewee: Thank you very much for the questions because usually you dont know whowho... what
youre going to be asked. I was a bit a bit I was happy I was happy to have the questions. So its
great. So, it abled me to answer, to think about what kind of things I wanted to answer to you with no,
as we say in French you know, no wooden tongue, we say, we say that Langue de bois it means that
something Langue de bois is an expression to say that you say something but you dont really think the
thing that you say. You say something to please the person youre talking to and its usually a term
literally, its wooden tongue I mean langue de bois Its what you use in politics when the political
people, when they want to please their electors they say something that will please the electors and
dont say the truth. Not things that So, no langue de bois and No, what I just want to say is is to
interesting to say the PFV because Ive just been at a little PFV event which is but first, no, first of all, I
was very happy that you knew about PFV because it means that our association is really now becoming,
it already is, but its more and more becoming well-known and we are very proud of that. Very happy
about that because weve been working for many many years. I mean my mother joined PFV in 1990s,
92/3, 4, something like that. I dont have the text and and its true that everyone know when you
went to start with them, just to say PFV, what is it that, so, progressively we make the knowledgeable
people know what it is to tell them and to say what, how much we cared about his family long time
and thats why I mean its (2:15 cant hear the name) a member of PFV absolutely and recently I was
a Prowein the famous the Poline Salon Fair (2:24)... the famous fair, the wine fair, theres a wine fair
like Vinexpo in Bordeaux and in Dusseldorf in Germany is also this big wine fair called the Prowein. And
we had a little stand there, probably next year a bigger stand but of course, you know its quite cost full
so we but, um, what is nice is you see some of the members of PFV join their stand to make the PFV to
stand better because each member has his and we are on the one hand, we do things similarly like these
very prestigious wines but we also have other business each on our, you know, our side, so, but what
unites us is the things that we care, not the most but that identifies us the most like this family aspect,
this high-end product of and so you said Mouton Rothschild is a member of .. you have served the
Italys President and yes, I was very happy with that. Its a great experience as its really really really big
and and all the members have winemaking in their blood for generations. Yes, all of you are top quality
producers, yes, its true. How important is family legacy, tradition and bonds to the quality of
winemaking. Well, I mean, the thing is that it is, I mean how important is it? It is very important the
family legacy, tradition, absolutely. The thing is that we are you see the the very big difference with
probably other groups or other winemakers is that I can never Were not investors, you see we are see
things on long-term. Were owners.
Interviewer: Right!
Interviewee: So we but how important is family, tradition and bonds (cant hear) What is (4:21
speaks in French) Bonds, it bonds to the quality of winemaking. Ah yes, because we want, absolutely,
because we want this sort of stability, this long term we are also of course completely linked, attached
to these qualities to these this quality for long-term to put it to because wine is something that is on
the long-term. I mean, so and in fact, what is amusing and what is interesting what you said is that, its
true that the rhythm, our rhythm is much different from other, very very different from other
businesses because it is much more slow.
Interviewer: Right.
Interviewee: Yea, the rhythm of the wine, the rhythm of the terroir, of the soil, of the climate that is
different each year. You have to cope with it. You know, we cant be too, you know, sure of ourselves
because each year it will be different. It will be the mother nature that will and were all in the same
the PFV, thats also one thing that we always stress is that we are all facing the same kind of issues with
this with this every year different. We have to face it. So, um yes, so its true that there is this,
these words of stability, of long-term and this and this guarantee of stability allows to I mean, means
that we want to transmit to the next generation. We have to transfer, to give the thing that weve
inherited in a better shape and a better state than to, when we give it back, when we give it to the next
generation in a way. Its like we inherit, we do lots of work, we try to create things, to, of course we do
mistakes, we do things less well, then other things better but we will change the give it in a diff in a
better state.
Interviewer: Sure. Okay.
