Why do flowers and champagne go so hand together

Hawthorn, honeysuckle. At aeration, linden, acacia. Then, slowly, a few notes of dried flowers where roses and peonies mingle.

Designed in the greatest secrecy for five years, the Champagne blend was named in homage to the Countess Fleur de Miraval, a real or imaginary figure to whom it is dedicated. Little information has been divulged about this noble lady with an enchanting name. The names Fleur are celebrated on October 5 and synonymous with a fighting woman, go-getter, leader of men, and seductress. Personalities ready for the challenge, but who remain empathetic. For its rebirth by the bubbles, the fairy screenwriters of Hollywood who looked at the cradle of the Fleur de Miraval rosé worked in finesse. Countess Fleur is said to have been born in Provence and would have drunk only rosé wine in homage to her native region. This splendid Provencal estate of Miraval is located on the heights of Correns, in the Var. The couple Brad Pitt Angelina Jolie fell in love with it in 2008. Today, the 1,000-hectare winery has become the bridgehead of the global and phenomenal rosé craze. From its first vintage in 2012, Miraval, developed in association with Marc Perrin, was a dazzling success. Also, prestigiously branded, Fleur de Miraval displays the classic marketing codes: divine color, sophisticated elaboration, glamorous ambassador, planetary launch…

Whether she really existed or is pure legend imagined by the team of the “three P”s (Pitt, Perrin, Peters), Countess Fleur is now recognized. Since Fleur de Miraval is already a must. As in 2020, the ER2 version – E for exclusively and R for rosé – is a very high-end juice that plays on rarity with a limited edition of 20,000 bottles. All lacquered with black to preserve the aromas. A night color sheath reminiscent of the extraordinary black satin dress worn by Virginie Gautreau represented in 1883 by her compatriot, the American artist John Singer Sargent (1856-1925). The painting caused a scandal. As much for the diaphanous flesh of Virginia, a professional beauty born in Louisiana and seeking like the painter to seduce France, as for the largely bare shoulders.

dã ngoại mùa hè trên đồng cỏ. trái cây, rượu sâm banh, hoa và giỏ. - flowers champagne hình ảnh sẵn có, bức ảnh & hình ảnh trả phí bản quyền một lần

Sargent represents Mrs. Gautreau on foot, seen from three quarters, ready to run to one or the other of the worldliness where she spends her time. The society of this early 19th century is not stingy. Sargent’s vibrant palette highlights the altier profile of his model and its exquisite pollenation enhanced by a veil of lavender powder. The audience is shocked by so much slingshot. What does this haughty and free posture mean? What do these bare shoulders mean, an omen of light manners? Criticism is unleashed.

Before being in turn and several times portrayed by John Singer Sargent, Judith Gautier, daughter of Théophile, is carried away on“this blue breast, these serpentine arms, this complexion where the heliotrope is kneaded with the rose, this tapered profile, this purple lip, these half-closed eyes, velvety with shadow …” The scandal is such that Mrs. Gautreau’s mother cries out about the dishonor of her daughter. Sargent renamed his painting, Portrait of Madame X, to preserve the reputation of his compatriot. But until the end of his life, he considered this painting as his masterpiece.

A masterpiece for which he made several sketches. Among them, Mrs. Gautreau toasting. Delightful portrait in the bust, the alabaster skin as languorously naked as in the final version. This time, Ms. Gautreau is not standing ready to go. She sits in profile, elbow and left arm resting on a table in front of her, a flute of champagne at the end of her outstretched right arm. Mrs. Gautreau toasts an invisible guest. Wife? Man? We don’t know. Between them, an armful of roses, peonies, and forget-me-nots. The glass of champagne merges with the flowers in their vase. The night is advanced, the eyelids heavy. The transparent garment, a little messy. Sargent’s art is all in this vaporous and explicit scene of a nocturnal celebration.

hình ảnh một chàng trai trẻ đẹp trai tặng bạn gái một bó hoa khi hẹn hò ngoài trời - flowers champagne hình ảnh sẵn có, bức ảnh & hình ảnh trả phí bản quyền một lần

Fleur de Miraval is just as important. As if the elegance of this Chardonnay, flourishing on the great terroirs of the Côte des Blancs and a bloodletting of Pinot Noir from the village of Vertus, marketed under the banner of a star actor of Hollywood, renewed on the tables of the whole world the image of Paris is a party, by Ernest Hemingway.

