On a sun-drenched summer day, I embarked on a journey to the heart of Margaux, eager to explore Château Siran and indulge in a Bacchus-inspired experience that promised to be nothing short of divine. The heat of the day was intense, but it only heightened my anticipation as I arrived at this historic estate, where centuries of winemaking tradition and passion for art converge in an unforgettable celebration of the senses.
Château Siran boasts a storied history that dates back to the 15th century. The origins of the estate can be traced to 1428, when Guilhem de Siran pledged feudal loyalty to the Abbot of Sainte-Croix of Bordeaux in the church of Macau. By 1650, Siran (Ciran) is mentioned in the inventory of the property of Marie Poncastel, wife of Jean Lussignet (Lucinet) who is believed to have established the estate formally. Their daughter, Flore Lussignet, continued the family legacy by marrying John II du Boscq in 1662, with their descendants, William and François Augustin du Boscq, inheriting the estate and overseeing its growth.
The 18th century brought significant changes to Château Siran. In 1751, François-Augustin du Boscq married Jeanne Félicité Chaperon, who bravely managed the estate during the tumultuous years of the French Revolution, while her husband and sons were forced to emigrate. The property’s history intertwined with Bordeaux's illustrious wine trade when Elie Miailhe was appointed a wine broker under a royal concession in 1783. The estate further solidified its noble connections when, in 1789, Marie Duboscq, Siran's heiress, married Jean-Charles, Count of La Roque-Bouillac, who adorned the estate with his family’s coat of arms on the west side of the chartreuse. Their daughter, Jeanne Adele de La Roque-Bouillac, later married the Count of Toulouse-Lautrec. The Count then added his coat of arms on the east facade of the chartreuse.
A new chapter began in 1859 when Léo Barbier purchased Château Siran for 100,000 francs from Jeanne Adele de Toulouse-Lautrec, whose great-grandson would become the famed painter Henri de Toulouse-Lautrec. He passed on the leadership of Siran to his sons-in-law, Paul and Alexandre Sollberg. In 1885, Frederic Miailhe, the son of Lovely Sollberg, and Marcel Mortier were asked to run Siran on behalf of their aunts Mrs. Paul and Mrs. Alexandre Sollberg. The Barbier family managed the estate until 1915 when Frederic Miailhe acquired full ownership by buying the shares of his two aunts, Mrs. Paul and Mrs. Alexandre Sollberg and became the sole owner of Siran.
The 20th century saw the estate flourish under the Miailhe family's leadership. Edouard F. Miailhe took over in 1941, guiding the estate through the post-war period. In 1953, he brought on Emile Peynaud, a pioneer of modern oenology, as Château Siran’s first consulting oenologist, marking a new era in winemaking excellence. From 1978 to 1988, William-Alain Miailhe managed the estate. He equipped the estate with modern winemaking tools. Brigitte Miailhe, his wife, succeeded him from 1988 to 2007. Both of them were passionate about art; they initiated a series of labels designed by renowned artists, enchanting Château Siran wine lovers for over 20 years. The estate achieved Cru Bourgeois Exceptionnel status in 2003, though the classification was later annulled in 2007, leading Siran to renounce this status permanently.
The Miailhe family's legacy continues to thrive, with the son of William-Alain and Brigitte, Édouard Miailhe, representing the sixth generation, taking the helm in 2007. He has undertaken very important investments to restructure and modernize the vineyard, the vat room, the arrival of the harvest, the ageing cellar, the tasting rooms, the shop and the cellar. In 2019, the family celebrated 160 years of stewardship at Château Siran, a testament to their enduring dedication to preserving the estate's rich history and producing exceptional wines.
My guided tour began with an intriguing visit to the Chai des Collections ‒ the collections cellar. The cellar houses around 300 carefully curated objects, is a tribute to the Miailhe family's passion for art and wine. This captivating exhibit weaves together different artefacts centred on the theme of wine, presented both individually and in groups, creating a seamless narrative with the winery itself. As with any great wine, this collection invites visitors to journey through time, from the 3rd century B.C. to the 19th century, revealing the rich history and deep passion for the art of wine and its tasting.