Interviewee: And thats very important. And, so we dont think about, first of all, about money. We think
about quality, you see, we think about after money comes in the second or third, I mean its not our
Its not our obsession. Our obsession is to first of all to make what we receive better.
Interviewer: Okay.
Interviewee: Thats very very important. And um and, yes, when you say tradition, innovation goes
with tradition because
Interviewer: Meaning?
Interviewee: Because the quality of winemaking is two things: its tradition, keeping the tradition but
also innovating.
Interviewer: Okay.
Interviewee: And what is amusing is again with the PFV is that it has thats why your question really
very touching, touch me very much is that since 1993, 1993 weve had, and I must say, weve all
changed. Not only Mouton but I mean all the others have changed and even Mouton I can say, even
have changed because lets say Mouton wonderful for you know has been great, is a great great wine
to say but weve improved since 93. Weve done in progress also, weve all progressed in a different
way from the Spanish, the Italian members the the... Portugal members that. Weve all done a lot
of effort to to to yea, further the stuff that we do.
Interviewer: Okay.
Interviewee: So what are your earliest memories of any of the family vineyard and... (8:00 cant hear
clearly) memories of what I remember, what my earliest memories is first of all the people who worked
there
Interviewer: Right.
Interviewee: Especially a figure that is completely, unfortunately, disappeared from all wineries now
which is (8:16 mettre du chef) who was a sort of, I cant describe something very poetic, someone very
poetic and on one hand he had inherited also all the technical tools to make wine but he was a sort of,
how I can say, yes, he had like sort of a secret, a secret to make wine and he was not at all someone who
had done schools or you know, education like scientific. You know, he knew how to make wine from his,
from his very early age because he inherited from his father. And Mouton itself, the mettre du chef that
I knew had his knowledge from his father and the father from the father, so you know it was okay. This
has a bit changed because, what not a bit, quite a nice change now. Because you know, all the
winemakers have done very very high studies, important enological and technical and chemical not
chemical but enology studies so I remember this figure, something I will never forget when I was
Interviewer: How old were you?
Interviewee: When I was eight, when I was between, I dont think you can have memories before five or
six so I would say between, lets say between five and twelve, thirteen, fourteen.
Interviewer: Okay.
Interviewee: Because I had a gap in my in my life was between the age of nine, eight/nine to the age of
twelve because I was sent to a boarding school in England and at that time, you know, today, you know
you have the train, you have the speed train, you have the telephone, you have Internet, at that time,
not so young in fact, at that time, in the 1980s there was none of that so when you went to even
England, it is very close to France, you did not have all this way to communicate, so when I young, it was
quite a, you know, cut from but my mother wants me to at that time, languages were not taught as
well as they are today so you had to go to another country but when I went back to France, I had to
forget my English because I couldnt speak a word of French. I was so, you know, absorbed by English
that I had to go back to my French, you know, because French is my mother tongue. So, I mean, I could
not speak French and not know how to write French. So I had to forget English. So, I think, today you can
do better than do that, be sent in a boarding school. So, um, but otherwise Ive always my memories
have always known to my boys. I always remember, yes, this these hide-and-seek games I did in the
cellars with all the because the cellars are like a lab, a big like maze with all the bottles and its very
dark so I never forget that, these kinds of games. Friends who came, friends, you know, we were small
and so yea... this is the kind of things I remember. I was always, I remember also, very impressed by the,
what seemed a cathedral and it is in a way like a cathedral. Its the cone shaped of Mouton with all the
barrels, the famous cone shape and it seemed just absolutely endless when I was small. So you see, I
have sort of images like this of Mouton that are printed in my memories and of course, the vineyard
itself, you know, the the these long long, where you could also play hide-and-seek and so, yes, yes I
mean I have very strong memories of Mouton.
Interviewer: Okay.
Interviewee: And also at that time there were more animals because it was the dogs I can show you
photo of me with the dogs and there was birds I remember, I mean, there were many things. Its a,
yes, I have a whole souvenir linked with Mouton which are very strong.
