Photographer captures Champagne’s greatest

In advance of an upcoming photographic exhibition of the world’s greatest winemakers, db has compiled a preview of the portraits from Champagne.

Didier Depond; Photo credit: Colin Hampden-White

The pictures have all been taken by Colin Hampden-White and form part of the Greatest Winemakers series, following the photographer’s success with a show comprising 20 pictures of Bordeaux’s top vintners in December 2010.

Over the following pages are 11 portraits of the most revered personalities in Champagne, which will feature in April at the Rebecca Hossack gallery in London.

A further 10 pictures of top characters from Burgundy will also be exhibited at the gallery, and have already been previewed by db. Click here to see them.

While Colin ended up with 10 winemakers in Burgundy, he will feature 11 from Champagne, due to the addition of Anselme Selosse.

“I had a core 10 that were obvious, but then his name kept coming up, and considering his maverick nature and different style of winemaking, I decided to include him and do 11 from Champagne,” he explained.

As previously reported by db, Colin, who is a wine enthusiast and close friends with Henry Matson of Farr Vintners, selected the personalites having questionned merchants, wine writers and friends in London.

Click here to see the first portrait and scroll through to view each of the 11 “Greatest Winemakers” from Champagne, complete with comments from Colin on what he is trying to convey with each image.

Hubert de Billy, Pol Roger

Hubert de Billy; Photo credit: Colin Hampden-White

This image captures a bust of Winston Churchill and Hubert, who is the great-great-grandson of Pol Roger, founder of the house in 1849. Colin describes it as a “fairly simple picture”, perhaps because the connection between Winston Churchill and Pol Roger is so clearly made. Indeed, Colin explains that the small bust of Churchill held by Hubert represents Cuvée Sir Winston Churchill, launched by Pol Roger 10 years after the prime minister’s death, not only to commemorate him but also celebrate his very public devotion to Pol Roger. There’s also a “slight political reference” according to Colin, as Hubert is photographed in a white hall, to represent London’s Whitehall. Further, Colin describes Hubert as a “larger-than-life figure”, similar to Churchill.

Anselme Selosse, Domaine Jacques Selosse

Anselme Selosse; Photo credit: Colin Hampden-White

This image creates a markedly different mood to the Pol Roger picture, and here Anselme Selosse is set back from the camera, almost dwarfed by the concrete vats around him. It has been created to suggest that Anselm is “a bit of a loner in terms of Champagne making,” says Colin, referring to his unusual approach to the process, such as biodynamic practices and fermenations in oak. It’s also designed to stress that Anselme is “very much involved in the winemaking process himself”. As for the industrial feel to the image, this was chosen to remind the viewer that Selosse is “less corporate”. Anselme took over the Champagne house from his father, Jacques, in 1980

Didier Depond, Salon

Didier Depond; Photo credit: Colin Hampden-White

Set in Salon’s new tasting room, this striking image sees Salon president Didier Dupont transformed into the stem of a Champagne flute. Colin explains, “I wanted to play with the idea of a Champagne glass, with the halo that’s around his middle like the wide base, and him as the stem, with the ceiling as the glass. “The light above his head looks like Champagne bubbles from the bottom of the glass,” he continues, “and it represents the fine quality and tiny bubbles you get in Salon.”

Dominique Demarville, Veuve Clicquot

Dominique Demarville; Photo credit: Colin Hampden-White

Veuve Clicquot’s chef de cave Dominique Demarville is sitting in a space which is designed to look like Madame Clicquot’s writing room. With a bust of her to his left, and portrait above his head, this picture reflects the history of the brand, which the youthful winemaker is now managing. However, Colin says, “There is a little hint of the modern because the chair Dominique is sitting on has a bright orange cushion cover.” This, of course, is the same shade as the Veuve Clicquot label.