When it comes to sparkling wine, words and images accompany exceptional juices. What they evoke, what they say about us, when and where we open a bottle, where the bubbles escape with this unexpected je-ne-sais-quoi that transports us. “And he smelled in his memory, opening his nostrils, the rose-smelling sparkle of an old champagne from 1889 that Léa kept for himself alone…” writes Colette. Through the voice of the semi-socialite and newly married, Fred Peloux says“Chéri”, the writer and fine lover of Pommery, celebrates with a single and magnificent chiseled sentence her love of champagne, flowers, love in short.”

For the young chef Sugio Yamaguchi, a virtuoso of floral cuisine, the taste of Ruinart rosé, around which he worked as part of the Chefs à domicile program, also reminds him of the scent of a rose. A“rose on the verge of falling,” he poetizes.

For Ruinart, the co-founder of the Botanique wanted to highlight the harmony of colors and the true taste of flowers that go with champagne. Flowers that do not reach him” under vacuum in trays”. Precision to which he holds to stand out absolutely from the fad that consists in putting at all costs fleurettes on the plate. The ones he selects are seasonal, come from a real square of nature. And their association with his cuisine must make sense. The lemon notes of the tagete that“work well” with white champagne, the sweetness of the cosmos that retains its colors even when cooked. But what appeared to him most in line with the gourmet declination he imagined around the Ruinart rosé really rests on the rose of the gardens. It doesn’t matter what the variety is, as long as it is“a little too open” and tilts its head a little. Its sun-satiated petals are more intense than the buds just hatched because they are less waterlogged.

Bồi bàn đang rót rượu vang sủi bọt vào ly phụ nữ trong bữa tiệc ngoài trời.  Khái niệm lễ kỷ niệm bức ảnh sẵn có

The“somewhat faded”rose that Sugio Yamaguchi associates with Ruinart rosé are an almost philosophical companionship. “I like the idea of ephemeral. Just like every season when, in Japan, there is always something ending. Thus bubbles in a glass of champagne. At first, they are very numerous, then little by little, like each of us, they evolve, calm down. At the end of the bubbles, the winey aspect takes over. The length in the mouth is more present, more complex.”

Alexandre Schmitt agrees. Perfume creator before specializing in the world of wine and, advisor to prestigious estates, including Château Margaux and Château d’Yquem, through Lafite-Rothschild, but also Roederer, Dom Pérignon, Mumm or Perrier-Jouët, he attests, in some champagnes, this aroma among the thirty listed for the floral universe. The Champagne Wine Aroma List drawn up by the Civic (Comité Interprofessional du Vin de champagne) is very precise on this point. During the three phases of champagne production – youth, maturity, fullness – the rose is clearly associated with the “brilliance of youth” (two/three years) of a Pinot Noir, with its framed structure. The white flowers – honeysuckle, hawthorn, acacia, orange blossom, or jasmine – are more characteristic of the minerality, vivacity, and delicacy of Chardonnay.

rót rượu vang trên piquenique trong công viên thành phố cổ bức ảnh sẵn có

Alexandre Schmitt insists on the differences between“the fresh rose of the early morning and that of the end of the day”. He also recalls that “floral smells are not the easiest to perceive”. In the olfactory world, these are even underneath impressions. From below. “I’ll give you a key,” says Alexandre Schmitt to help us. “Chardonnay and Pinot Noir are the two great grape varieties of champagne. In general, pinot evokes raspberry which, in its molecular construction, is cut into seven or eight floral notes such as rose, lilac, possibly, peony, violet … All aromas destructure. When we visualize raspberry, we must describe it as precisely as we associate with it. There is, of course, a technical approach, and the great technicians that are the cellar managers rationalize the aromas by trying to remain objective. But there is also a more lyrical or ‘syncretic’ perception that appeals to our emotions.”