I was utterly shocked, surprised, and delighted to discover few amphorae, particularly a Greco-Italic amphora from Italy, dating back to the 3rd century BC. This remarkable artefact, with its pointed bottom, was ingeniously designed to allow for easy dragging and efficient storage in ancient ships. The amphorae could be tightly packed in the cargo hold, with their points nestled between the necks of others, minimising empty space and preventing the cargo from shifting during rough seas. The long dual handles served a practical purpose, allowing stevedores to pass the amphorae hand-to-hand when loading ships and providing secure lashing points when the vessels were stowed or lifted aboard with ropes. These handles also kept the amphorae stable, preventing them from rolling when lying on their sides, showcasing the thoughtful and functional design of this ancient wine vessel.
Among the exhibits in the collections cellar, there is a huge display of numerous tastevins, each crafted from silver. A tastevin, a term derived from Burgundian, refers to a small, shallow, circular tasting cup with a diameter of 8 to 10 cm, designed specifically for evaluating wine. This ancient tool, dating back to the 17th century, plays a crucial role in monitoring a wine's development throughout its ageing process. Winemakers would use a barrel thief to extract a small amount of wine from the barrel, pouring it into the tastevin to assess its colour and clarity. The classic design of tastevins, often made of pewter or silver, includes features like tiny hollows (cupulettes), reliefs (striation), and a convex bottom to enhance light reflection, making it easier to observe the wine's transparency. The wide surface area of the tastevin also facilitates aeration, ensuring the wine is tasted under optimal conditions.
In addition to the tastevins, the collection features a selection of elegant wine pitchers and bottles crafted from pewter, dating back to the 18th century. These historical pieces not only reflect the craftsmanship of the era but also offer insight into the wine-serving practices of the time. The pewter pitchers and bottles were both functional and decorative, serving as essential vessels for storing and serving wine.
Apart from these, I was equally captivated by a stunning tapestry that vividly depicts a grape harvest scene from the Burgundy region. Crafted with exquisite silk and wool in Brussels at the beginning of the 18th century, this tapestry offers a fascinating historical glimpse into the winemaking tradition. The tapestry’s scene, featuring a hilly landscape characteristic of Burgundy rather than Bordeaux, and a man holding a tastevin ‒ an emblematic wine-tasting tool from Burgundy ‒ further accentuates its regional origin and rich heritage.
Besides, I also encountered a variety of earthenware pots known as Jacquot, dating back to the 18th and 19th centuries. These Jacquot pots, or Hominoid pitchers, first appeared in Delft in the mid-18th century. They were designed with a charming, good-natured character seated astride a cask, cleverly encouraging patrons in inns to order beer and wine. By the late 18th century, these whimsical pitchers had spread to northern and eastern France, becoming popular in the earthenware factories of Lunéville, Saint-Clément, Les Islettes, Sarreguemines, Nevers, Brussels, and Nègrepelisse.
One Jacquot in particular caught my eye ‒ an intriguing depiction of Napoléon Bonaparte perched atop a cask. The pitcher portrays the emperor with his legs dangling far off the ground, adding a playful and somewhat exaggerated element to his iconic image. This unique piece not only showcases the craftsmanship and humour of the time but also offers a fascinating glimpse into how even historical figures like Napoléon were woven into everyday objects, bringing a touch of character and storytelling to the tradition of wine and beer serving.
Among the various Jacquot pitchers, there were also several Bacchus-inspired designs. Bacchus, the Roman god of the vine, drunkenness, and sexual, was often depicted in these quirky pitchers. The Romans adopted Bacchus, associating him with their old Italian god Liber Pater, while his Greek counterpart was known as Dionysus.
I was also captivated by a collection of dessert plates, each a fine example of earthenware produced by Vieillard and Co., a renowned factory in Bordeaux-Bacalan that operated from 1845 to 1894. These plates belong to the "plates with stories" series, popular in the second half of the 19th century. In French dining culture, dessert plates hold significant importance. Practically, they are typically smaller than dinner plates, designed specifically for serving the final sweet course, reflecting the cultural emphasis on dessert as the highlight of the meal. Symbolically, the dessert plate represents the culmination of the dining experience, where the sweet conclusion is savoured with care and indulgence. Culturally, the use of a dedicated dessert plate underscores the importance of each course in French cuisine, marking not just the end of a meal but the celebration of the art of dining. The subjects depicted on these plates were often humorous, though some conveyed sentimental or informative themes. The central illustrations, printed in shades of grey on a white background, were the work of painters typically associated with humorous magazines of the era. Interestingly, the artists' names were never mentioned on the plates; only the manufacturer's stamp appeared on the back, making these plates both a charming and curious reflection of the time.
