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Karri Weston

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Aug 2, 2024, 3:58:35 AM8/2/24

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Whilst on a trip to the U.S, one of the Rothschild family saw that wealthy collectors of their wines had started enlarging the bottles' labels and were displaying them as pieces of art in their houses. This led to the idea to organize, starting in 1981, fully-fledged exhibitions of the wine labels with a permanent exhibition at the Chateau then established in 2013 - thus evolving the platform from packaging-led, to create an experience-led layer to it too.

The popularity of the labels results in auction prices for older and more collectible years being far out of sync with the same vintages produced by other prestigious vineyards, vineyards whose labels do not change from year to year.

Much has changed around the place, but one of the favourite spots that hasn\u2019t in the twenty or so years Matt has been going there is \u2018The Hospiz Alm\u2019 in St. Christoph.

It used to be a barn but was turned into a restaurant when skiing started to become a thing last century. It flexes traditional, affordable, Tirolian food with a wine-list that the waiting staff claim is from the most valuable wine-cellar in Europe.

You can swing by the cellar on the way to the toilets, accessed either via a load of steep stairs in your ski-boots (not ideal) or by taking a slide that\u2019s carved into the structure of the building itself\u2026

In 1924, Baron Philippe de Rothschild, took the radical decision at the time to go D2C. He began bottling his grape harvest on site, rather than sending it in barrels to the local Bordeaux merchants for maturing, bottling and marketing.

To kickstart this idea he asked the young poster designer Jean Carlu to create a unique label that would become the wine\u2019s visual trademark. Carlu responded with a fittingly modern illustration for the times featuring a dynamic, Cubist ram and a quiver of arrows \u2014 part of the Rothschild family\u2019s insignia.

Twenty years later at the end of the Second World War, CMR decided to turn what had been a one-off idea into a tradition, with each new vintage being labelled with a new artwork from a new artist. Since then the likes of Braque, Miro, Picasso, Warhol, Haring & Hockney have all graced the Chateau\u2019s produce.

Considering the gallery is probably the only one in the world to own originals from Picasso to the Prince of Wales, this is an idea which both shapes the culture of the category it\u2019s entering and is reflective of cultural trends.

Now, we can\u2019t claim to be within CMR\u2019s target market (at least until you start paying for this content), but even to the outsider there is a lot to admire about an idea that, in retrospect, turned out to be so ahead of it\u2019s time.

So much work these days that\u2019s trying to penetrate popular culture has only a tenuous link to the product with some talent rented in to gain attention. This is a platform that puts the product and its packaging right at its heart, using it as a media channel in it\u2019s own right.

Flexing its most distinctive asset, the label, in ways that keep the vineyard on the tip of people\u2019s tongues and tethered to their bank accounts year after year to continue their collection.

The original label and those that followed, were some of the earliest examples of artists being commissioned to work with commercial businesses. Long before the emergence of \u201Cdrop culture\u201D and the frequent brand Collaborations from the likes of Supreme, LVMH, Palace and Nike that fill our newsfeeds.

Initially, like any challenger idea, this would have provided the bottles with stand-out. But more significantly, over time, this would enable CMR to broaden their appeal beyond wine-buffs and start to penetrate the art world too. The labels working to attract collectors from the distinct but complimentary sources of \u201Chigh net worth individuals\u201D and build their revenue, reputation and resale values in the process.

This partnership pays for the artists too. Both in terms of their reputation, but also in the receipt of a case of the wine bearing their work as payment.

Wine is a funny old business. Especially at the high end where alongside fine whiskey it is in a class of \u201Cnot so fast moving\u201D consumer goods. The more bottles get drunk from a particularly good vintage, the more valuable the finite supply or remaining becomes.

With this platform, you don\u2019t just have bottles and their consumption raising prices, but also the popularity (and inevitable death) of the artists who you\u2019ve worked with too.

The biggest \u201Cflex\u201D amongst collectors is a feat known as \u201Ccompleting the vintage vertical\u201D: Owning one bottle of every label ever produced. With collectors building special humidified glass cases to present them in all their glory.

The average tenure of a marketing director is less than three years. This idea is about to get 100 candles on its next birthday cake and a letter from the King.

The credibility that comes from scouting and working with the world\u2019s most renowned artists every year, across decades, puts CMR in a company that very few other brands can keep - with a brand-building idea that doesn\u2019t just add to the bottom line, but to the balance sheet as well.

It's got to taste good and signal good taste for those that order it. It's got to make money work harder than it otherwise might for those who choose to own it.

Therefore, any plays you might make with an idea like this need to be carefully considered to not \u201Cover-expose\u201D a product, something that might risk reducing rather than increasing residual value.

So, what would we do with it\u2026

An obvious place to start, but 100 years of collaboration with some of the most creative visionaries on the planet, will no doubt have created some pretty interesting stories, anecdotes and lessons learned that can further build on the legend of the series.

The Chateau have published books, but what other forms might those stories take?

A Netflix documentary to broaden awareness and appeal, could be right, or could potentially over-expose the series. Therefore, what about a gallery tour that takes the magic of the exhibition \u201Cout of Pauillac\u201D in the off-season and takes it on-tour across the cultural and commercial capitals of the markets the chateau wishes to penetrate. A fine wining and dining experience that creates an all-new and novel \u201CNight at the Museum\u201D alongside each \u201Cdrop\u201D of a new vintage.

As much as there is to admire about this idea, it\u2019s clearly lacking diversity. The labels are made by artists who\u2019ve already made it, to attract Ultra-High-Net-Worths who\u2019ve clearly made it too, or inherited it. A potentially bigger legacy could be created by putting a ladder down for the next generation.

By all means continue to commission the masters, but why not pair them with up and coming mavericks who can benefit from the experience and exposure.

The master might produce for the vintage, the maverick for another variety or release.

To create a longer tease and tail for each drop, competitions could be opened up to find the next-generations rising stars and bursaries could be offered to turn their potential into a viable career path.

Inevitably some of those mavericks will go mainstream, thus creating an even bigger legacy for the vineyard in helping to break new talent of tomorrow, not just commissioning the stars of today.

Recent research from Bain suggests that the top 2% of luxury brands buyer bases contribute up to 40% of sales; other passion brands in these circles have long cultivated communities of owners to bond people to the brand and other like-minded people at the same time.

Routes in here could be a members club/evening in Paris, re-vamped in the aesthetic of each vintage that only \u201Cowners\u201D can visit \u2013 with some suitably exclusive experiences and incentives to want to get involved. Could it be spin-offs of \u201Cliving-art\u201D exhibitions like Van Gogh\u2019s where owners get to dive into re-representations of their label?

We\u2019re sure some of this stuff might exist, we\u2019re just not loaded enough to know about it. But we like the fact this sort of thinking transposes the idea from a label and exhibit, to an ongoing experience and lifestyle that only ownership affords you access to.

Sounds pretty tasty right?

An even earlier collaboration with artists saw Pope Sixtus enlist Michaelangelo to help spruce up the ceiling of the Sistine Chapel with a mural that\u2019s stayed up for roughly 13,000 outdoor posting cycles.