ly rượu sâm banh được trang trí bằng hoa oải hương - flowers champagne hình ảnh sẵn có, bức ảnh & hình ảnh trả phí bản quyền một lần

What Caroline Latrive, cellar master at Ayala, calls“our personal Proust madeleine”. During a tasting, close your eyes, concentrate. “What is the first flash that comes to you? It necessarily echoes a memory. More or less distant. Preparing a brioche with your grandmother? A walk in an undergrowth, moss, mushrooms? Being champagne, the five senses are stimulated, “explains the talented oenologist by insisting on fermentation in stainless steel tanks to preserve the primary aromas. Those who get as close as possible to the expression of the terroir, the transience of the floral notes, and the freshness of a white of whites honored by Ayala. “The color, the touch of the mouth, the hearing with the festive crackling of the bubbles… It’s subjective, it’s intuitive, it’s the unconscious that speaks. But that’s what makes the charm of a tasting.” What she calls“the best marriage between the wide range of colors and aromas”. Wedding transfigured by words. “To know how to talk about wine is to go even further, always higher, to venture as precisely as possible and as close as possible to oneself. In luxury, if you want to promote champagne, it goes through the language,” says Alexandre Schmitt bluntly. The olfaction seminars he has created nourish this ambition. Put into words “the power of evocation and the sentimental dimension of smells”.

Is it in memory of the happy days spent in the company of his muse, Méry Laurent, that the painter Édouard Manet made roses in 1882 in a champagne glass to offer him? Two widely blooming roses, one yellow, the other red, grouped in the long neck of a flute. Without more décor.

hoa văn làm bằng hoa hồng vàng và một ly rượu vang trên nền màu vàng với văn bản trống rỗng. khái niệm tình yêu sáng tạo - flowers champagne hình ảnh sẵn có, bức ảnh & hình ảnh trả phí bản quyền một lần

Manet could have chosen any container. The painting is full of compositions of carnations, daffodils, tulips arranged with natural in a jug or a glass of water more or less flared. They have a crazy charm.

In the 1930s, André Derain. Its two roses, pink and yellow, are also very blooming. Unlike his predecessor, Édouard Manet, who had intertwined the stems in the narrow neck of a flute that held them together, Derain had to spread his flowers to ensure the balance of the glass on foot to the drink too wide and chimney too short for those long branches that would fail to turn everything upside down.

Signed by the Flemish Jan Brueghel the Younger (1601-1678), a Still Life with flowers in a glass (circa 1625) also plays on sobriety and balance made of nothing. A single white carnation, some wild blue and white hyacinths, a narcissus around which a butterfly flies, foliage. This bouquet of fields was composed in a water glass. It’s simple, delicate. We are far from the plant-mounted piece staged in a terracotta jar, all in -profusion gigantic and protrusions, this bouquet is the first painted by Brueghel the Elder, said of Velvet in 1603. The layout is frontal as often with Nordic painters. Thus, this is Still Life with Flowers (1611) by Clara Peeters. A rare woman painter in the 17th century in Antwerp, she used a small white porcelain jug to enhance a country assortment.

đồ uống mùa hè với rượu vang sủi bọt trắng. cocktail trái cây giải khát tự làm hoặc đấm với rượu sâm banh, dâu tây, đá viên và hương thảo trên nền màu xanh nhạt. - rosemary and champagne hình ảnh sẵn có, bức ảnh & hình ảnh trả phí bản quyền một lần

Narcissus, roses, rosemary, and black iris seem as precious as the drink of extraordinary vermeil that fills with its superb tapered glass like a flute and with a foot covered with gold. In the background of the painting, this bright red glow irresistibly catches the eye. Could it be champagne of bleeding?