Interviewer: Okay.
Interviewee: Mouton is really my place of but mostly, of course holidays. Of course yea.
Interviewer: Some of the memories?
Interviewee: You studied art history and became a consultant, an art director of very a consultant.
Seems like very important. But ah okay, its true, its true. Did you always know? Well, first I started
as not consul in fact, I started as really you know, salary, as a pay-person with a salary because I was
working for an art gallery than I became a.. Gradually, someone who became an independent art dealer.
Did you always know that you will enter the family wine business? No! And that is definitely the answer.
Definitely no. Because nothing is programmed in our family. I mean the structure of our family business
is rather special because there is no, I mean, my mother or my or before my grandfathers never
decided that you know, for instance, my grandfather never said to my mother, you will take over
Mouton or you will be in-charge or my mother never said to my brother or to me or my sister, you will
do that etcetera and there is a very clear, a very simple explanation to that is that our structure is that,
its just made that we are the shareholders, owners but we have very brilliant people like him and
several, few others and him then we have, we hire people that we believe in and that we believe that
will stay and also theres long-term, the longest time possible with us because we want them to be like a
part of the family but we rely on their skill, we rely on their knowledge, we rely on things that we will
not pretend what-so-never to do. We dont pretend to make, make the wine, we dont pretend to sell
the wine, we dont pretend to find, to find (14:35 cant hear clearly). So, we have three directors who do
that, you know, so, in a way the company lives its life alone which is good. Because it means the family
does not interfere too much and thats can be dangerous because, you know, its not because youre
born in a family company that you have the talent, the skill, the ability to run it. So, when youre... so,
its always a risk. So to avoid the dangers of that risk, we have people in which we believe that they, so,
but there is our role is to control and, you know, really be we control very much everyone. (laughs) No,
no. I say, its a inside joke but its true that we really really follow their work.
Third person: Every week and then sometimes every day.
Interviewer: So thats important, so you understand how we work, how we are because we are very
different from other family company and noticingly, PFV. We are in the PFVs like for the Seamingtons in
Portugal. Theyre all in the family business even the cousins; theyre all in fair enough, if it works,
wonderful. I mean Im happy for them but thats not how we do and so no program, so no, I did not
know that I was going to enter the family wine business and in a way, I do continue much less, I do
admit but to deal with the arts trade and with the arts the market of art, the art market. But of course,
Mouton takes more and more time in my life so its true that I moved to other company in general
because you know you have, there again, you have to know that, you have the chateau (cant follow:
16:30) which are properties that the family owns completely. We have, we are owners, I mean, but then
you have this company that we, of course the company we are the major shareholders also but its the
companys. I mean, instructively its different and legally another structure and that that, well, you
know, that (16:57 talks in French) this company deals with all the technical, what I would say from
(17:15) and financial aspect.
Interviewee: Okay.
Third person: Its serves the company right because he rents it, rents the vineyard to the like a farm.
Interviewer: Okay.
Interviewee: Like a farm. Of course, the company is us but its the company, its them. You know its us
but its everyday business its them. So, yes, so, what was I um why did I say that I dont remember.
Interviewer: Its okay, we can move on.
Interviewee: No, no, never mind. Okay, so yes, no, no, I was saying that because its true that we have,
you were saying did you always know that youll enter wine business. So, yes, thats the, thats the
answer.
So, many many members of the extended Rothschild family are involved in banking and winemaking is
there ever a case of friendly family rivalry? No, no, ours is more of a camaraderie, is definitely
camaraderie. Of course, probably in the very past past times we had egos strongest probably because
also, you know, it was not, I mean it was more the founding fathers if I can say, I mean like, the times
were more difficult probably. You had to put yourself probably more forward like my grandfather who
had achieved so much and the feat thats really the past. Exactly! I means its a long time and I know
that lots journalists have always talked about the rivalry to left in Mouton but theres no rivalry. There is
only really very very good friendship, family Weve always
Third person: (19:09 - not clear)
Interviewee: Yes, and thats how it is now and what is important is not the past, its not you know this
kind of thing. Things have changed. Its no more and its all the people that are, if there was rivalry, its
anyway dead now. Sorry, no, but its true. And what is important is the people who are alive and they
get on very well and so... so yea.