Frédéric Panaiotis, Ruinart

Frédéric Panaiotis; Photo credit: Colin Hampden-White

Frédéric is standing in the newly restored dining room at Ruinart. According to Colin, the image has been put together to represent the monastic origins of Ruinart, which was founded by the nephew of Dom Thierry Ruinart, a Benedictine monk who lived from 1657-1709. This connection to the brand’s monastic past can be seen in the large light above Frédéric’s head, which represents a halo, while the cellarmaster’s hands are clasped, as though he is about to pray.

Richard Geoffroy, Dom Pérignon

Richard Geoffroy; Photo credit: Colin Hampden-White

With another monastic connection, this picture sees Richard Geoffroy, chef de cave at Dom Pérignon, also with his hands clasped as though he is praying. Richard is standing in the church where the French Benedictine monk, Dom Pérignon, is buried. As is well known, Dom Pérignon played a large part in the development of the Champagne winemaking process. Colin says this image is meant to be more focused on Richard than the brand Dom Pérignon.

Michel Fauconnet, Laurent-Perrier

Michel Fauconnet; Photo credit: Colin Hampden-White

Michel is captured in a forested area at the back of the gardens at Laurent-Perrier’s head quarters. Colin says, “It’s quite a dark image with him illuminated among the trees.” Colin chose to photograph Michel outside to stress Laurent-Perrier’s connection with horticulture, particularly the brand’s long-term sponsorship of a garden at the Chelsea Flower Show. Also, Colin adds, “Michel likes horticulture himself.” Michel has worked at Laurent-Perrier since 1973, and been cellar master since 2004.

Olivier Krug, Krug

Olivier Krug; Photo credit: Colin Hampden-White

Olivier is flanked by two little floral emblems on the wall behind, which were, until a recent repackage, also found on the labels of Krug, explains Colin. As for the position of Olivier’s finger, which is poised just inside the rim of the glass, this represents a Krug family tradition. “When a new member of the Krug family is born, the father dips his finger in Krug and wets the child’s lips so the first thing he tastes is Krug,” explains Colin.

Pierre-Emmanuel and Vitalie Taittinger, Taittinger

Pierre Emmanuel & Vitalie Taittinger; Photo credit: Colin Hampden-White

This double-portrait shows Pierre-Emmanuel and his daughter Vitalie on a spiral staircase leading in the multi-layered Taittinger cellars. Colin wanted to capture the pair somewhere other than the vast Taittinger cellars, he says, and chose the stairwell to represent the depth of family history at Taittinger. “It represents the dynastic background to Taittinger, the fact the Champagne has gone through many generations of the same family, and is now being handed on to Vitalie and Clovis [Pierre-Emmanuel’s daughter and son].” Continuing, Colin adds, “I also wanted to suggest that there are many layers of flavour in Comtes de Champagne.”

Frédéric Rouzaud, Roederer

Frédéric Rouzaud; Photo credit: Colin Hampden-White

“This is quite a relaxed image,” says Colin, and it shows Frédéric sitting on the steps leading up to his house. “I didn’t want it to be fussy and pompous,” he continues, “And I didn’t want the house to overtake him, which is why he is pictured outside – the inside is stunning.” As for the orange cellophane, this represents the iconic packaging for Roederer’s flagship cuvée, Cristal. The effect was achieved by wrapping the lens with the plastic. Interestingly, Colin says this highlighted the quality of the packaging. “Normally if you put plastic in front of the lens, it makes the picture hazy, but such is the quality of the cellophane, this didn’t happen.”

Jérôme Philippon, Bollinger

Jerome Philippon; Photo credit: Colin Hampden-White

The managing director of Bollinger is pictured in the house of Lily Bollinger, who promoted the brand internationally for thirty years from 1941. The connection with the red of Bollinger’s packaging is clearly apparent, from the sofa, lampshades, and above all, Jérôme’s tie. Subtler however, are the two bottles on the cushion to Jérôme’s right. Lying on their side, they are intended to represent the double zero of 007, the code name of James Bond, the famous fictional character who favoured Bollinger.