One of these wineswhich revive lovers, make them joyful and cheerful,” Sir George Etherege was inflamed in 1776. Let’s not ramble. If the great blond wine of Epernay that “stings the tongue”, “foams and gives spirit” is fashionable among the English dandies of the court of Charles 2 exiled in France under the dictatorship of Cromwell before these young aristocrats all leave for London in 1660 with the sparkling wine, the birth of champagne has not yet taken place. Whether it is rightly or wrongly attributed to the Benedictine monk Dom Pierre Pérignon in 1668, it is not yet attested at the time of Clara Peeters. Especially in Antwerp, where she made a reputation with the notables for touting their prosperity through the riches of their table. Clara Peeters was self-taught, like most female artists of this period. All of them are shadow painters who struggle to have their identity recognized, not to mention their talent.

But from the age of 20, Miss Peeters distinguished herself in the field of “gastronomic” still lifes. His sponsors are opulent, their plate is rich. Clara Peeters sublimates abundance. It enhances the luxury of silver and tin tableware with plays of light and refined staging where each object is meticulously arranged. Cups, vases, dishes, and ewers serve as a showcase and showcase for food. Whether they are loave of bread, pieces of cheese, fragile mounds of coarse salt, game, a clod of butter, artichoke cut in half, dried fruits, or scattered cherries… The eyes no longer know where to turn. From there to imagine one of the happy drinkers of the Dutchman Franz Hals (1580/83-1666) take a seat to raise his elbow. Besides, why not? Frans Hals painted in front of one of the guests in collar and black habit of the Banquet of the officers of the corps of archers of St. George (1616), a flute as colorful as the one on the flowered table of Clara Peeters.

bouquet of white rose

But back to Manet and his charming painting, one of the painter’s most intimate. If we remember Un bar aux Folies-Bergère (1882), Manet had already depicted a simple flute garnished with two roses. If it was only one detail among others in an abundant scene and brightly lit by a gigantic chandelier with grapevines, the impressionist master had still given it importance by positioning it on the marble counter in the same way as the earthenware cup overflowing with mandarins on the right. And, on the left, a series of bottles of crude ready to refresh. Between roses, fruits, cham¬pagne at attention, the equation seems perfectly natural. A little lightness in the hustle and down the crowded hall of the café-concert.

Is it the mustache in frac and slap hat who offered the roses to the waitress who faces us, look lost, her palms firmly laid flat on the marble as if to stay straight in the heart of debauchery? Did she take what she had on hand to prick this gift that embarrasses her more than anything else? The Folies-Bergère is known as a place of prostitution, “the only place in Paris that so deliciously reinks the make-up of paid tenderness and the barks of corruptions that are tired,” described the writer Joris-Karl Huysmans. Surprising framing. The way Manet represented this evening at the Folies-Bergère forces the viewer to make an effort. Understand that the noceurs and noceuses who are scattered before Suzon’s eyes are, in reality, visible in the mirror placed behind his back. To this painter’s subterfuge that makes us confuse reality and its reflection, the charming roses in their flute appear as a recourse in the same way as bottles and their golden collar.

rượu vang hoa hồng trong ly và hoa mẫu đơn trên nền trắng - flowers champagne hình ảnh sẵn có, bức ảnh & hình ảnh trả phí bản quyền một lần

In 2018, R&B singer Ariana Grande was inspired by this visual shift for her music video Breathin. Nearly two centuries apart, the same bacchanals were filmed according to an equally destabilizing framing. But the champagne is uncorked in Ariana Grande’s music video. It sparkles in the cups. The night is in full swing around the modern-day Suzon which, unlike Manet’s model, has omitted to brighten up the indentation of its leather suit with this assortment of orange trumpets and white anemones that love the eye in Suzon’s neckline.