Interviewer: Okay. And now youve all come together for Champagne Baron Steve Rothschild?
Interviewee: Yes.
Interviewer: Can you tell me about that? The branches coming together?
Interviewee: Ah yes, yes. Exactly! That is important because this is a proof of that we want to go even
more together is that we have created, we have put ourselves together to associate ourselves to make
this top quality champagne. We insist on that because we really want to make few bottles but in big
quality and not the reverse. Big quantity and low quality. But we want, really, we want to make
premium so we will take time, its not easy but we are stronger because we are the three of us and we
need it to be the three of us to be and also because we are very much terroir-oriented and very much,
so we, and all our philosophy in champagne is really terroir (20:33). We want to build a little house for a
very nice port. There is an old house that were going to refurbish to in the place where we make the
wine in the village of Vertus and there again when I say village, I dont talk about big city like Ranche or
Epennier (20:50), I say the village and thats where we have our roots, where we have put our roots, of
course, they are recent roots, I do admit, but I mean theres always a beginning of something. You know
what I mean? When my grandfather arrived in Mouton in 1920s, it was also a beginning. So I mean,
every time there is a beginning of something. So yes, we are very united on this project and... which is
not a project. Its something real life. It exists now. Were making it live and Ive come to Singapore and I
love this I was gonna say that at yesterday at press, I love this word Singapore because you have the
word sing which really is very important because its music and I love music and pore which is when
you pour, you pour champagne. So its really a lovely name. And and so so, no, no. Its a yes, were
absolutely united on that and then theres a lot of friendship and no rivalry at all. So, wait, Baron Philip
was the first to have the wine chateaux, thats true, in itself in 1920s, that was very important. This
sentence is very important that you put because it was the first time that a loner in the Bordeaux region
said I want... you know, he he gave back to the owner in the 1920s now were told. All this seems
evident today. He gave back to the owner, his first place, his most important place. I mean the negotian
(22:20) people from the Place du Bordeaux were the powerful people, they bought the wine in barrels
and assembled it with their names, you know, on the bottles, clearly marked and then shaped it and
everything. My grandfather was the first one to say, No, stop that! I want my mine in my cellars, in my
bottles with my name and that was really his obsession to start with the Moutons to mark his presence.
And thats why he did the cone shape because, you know, people think cone shape is static and art and
everything. Yes, but, I mean, the base of the the reason of the cone shaped was space. He needed the
space because if youre going to keep the wine to age it, to mature it in your oak oak barrels you need
space. So, you know, he didnt have that so you need to build so thats amusing because people think,
you know, today, you know, they have all these development, very interesting and fantastic to see. It
brings lots of eno-tourism and people going to visit but you have all these development of these building
of of all these cone shaped and touvier(23:28) with aesthetique with aesthetic research. Ourselves,
we have done a touvier, told you about that. Vattre (23:39) will tell you in a few seconds. (23:43
speaks very fast) expanding the company originally and abroad. Be honest. I am honest. Do you ever
worry about making the quality of wine befitting of the? We always worry about the quality of wine
befitting of the family legacy. Yes, absolutely. Yes, yes, yes, absolutely. Yes, of course, we... um our..
um.. as I said, our way of thing is always been between tradition, expectation. Its always to um.. I
cant read myself now.
Third person: In fact, we invest a lot.