After exploring the collections cellar, I proceeded to the portrait room, a space dedicated to showcasing the illustrative labels from Château Siran’s vintages between 1980 and 2005. This room is a testament to the artistic passion of William-Alain and Brigitte Miailhe, who commissioned a series of labels designed by renowned artists, delighting Siran lovers for over 20 years. Each label reflects a significant event from the year it was produced, with some artists even having personal connections to the theme.
About twenty of these captivating drawings are now displayed in the portrait room. The very first illustrated label, created for the 1980 vintage, was designed by a Polish artist to pay tribute to Poland and the creation of Solidarność ‒ the iconic trade union led by Lech Wałęsa. The 1984 label holds special significance for the family, as it honours Lovely Sollberg. In 1986, the label celebrated the reappearance of Halley’s Comet, while the 1989 label marked the fall of the Berlin Wall. The 1992 label commemorated the 500th anniversary of Christopher Columbus' arrival in America, and the 1993 label was dedicated to the formation of the European Union. Notably, the 1998 label celebrated France’s victory in the FIFA World Cup. Each of these labels is not just a reflection of history but also a piece of art, bringing together the worlds of wine, culture, and significant global events in a unique and memorable way.
After a hiatus of several years, the cherished tradition of creating unique labels for each vintage at Château Siran was revived with the 2020 vintage, marking a return to the estate’s artistic roots. This resurgence was inspired by Édouard Miailhe, son of William-Alain and Brigitte Miailhe, who, alongside his wife Sévrine, discovered the lockdown diary of Franco-Chilean artist Federica Matta in the spring of 2020. Moved by the artist’s work and the unprecedented global challenge of the COVID-19 pandemic, the couple decided to reinstate the family tradition, choosing resilience as the theme for the 2020 vintage. Federica Matta was invited to Margaux, where she immersed herself in the beauty and serenity of the Siran vineyards. “In the undulating vines of Château Siran, we are at the very heart of the Moon’s encounter with the Sun, in the poetry of wine, here and now,” she enthused. Deeply inspired, she crafted a vibrant Dionysian and anti-Covid allegory of wine, celebrating it as an antidote to the isolation of the pandemic. Her powerful, symbolic illustration, bursting with bright colours, not only highlights the olfactory qualities of Siran’s red wines but also embodies the joy of living and the happiness of sharing. Enthusiastic about this renewed tradition, Édouard Miailhe declared, “We shall continue this tradition every year,” ensuring that the spirit of creativity and resilience will remain a hallmark of Château Siran.
In the portrait room, a striking mannequin is elegantly dressed in the traditional robe of the centuries-old brotherhood ‒ the Commanderie du Bontemps. Château Siran is a proud member of this prestigious brotherhood. This brotherhood unites the Commanderie du Bontemps de Médoc et des Graves with the Commanderie du Bontemps de Sauternes et Barsac. This esteemed brotherhood represents winegrowers along the entire left bank of the Garonne River and the Gironde Estuary, with a mission to enhance the reputation of Médoc, Graves, Sauternes, and Barsac wines, and by extension, all Bordeaux wines. The brotherhood not only celebrates the excellence of wine but also upholds the values of friendship, cheerfulness, and loyalty to the terroir.
The robe on display features a striking ornamental clasp, the emblem of the brotherhood, symbolising the brotherhood with its initials encircling a bontemps bowl. This clasp, worn on all the Commandeurs’ robes, is also presented to Commandeurs d’Honneur during the investiture ceremony. The bontemps bowl, also known as the desquet bowl, was named after Jean-Odule Paulin d’Esquet, the ninth-century inventor of this special wooden bowl. This bowl was used by cellar master to beat egg whites for fining wine. The robe is adorned with a small velvet cap ‒ claret-coloured for the member châteaux producing red wines of the Médoc and Graves, and golden-yellow for those crafting the sweet wines of Sauternes and Barsac. The attire is completed with an épitoge worn over the shoulder ‒ green for those producing red wines of the Médoc and Graves, and yellow for those crafting the sweet wines of Sauternes and Barsac. This display not only showcases the heritage of Château Siran but also highlights its deep-rooted connections to Bordeaux’s storied winemaking traditions.