Anemones and champagne. A whole story for the Laurent-Perrier house. The year is 1902. The Belle Époque is in full swing. Paris is shackled in floods of bubbles. In 1810, Pierre-Nicolas Perrier and Rose-Adélaïde Joüet were married. It is Norman, cultivated. He is a botanist and prides himself on very fixed ideas on the elaboration of champagne. They are in love. Enterprising. After joining their destinies, they decided to create a wine business that would bear their two names together: Perrier-Jouët.

Feminist revolution in 1811. Pierre-Nicolas takes care of the vines as a visionary and opts for the Chardonnay of the Côte des Blancs, a grape variety rarely used until then and which will become the signature of the house. Rose-Adelaide receives, organizes dinners, makes the brand known. Their son Charles took over the business in 1848. A botanist like his father, he has a similar respect for nature, even in the park of the family home, where he maintains tropical greenhouses. When Charles died, his nephews, Henri and Octave Gallice, succeeded him. Henri imposes himself and imposes his cuvées. Among the driest champagnes, favorites of the British, the brut of Laurent-Perrier stands out. The house became the official supplier to the Queen and Prince of Wales.

Ly cocktail Martini trong tay bắn tung tóe trên nền khói sẫm màu hoặc cocktail đầy màu sắc trong ly với những giọt nước và ô liu. Câu lạc bộ giải trí tiệc tùng. Ánh sáng hỗn hợp. Lấy nét chọn lọc bức ảnh sẵn có

To the wine work and rhythm of Epernay, Octave prefers horses and the passion of Parisian life. He frequents fashionable artists. And fashion, in the Belle Époque, is in love with flowers and nature. After Victor Horta in Belgium, Art Nouveau made its debut in Paris. The industrial revolution is dethroned by plants. Hector Guimard decorates the metro entrances with arabesques and vines. The straight-line tilts in front of the curve. With their poppy crowns on their long hair that floats like algae, their vaporous dresses in pastel colors, the stretched women of the Czech illustrator Alfons Mucha (1860-1939) are the new muses. Sarah Bernhardt sacrifices to fashion. On the Morris columns, it is displayed, flower among the flowers. André Ruinart perceived in 1896 the interest of collaborating with the poster artist to ask him for an “advertisement”. The success is immediate. On a ruby background, a slender woman celebrates Ruinart Father and Son, a glass of champagne in her hand from which escapes a swarm of bubbles like little stars towards the firmament. His orange hair plummets and curls up like the branches of the vine around his body draped in white. Welcome to dragonfly women who drink sparkling blond wine. Free women who display their tastes, get rid of the guides and false ass imposed by men and party as it sings to them. The “noodle” style blows a breath of fresh air on young girls and on the fine arts. As on the architecture, the furniture, the dishes…

With Art Nouveau, plants take their ease everywhere. The inspiration comes from Japan, from the prints of Hiroshige and Hokusaï, from the representation of a moving universe, between earth and sky. Thus the Ikebana, the art of the Japanese bouquet where the flowers float without hindrance.

In Paris, Octave Gallice met the glassmaker Émile Gallé. They sympathize. Here you are! says the heir Laurent-Perrier, why wouldn’t Gallé create a bottle for the family brand? Gallé is enthusiastic. He draws a load of Japanese anemones aligning the shoulder and barrel of a bottle. A magnificent work that celebrates the notes of white flowers characteristic of the star of Epernay. Weary. The project is too expensive. The enameled pattern requires special heating and at least ten passages of color. A financial abyss. As sublime as they are, Gallé’s proto-types are discarded. Until this day in 1964 when his sketches will be found on four magnums abandoned in the cellar. It’s beautiful!