Interviewer: Yea, we invest a lot. Oui, Exaclty! Oui, oui, absolutely. No, no, I mean, yes. We always worry
about this family legacy of investing, of not, you know, of not going crazy race to volumes or to money
or to... When we have, like in the recent years, because wine has formed tremendously well. We have, I
must say, Ive had very good results, financial results but we invested it in creative is Vacheul.. which I
really would like you to come to visit. Really, all the three of you in Bordeaux. When you come to visit
Bordeaux, you come not only us because we not sort of, you know, us, there are other chateaux which
are wonderful vat room and shay and cellars and wineries but for us, recently, it has been an enormous,
enormous commitment and and it has, we have taken it not great deal of our time and energy to build
this, to rebuild this vat room. The vat room is very important, you must know that because the vat room
is the first house of the grapes. The grapes are born in the vineyard and then the first the first place
they go is the vat room. So its the first place where they are transformed, into wine. And so you know
and, so its... and so we build, this, yes, absolutely, so wait. What did I say? Yes, something racial yes,
of course were not. When you meet, when you meet complete strangers on your trips and they look at
your name, Rothschild, do they have a certain expectation of you? Do they strike up on conversation?
Well, that is interesting, this question because I was I was telling myself this this morning taking my
shower and said, you know, you come to see me, but I mean, you know, in ten years or fifteen years,
twenty years or thirty years, it will be someone else. I mean the thing that is important is the wine. I
mean Im not saying that Im not important but we have something that are stronger than us. That is
stronger than us is the product itself, and you know, okay, you have, you need to have family, someone
who speaks about the product with, who shows that he is completely in love with the product but the
first thing is the Mouton. Its the myth of Mouton. It has to Its... Its Its the wine itself. So, of course,
yes, they come to see me and they know the thing about Rothschild, okay, of course, we know, its, its
But Im not coming as a Rothschild. I mean Im coming as a Rothschild that is making wine, you know
what I mean, so, its, and... so, its, yes, I say its not me that is important, its Mouton. Ive always heard
my mother say that, okay, its true that from her, who has a very strong personality and you know,
whos very, sort of, someone of, strong, have a strong image. Okay, I believe her but its true that she
has been carrying Mouton, still is Thanks to her personality, thanks to her extraordinary personality on
very very long and beautiful road. So its true that, yea and its still going on. So, Rothschild, yes, but I
mean, again, Im coming here because of wine, you know, and its really the thing and were not in
banking, we have to divide somewhere you can say that. But all, we are very very proud of that. It can
be the branch of the Rothschild that are only, unique only in wine. And wine and art.
Interviewer: Okay.
Interviewee: Its true. Wait. So, you were a member of the committee that oversaw the renovation of
(28:06) Chateau Mouton. Yes, I was very happy that my mother and Clerc Milon ask me about nearly,
what, seven years ago to be part of this committee because this committee is a small committee so I
was very very touched and very you know, sort of, devoted myself very much to this committee because
it was a I was, again, I mean the fact that she asked me to be there. Of course, to start with, I was
rather silent and then after I had ideas, more and more things, you know, fast-forward, I was thinking
and you know, more and more involving myself but, yes, so (28:43 reads the question very quickly)
Yes, but I mean, the developments are, its very clear is that first, we started with Clerc Milon, because,
because we had to do something on Mouton also, sorry, not because, but I mean, we wanted to very
important work on Clerc Milon, we wanted to do very important work on Mouton. Its, the two have, in
fact, synonym, similar, same, have the same motivation is to transform the technical tool to give a
modern technical tool, more modern technical tool to them and so, but not forgetting the artistic
aspect, not forgetting the welcoming aspect that weve always had this tradition of welcoming visitors at
Mouton and now at the Clerc Milon which we couldnt before because the place wasnt ready to for that
so now we can, we can, and thats very important. Its really a family tradition that was really started by
my grandfather early 1920s is the idea of not making publicity, not making advertisement. The
advertisement, the publicity for our wines will be the people coming at the chateaux to taste and to see
the art collection and to see this and that.
Third Person: What are the strategies from the (30:10)?
Interviewee: Yes, from the, right from the beginning. His obsession was to, was to, really have people
come.
