The success of champagne at the beginning of the twentieth century contrasted sharply with the problems of the region that assailed its production and those who worked there . The Belle Epoque was its golden age. It was a period of unbridled pleasure for the wealthy classes and a phenomenon occurred whereby champagne became synonymous with the celebrations that always involved flutes and coupes and which were what Comtesse de Pange called the last balls before the storm.
Champagne had managed to make itself indispensable. Youth rejoiced in it: it was perfect for enlivening spirits that had become dulled by an over abundance of pleasures; in his foreword to Emile Richardin's L'Art du bien manger (The Art of Eating Well) Lucien Tendret gives his advice to hosts, for those who sparkle with youth and gaiety, pour some good quality champagne, some iced Piper-Heidsieck or Roederer Cristal. It was the confidant of the ladies and the appointed companion of those men for whom opening a bottle of champagne was a virtue, provided that it was accomplished with grace (243). Turkish baths and hammam were fashionable and champagne was regularly served to men as part of the post bath relaxation ritual. Armand Lanoux specifies that certain foods and wines are rich and we praise them for their aphrodisiac properties. A scarlet woman, he continues, puts her glove in her flute of champagne. She laughs, "I feel a bit tipsy!" .
Grand society evenings multiplied and bottles of champagne were poured by their hundreds, or even by their thousands at, to list just a few of these Parisian events, Boni de Castellane's parties, who was the cousin of the founder of the champagne house of the same name, Princess Jacques de Broglie's Gem Ball, the Duchess of Gramont's Second Empire Ball, and the Comtesse de Chabrillan and the Comtesse de Clermont-Tonnerre's remarkable Persian parties. The couturier Paul Poiret recounts that one evening he found himself alone at a table with Isadora Duncan, the famous dancer, who would often perform without her flowing robes, and this worshipper of Bacchus had drawn him to her demanding champagne and kisses. The festivities were equally numerous in Dinard, La Baule, Biarritz, and above all on the Côte d'Azur where as an example amongst hundreds, Elisseïef, a joyous boyard (former member of the Russian aristocracy), a son and grandson of the kings of the food trade during the rule of the tsars, and an ogre when it came to festivities, had set up, in the centre of the table, a swan carved out of ice, heaped with a mountain of caviar, and swimming on a lake of champagne.
High society was even more cosmopolitan than in the previous century and for them champagne flowed in the spa towns of Germany, in the hunting lodges of Scotland and Slovakia, in Budapest and in Venice where Gabriel-Louis Pringué, at a dinner at which were present, amongst others Paul Bourget and Henri de Régnier, sat next to the pretty blonde Princess Ruspoli who, he wrote, loved champagne, adding that when she drank it , her witty eloquence became stunning . The tango appeared in France in around 1910 and, despite its South-American origins, was often accompanied by champagne; in a picture advertising Tea-Tangos at the Volney Restaurant, which appeared in the Vie Parisienne of the 20 December 1913, the only glasses visible on the tables are champagne coupes.
Champagne was still very popular at the races, but was also linked with the beginnings of the automobile. Michelin's famous slogan that its tyres drink up obstacles, was given a humorous twist in a drawing in the Assiette au Beurre that appeared on the 9 December 1904, in which the Michelin man arrives at the finish of a race and knocks over the judge's table in a flood of champagne; the caption reads, drinking up champagne.
The Belle Epoque was the kingdom of demi-monde celebrities such as Emilienne d'Alençon, Cléo de Mérode, and Caroline Otéro. They were feted by the grandest aristocracy, by Dukes and by Kings; the twenty-five year old Prince Ghyka, nephew of Queen Nathalie of Serbia, married Liane de Pougy who was forty-one. The life of these doe-eyed belles was inconceivable without champagne! It was now acceptable for ladies of good society to rub elbows with them in fashionable places where good taste and the finest luxuries were to be found. Everyone could thus dine out together and drink champagne in the restaurants that were à la mode.
2002 / A harvest, a grape variety, a terroir, two plots, a legendary cuvée.
It called for extreme precision. The blending of this rare cuvée, fashioned from two plots and a single grape variety, required unparalleled precision and intuition and a balance to which only the greatest cellar masters can aspire. Hervé Deschamps is the 7th Perrier-Jouët Cellar Master in 200 years to possess such expertise, handed down in the purest traditions of the House. A tradition that establishes this profession firmly among the ranks of creative crafts, in which each cuvée is conceived as a unique work of art, based on a subtle blend of intuition, sensitivity and expertise.
The two most refined plots in the Perrier-Jouët vineyard, Bourons Leroy and Bourons du Midi, went into the making of the Belle Epoque Blanc de Blancs 2002. In the heart of the Côte des Blancs, in the Cramant terroir, renowned for the quality of its chardonnays, these two plots benefit from the purity of the Champagne soil, whose chalkiness retains the humidity, allowing the deep roots of the vine to flourish. Their South-South-east location is ideal, half way up the slopes, ensuring that the vines receive maximum exposure to the sun each day.
2002 was a fine year for the maturity of the grapes. A dry year. After a spring characterised by average temperatures, with a little hail, the absence of rain led to an early flowering. The rain-free period lasted until July, and despite the August rains, the soil remained dry. A dry and sunny September encouraged the grapes to mature. The harvest began on 15th September with the chardonnays, in good weather conditions. The potential alcohol content was very high, reaching 13° in certain plots, while acidity levels were at their lowest since 1988. It was a legendary year.
The transparent bottle is graced with nothing other than its iconic anemone, designed by Emile Gallé in 1902, showcasing the incredible luminosity and the remarkable delicateness of the wine within. Produced in very small quantities, the Belle Époque Blanc de Blancs 2002 is the House's most precious cuvée.
"A unique cuvée, Belle Époque Blanc de Blancs reveals the purity and authenticity of the Perrier-Jouët terroir."
Hervé Deschamps, Cellar Master
Dosage: 8g/l - Matured for at least 8 years in the cellars of the House.