The bottle is rehabilitated. It becomes the emblem of the Cuvée de Prestige Belle Époque, the house icon. Revisited regularly by contemporary artists, Gallé’s anemones are adorned with a thousand colors, especially for a limited edition of L’Écobox imagined by designer Bethan Laura Wood of the Blanc de Blancs cuvée. Timeless, Gallé’s work is a masterpiece with threefold titles. For the story of Laurent-Perrier, of course. The Belle Époque cuvée symbolizes the constancy of a blend dominated until today by Chardonnay from the grands crus of Cramant, Avize, and Chouilly. Notes of hawthorns and plum blossoms mixed with the smells of fresh fruit from Pinot and the riper smells of Pinot Meunier.

«My creations are bouquets,” says cellar master Hervé Deschamps to Japanese writer Ryoko Sekiguchi. The novelist interviews him by Zoom during the first confinement in view of the publication of Sentir (JBE Books). A delightful book born from their conversations. A perilous exercise since – pandemic obliges – they could not meet at first. After thirty-five years in the house, Hervé Deschamps was about to pass the baton to Séverine Frierson-Gomez, the eighth cellar master and the first woman in the history of Laurent-Périer. So, when he mentions a “bouquet” to a Ryoko Sekiguchi, hungry for sensations like all city dwellers confined to their homes, she thinks she smells the smell of flowers. A“liquid bouquet appeared to me,” she writes. Their conversations by interposed screens“bring out imaginary taste sensations…” Thus, when Hervé Deschamps tells her about a peony aroma that rises from the glass of champagne, she distinguishes“for the first time, the difference between white, pink and scarlet peonies, or between peonies barely hatched and those in full bloom”.

Tay với ly rượu sâm banh đầy hoa tử đinh hương chống lại những bụi cây hoa tử đinh hương nở rộ dưới ánh sáng mặt trời ấm áp.

While she has always“foolishly thought that peonies have a sweet scent”, she discovers their peppery notes. For red wine lovers accustomed to“recognizing the aromas by aerating the glass or turning it“, explains Hervé Deschamps, champagne requires“another approach because all the aromas emerge at the same time with the bubble”. To identify them one by one is“to try to take them in your arms, to walk in this bouquet-garden”, replies Ryoko Sekiguchi. She doesn’t think she’s saying it so well.

At Les Crayères in Reims, Philippe Mille, two-star chef at the restaurant Le Parc and a virtuoso of food and champagne pairings, is thinking about the idea of“sitting in the middle of the garden to enjoy a glass of champagne”. A way to soak up new perfumes directly on the motif as an impressionist painter would do with his easel placed in the middle of a field. For the cook, herbs, flowers, and mushrooms work very well with champagne wines. And he is spoilt for choice among the thousand references listed by the cave book of Crayères, an institution in the field. Great houses or confidential vintages, Philippe Mille sublimates them with his cuisine. “Interesting, the winemaker always tells us that there is a floral side. At first glance, rather sensitive to the nose. But sometimes you feel the sea, the shell.” In the catalog of perennial or annual species, bulb or seed, solitary or massive that Philippe Mille rolls out for us, it is a question of an infinite variety of associations.

The marigold flowers that marry the“golden blondness” of champagne, the“very direct, very iodized” taste of borage with Chardonnay, “the light bitterness of nasturtium” with white whites, verbena flower, chives, basil, and pineapple sage whose red hue harmonizes with champagne of bleeding, chrysanthemum“more powerful in the mouth” to marry with an old vintage, etc.

The list continues with the leaves, which are easier to find in winter. Even if we tend to forget them in the list of ingredients from vegetable gardens and gardens. Thus the salads, arugulas, chew, and this white dandelion provided with a“bitterness that contrasts wonderfully with a very pure, very frank Chardonnay”.

Not to mention the crocus. By definition, “not fragrant”, according to Alexandre Schmitt, who ranks it among the”lyrical olfactory evocations, those that speak to our emotions” in the same way as cherry, plum, or magnolia flowers. None smell, but for some people,” the sentimental dimension crystallizes the smell”.