Third Person: Bring people?
Interviewee: Bring people and that was very new. Because again, all this is so regular today and so
common, I mean, everyone, every chateaux you know, eno-tourism I a word that didnt exist at the
time of my grandfather. Its now a very so, so yes, and the Clerc Milon, I want to stress that because
its a very contemporary field, occupation about green and being green and being very environmental
friendly and we really did a lot for that for Clerc Milon for Mouton also but even more for Clerc Milon
with photo-volatile panels, the water that is recycled and all the energy aspect, all the.. so yes, and must
come to see Clerc Milon because Clerc Milon has this unique place, chteau Clerc Milon, 5
th
classified
road. That might come aboard in 1970s, it is between la fete and it seems Mouton so its incredible and
it has a magnificent terrace and youre like on the terrace, youre like on the boat and you can see the
sea of vineyards. So its the ocean of wine. So its really beautiful. You must come.
Mouton Rothschild bottles are really iconic for its chosen paintings. The family has an onsite museum so,
oh, Ill talk to you about that. (31:40 reads the question) I can write an essay on that (31:52 cant
understand) I mean I dont answer in a few words but no the thing Id just, little correction I want to say
is that an onsite museum we have two things. We have a museum of wine and art which my grandfather
created in 1960s thanks to a lot of travels and buying works of art to constitute, to build this museum
and again to make people come to Mouton was also this idea of, as I said, and the other thing my
mother has created that was not my grandfather, it was really a very very typical strong creation of my
mother is to have done this exhibition room, eth original works of art of the artist that have worked
Mouton since 1924. So this room exists now, its a year, not even a year old because it went from, it
it it was part of all the work that we did
Interviewer: so the paintings on the bottle?
Interviewee: So the paintings on the bottle are really original paintings that we did.
Interviewer: okay
Interviewee: So the paintings on the bottle, the original paintings that we never buy. We do an exchange
of wine and the work of art. We never buy works of art for the bottles. It is very important to know that
because people think that we never we ask the artist to do something generously for Mouton. We give
them, we give the artist a very nice quantity of wine. So, but, what my mother has done is to create not
a museum but an exhibition room for these artists the works of art.
Interviewer: Right.
Interviewee: So the work, the link between wine and art, I mean is, goes back to Greece and to Rome.
So, its part of the social life to to I mean when you go back to Pompeii, I mean wine is an agent with
the ancient Greek and Romans. It is a you know they gave God to every aspect of life. So, wine being a
very important aspect of life, social life, was, had its god called Bachus in Rome and Dionysus in Greece.
So, you know, as it was the god, it was it had a representation. And as it had a representation, it had
art. Thats why the two are linked like that since the very very beginning. So what my grandfather did is,
is continue something or enhance something that existed from really from a
Interviewer: Okay.
Interviewee: And, also of course, and yes, in a way also that art like wine which is I mean is is is of
course that mean they are linked. You can develop that idea, I mean in art you have inspiration and wine
gives you inspiration. We know that in certain civilizations, alcohol was only for for for a way to
attain god because you know you were in a certain state because of the alcohol and so it made you so I
mean it was a you can develop that.
Interviewer: Okay.
Interviewee: So yeah. I mean... yeah. Wait two seconds:
Interviewer: Sure.
Interviewee: (35:36) Lots of things, Yes Avey told me, (35:40 - name) quite rightly said, remember this
2010, the fantastic vintage we had, on 2010, Jeff Cooz who used, he is quite busy and quite nice to do
things. He used Pompeii, Fresco Pompeii, birth of Venus onto to and then to put a sketch on this
photo of the Fresco Pompeii so, this to illustrate this link, and very well linked between wine and arts. So
yes, people are dote back represented it so you had backen up.. backen up is not something, you
know when you say backen up, you imagine license and people debauch (36:44) and things and people
doing very naughty things and you know, its not that. It was something very serious, very controlled
by the state where there was a period when you went and did these these demonstrations, all these
demonstrations with back leash. But it was very, it had signs, the symbols, it was not something how
can I say, not (37:14)
I am looking for the word yes, traditional feast. Exactly! Not for people to to... yes, exactly.