I continued my tour with a visit to the vat room, where Château Siran's winemaking tradition comes to life. All vinification at Château Siran is conducted in modern stainless steel vats, with the larger vats holding 180 hL and the smaller ones 60 hL, ensuring precision and quality in every batch. The room also houses both historic concrete vats and large wooden foudres. The foudres, which date back to the late 19th century, were used for vinification until their last vintage in 1982.
Next, I visited the barrel room. The room houses around 500 barrels; each of them are used for a maximum of three vintages before being sold to whisky or cognac producers. The ageing process involves French oak barrels, fine grain, and medium toast, with one-third of them being new. Wines are aged for 12 months in these barrels, and the selection of barrels is carefully managed to preserve the aromatic potential and organoleptic qualities of the wine. Furthermore, the estate collaborates with six coopers, tasting each barrel once a year to assess its suitability based on grain, toast and drill. This ensures that each barrel contributes positively to the wine's identity and enhances the final blend. Throughout the ageing period, the team performs regular topping and sulfur adjustments as needed, though always sparingly, maintaining SO2 levels within organic wine standards. Racking clarifies the wine, and after 12 months, the final blending is carried out, followed by fining with albumin and filtering before bottling. This meticulous process ensures that every bottle of Château Siran reflects the highest standards of quality and craftsmanship.
Lastly, I explored the bunker, a remarkable facility designed to be anti-atomic and nuclear radiation-proof. This fortified space houses Château Siran’s esteemed collection of old vintages, with the oldest bottle dating back to 1912. The bunker serves as an old vintage cellar, preserving these historical wines under optimal conditions. Notably, glass bottles of several vintages in the collection display a range of punt sizes, reflecting the handcrafted techniques employed prior to 1939. Conveniently, this bunker’s design is particularly relevant given the proximity of the Blayais Nuclear Power Plant, situated on the banks of the Gironde estuary near Blaye, ensuring that the estate's valuable wines are protected against any potential risks.
The tour concluded with a delightful tasting session featuring three distinct wines, namely the Bel-Air de Siran 2019 vintage, the second label S de Siran 2019 vintage and the grand vin Château Siran 2017 vintage. I began with the Bel-Air de Siran 2019 vintage, a 100% Merlot wine with high acidity and showcased slightly grippy tannins and a lighter body. Next was the S de Siran 2019 vintage, which offered a spicier profile due to the inclusion of Petit Verdot in the blend. This wine presented aromas of plum and red cherry, medium body, and more grippy tannins, with a richer concentration. Finally, I tasted the grand vin Château Siran 2017 vintage, which revealed notes of dried fruit and jammy character on the nose. Unfortunately, this vintage seemed to have aged too rapidly, affecting its overall balance.
At the conclusion of the tasting session, I had the honour of meeting Édouard Miailhe, the owner of Château Siran. It was a moment of personal significance, as I had the opportunity to have him sign my bottle of the 2020 vintage. This particular year held special meaning for me, and having the owner of such a prestigious estate sign the bottle made the experience all the more memorable. I was thrilled and deeply excited to receive this personal touch from the estate’s esteemed proprietor, adding a unique and cherished memento to my visit.
As the Bacchus-inspired tour drew to a close, I left Château Siran with a deep appreciation for its rich history and dedication to the art of winemaking. The journey through the collections cellar was a particular highlight, where I marvelled at the array of fascinating wine-related artefacts and artworks that illustrated the estate’s storied past. From the intriguing Jacquot pitchers to the elegant dessert plates, each piece offered a unique glimpse into the tradition and craftsmanship that define Château Siran. Coupled the tasting of their wines, the experience was a testament to the estate’s enduring passion for both wine and heritage. This immersive, Bacchus-inspired tour not only celebrated the legacy of Château Siran but also enriched my understanding of its exceptional contribution to the world of wine.
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