The crocus, though. The assistant cellar master at Bollinger, Denis Bunner became passionate about this miniature cup-shaped species that flourishes on the mountainside. Is it the fragility of this small bulbous plant that encourages him to find our subject“very romantic”. The first image that comes to mind? Spices. In particular, the saffron which, as everyone knows, is harvested on the long filaments of a bright red protected by the two large purple petals of the… crocus.

«When we organized a tasting panel to compose recipes to associate with the RD 2007 (70% Pinot Noir, 30% Chardonnay) we thought of oriental cuisine. RD (recently disgorged) is extra-brut champagne that has been kept on the lees until the last moment with a minimum of aging of fourteen years, then disgorged at the last moment to offer it to the consumer a few months later. It is a very singular story of a cuvée initiated by Mrs. Bollinger herself in 1952, and who launched it for the first time in 1967. The RD 2007 obeys very special evolution notes induced by aging. When we had this discussion about spices, we were two weeks away from the first lockdown. Obviously, it is then impossible to bring saffron in large quantities from the usual regions of origin, Greece, Morocco, Iran.”

Miraculously, Denis Bunner learns of the existence of a producer of this organic red gold in Corsica, in Gozzano. “We started working together. I became passionate. I learned that the crocus was very fragile, that it needed heat, that there were many different species, that it was grown on terraces, on very small areas such as asparagus. The flowers are harvested very early in the morning when they have just opened and during a very short window of two or three weeks. The meticulous extraction of the stigmas put to dry in the oven, then in glass jars for six months …»

The process, the precision, the flowers, the stirring… Denis Bunner can’t help but draw a parallel between the production of saffron and that of champagne. Youth, maturity, fullness. “Champagne is one of the few consumer products that improve over time. How will it improve? That is the question. Sometimes it reaches a peak and then falls back,” recalls Denis Bunner.

At Bollinger, the process is based on double aging. “After seven to nine years, we launch it for the first time. If we estimate, as for the great vintages, such as 2012 that second aging is possible, we come out fourteen years later. This is the case for the DR.” Young or mature cuvées, for the agricultural engineer and oenparfumeur consultant, Richard Pfister, most Bollinger cuvées have floral notes.

«In facets or discreet touches on evolutionary notes, a broom with a honeyed side, peony with a discreet faded pink side, chamomile with a dried flower side. More assertive in the typical cuvées, Special Cuvée or Rosé, thanks to the high percentage of younger wines”. But it is certain that the aerial side provided by the effervescence and delicacy contribute a lot to the floral symbolism of champagne, insists Denis Brunner. Champagne evokes celebration, so flowers,“it’s part of the clichés,” laughsCaroline Larive.

Pronounced smell or sentimental perception, the fact remains, for the cellar master of Ayala, that the“very ephemeral and almost timid fragrant subtlety” of the vine flower participates in the rapprochement. And if that was the true beauty of champagne wine. This refined inflorescence blooms in clusters and discreetly every June. So fine, so discreet, so moving with their five microscopic petals and five minus¬cules stamens. Barely noticeable on the nose, almost invisible under the leaves, these thousands of white and graceful pinheads do not need the wind or insects to be pollinated. Neither males nor females. Fleeting and autonomous, they manage by themselves to give berries. But they are the ones who presage…

Fleur de Miraval, ER2 Exclusively Rosé (75% Chardonnay, 25% Pinot Noir).

Ruinart, exceptional cuvée Dom Ruinart Rosé 2007,selection of grands crus, 80% Chardonnay (Côtes des Blancs, Avize, Le Mesnil-sur-Oger, Oger, Chouilly), 20% Pinot Noir (Grand Cru d’Aÿ).

Perrier-Jouët, Belle Époque cuvée.

Bollinger, B 13,100% Pinot Noir (92% Grands Crus, 8% Premier Crus)

Ayala Blanc de blancs,2015, 100% Chardonnay (three great vintages and remarkable raw choices of the Côte des Blancs.

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