Third person: Without access.
Interviewee: Yes, yes, without access. A feast but controlled feast with god, with back leash (37:53)
and
Third person: I think its important to say (37:56 cant hear) a lot of things werent available in
represent this link between wine and art as every painter had his own interpretation:
Interviewee: His own interpretation.
Third person: Between wine and art we have a lot of examples from
Interviewee: One of the recent examples which I love is the leaf, the leaf of wine of the vineyard that is
like a hand. Its Joseph Benon (38:27) who did 2005 for instance but there are many.
Interviewer: Lets skip to the next question, from a perspective of an art collector, is wine collecting any
different?
Interviewee: So, right, as an art collector, have you been adding to the family museum, you said that.
Yes, I have been adding to the family museum.
Interviewer: Okay.
Interviewee: The list of things Ive been adding is difficult to say you know, its quite a few items but
yes absolutely. I bring myself or advising my mother to add. So, yes, Ive been adding. So, the answer is
yes.
Interviewer: Okay.
Interviewee: From the perspective of... and especially, yes, I remember something I added that was the
first, one of the very first pieces, very long time ago about 15,16,17 years ago. It was a knife from the
this Indian, very well-known (39:28)
Third person: A sikh.
Interviewee: Mogul, the mogul civilization.
Interviewer: Okay. Sure.
Interviewee: And yes, I found this knife and the handle of the knife was in the form of a wrap.
Interviewer: Okay.
Interviewee: It was not an item linked with wine but otherwise, I did buy, I mean it is not directly linked
with wine but also because I want to enrich this mogul. I think it is very interesting when my grandfather
bought 2,3 items of the mogul civilization. Recently theres a leader that proposed me a very very big
jade cup from this civilization. It is very refined and another thing I bought is, in fact it is satire, a
critique of Napoleons, at that time when eh invaded Europe. So, its a 19
th
century item, 18
th
, 19
century. His brother was in Spain and the Spanish did sort of a but they are making fun of him, of this
person, of Napoleon, putting him on the barrel. Its very funny and it really did certainly serve, you could
have wine, you put wine in it so yes I did buy quite a few but again thats why, is not I wanted to skip
that question but if I was going to do all the objects, it would be too long. And so yes, from a perspective
of an art collector is wine collecting much different?
It is yes and no. Yes, because you do collect and put you know, you collect and you conserve, you have in
your cellars and like you have on your wall all your paintings but the very big difference is that you drink
the wine so it is one day going to disappear and the work of art is not going to disappear unless theres a
fir or is that is the big difference but the two of them have this social link of civilization of you know
collecting wine and collecting art for your friends to show the art or to drink it. But for the art probably,
as it is more intellectual, sometimes your friend will not understand why you bought that or what is the
meaning of that. When you pour them some wine, its an immediate more, I would say, physical link
because you put it in your body and thats what is fascinating fascinates me with wine. It is probably
one of the only sort of well-balanced alcohol product. I am not talking about the strong alcohols like
whisky or gin or vodka but that you can put in your body that has many many many years and sometime
centuries old that is fascinating to be able to, you know and so its aging process is fantastic. So yes, it
is on from the I mean.
Interviewer: Its okay.
Interviewee: Wien is much more ephemeral and it is it doesnt last and the art you collect will last. And
there is this notion that always fascinates me is the rarity with wine. For instance, 1945 Mouton, a
mythical year Mouton, but Ive also been saying the (43:32) 1961 from (43:36) one day they will not be
any more of these wines, of these 10 or 15 mythical bottles because they will be either have been drunk,
either will not be any more drinkable so this notion of rarity is even stronger with wine than in art
because your Picasso painting will stay
Interviewer: Can we please skip the rest of the questions. Just one last question for you. How and why
did Mouton Rothschild get involved in this years world gourmet summit? And are such platforms
useful?
Interviewee: No, it is because the question Id like to tell you. What are your thoughts on wine that are
collected for investment or merrily look at rather than being drunk? The answer will be in two seconds is
that we are not we want our wine to be appreciated by amateur by connoisseur and not by speculator.
So if there is speculation, it is not us, we dont control it. So its true that what we want and my mother
is, its one of her battle was that people dont speculate on Mouton but drink Mouton. Buy it, keep it
and drink it.
Interviewer: Fantastic.
Interviewee: So then tell us a bit about Mouton Rothschild in 1971. Its Kandinsky, the artist, wonderful
abstract master, master of the abstract art by birth indeed and Ive always enjoyed it and it is true. No of
course, one day it will be, like all vintages, less talked about because you know with time. But its still a
very very pleasant vintage and I enjoy it very much so yeas 1971. Long live 1971. So what else and then?
What are some of the oldest and rarest vintages that are still in Mouton? 1859 is the oldest and you
must know that we have archives in which we keep 12 bottles each year as a souvenir of the vintage.
Interviewer: Okay.
Interviewee: So that we have a memory of each year. You are in the times of world tourism, are you a
foodie yourself? Yes, I love food and what is wonderful chance is that I have no restriction. I enjoy
everything. I dont see anything that I cant eat and I am passionate by every food and each civilization.
No, the only thing that I never tasted and am very anxious about that let me tell you because I see TV
report on this is that all the insects that they fry and things like that. I have never ate that and I am very
scared of that and one day I will do it. But I mean, I have to just really prepare myself for that so its a bit
anxious. I see people eating that at the table, very nice. Yucckkkk! For me no, its terrible. I want to do
it one day but I dont know if I will succeed.
And so, how and why did Mouton Rothschild get involved in this year (47:01), are such platforms useful
for reaching wine lovers and new enthusiasts? Well, I mean the thing is that, we have a relationship with
Peter Knipp, with my mothers known him for a very long time and what is very nice is that he wanted to
do something with champagne and he knows our champagne so at the base there is champagne that is
going to be served at every event of the world gourmet summit. And we have, what is wonderful for us
is the energy between him, Peter Knipp and here, our agent, our importer who is very very important.
(Innoteka?? 47:52) youve heard? Innoteka imports the champagne de (48:00) but also, so thats for the
free branches of the family but also for our branch of the family, our chateaux wines, Mouton Rothschild
and our branded wines like Mouton Cade au in Chile (48:12) wines. So yes, and we have, I think whats
comment ce sappele Takashiyama?
Interviewer: Yes, Ive been there.
Interviewee: Youve been there?
Interviewer: I love the bottles.
Interviewee: Yes, I must go there. I have not many time unfortunately.
Third person: Tomorrow.
Interviewee: Tomorrow. Yeah, we go tomorrow. Okay. I want to go. So, yes, how and why did mouton
Rothschild Yes, of course, its useful. Very useful. Everything of this level, of high level that we can do
for Mouton and wines in general are always very very useful. And its always very good to have this
communion of love of art not only you see. I am coming from Mouton but I dont like to go Mouton
Mouton. There are other very very great wines so its in a way telling people dont forget this histoire,
this quality wine, this wines that are owned by the families that you know are obsessed by quality, by
(49:26) and to make no I have crossed 11,000 kilometers from the place we make the wine and it will
never be another place. Today everyone can do everything everywhere with internet with all these
modern technology. Us, we will always be in one place. Bordeaux lets to make it, the Bordeaux and if its
not Bordeaux it will be Chile but you cant put Chile in another country. You cant put Bordeaux its
really local and coming to the people who are away from us and to give our to shake hands, you know,
you understand, to communicate (in French 50:19) so not only, of course the champagne but also of
course the (50:26)
Interviewer: Thank you very very very much.