I’ve concluded that 4 Rue de Crayeres is not accessible by car according to Google Maps. This is the second weekend we had attempted to drive by, the previous week having made the pass en route to Paris when the same perplexing notification appeared. 

With some approximation, we were able to find parking nearby and took to traversing by foot to the Maison Ruinart estate bypassing the road closures seemingly caused by halted road construction.

It was a Sunday. Surprisingly, there were not too many tourists, and the weather was perfect. Clear skies and nice temperatures made for a good golden tan.

When I had first thought of visiting Ruinart, somehow, I automatically conjured images of swarms of tourists and long queues to even enter the premises. 

Ruinart after all has the distinction of holding the title of being the oldest Champagne house. It is the first Champagne House. Ruinart traces its roots to its inception on 1 September 1729 in Reims by Nicolas Ruinart who would create the world’s first ever Champagne-producing company. Today, it is owned by luxury group LVMH. It finds itself part of the handsome stable of 29 select Maisons anointed and owned by LVMH and sits as some of the top-selling Champagnes in the world, although in terms of production volume it is a far cry from the more famous Maisons owned by LVMH, such as its crown jewel, Moet & Chandon. It is estimated that Ruinart only produces between 1.7 to 2.5 million bottles annually but the actual figure remains a mystery. “Only” is an appropriate qualifier in these circumstances when considering that its fellow Grand Marques Veuve Cliquot and Moet & Chandon produces annually between 18-19 million bottles and 28-30 million bottles respectively.

I thought it important also to highlight that this was yet another Maison that owes its fame to a monk. This is perhaps a lesser known fact since Dom Perignon probably hogs the title of most famous French Benedictine monk associated with Champagne. If ever there was a patron saint of Champagne it probably would be him. 

Nevertheless Ruinart’s visionary was former monk Dom Thierry Ruinart, also a member of the Benedictine sect. Apparently, it was him who wrote the founding act of the House and who had predicted the enormous success of the bubbly. His nephew, Nicolas, was so inspired by him that he launched Maison Ruinart, having quit his original job as a draper to focus squarely on Champagne production. 

Another “first” for Ruinart is its claim to debuting the inaugural Champagne Rosé in 1764. Uncovered documents from 14 March 1764 had proved that the Maison had indeed recorded a shipment of a “basket of 120 bottles, 60 bottles of which were Oeil de Perdrix”; “Oeil de Perdrix” referring to a pink coppery colour which Ruinart lays claim to being essentially what is known as Pink Champagne. At that time, the rose colour was however likely achieved by adding colouring from the juice of elderberries, as opposed to blending of white and red wines which is of course the method used by the Maison today. 

My personal experiences with Ruinart nonetheless really only came to the forefront of my consciousness in more recent years, more specifically from the Covid era. It was only then that I had started seeing more visual merchandising from Ruinart at local wine shops. As a matter of having once seen and now impossible to unsee, I find myself spotting it as the benchmark fare served at parties, particularly with their famous Blanc de Blancs. 

There was also a curious recent reimagination of the estate completed in October 2024, with the ambitious project taking about 3 years all told. The House had turned to Japanese architect Sou Fujimoto, landscape architect Christophe Gautrand and interior decorator Gwenaël Nicola for the work. At the risk of sounding cliché, the new façade places emphasis on the “art” in Ruinart. At every turn, the art installations underscore the deep ties between Ruinart and the art world – as if a better match made in Heaven could exist.

Visiting The Chemin des Crayères

When I finally stepped onto the property at about noon, I was completely surprised there wasn’t a soul. I had the luxury of experiencing the Chemin des Crayères with complete privacy. 

An experience in itself, the Chemin des Crayères is a deliberately constructed entrance and a wonderfully designed welcome to the premises. You first enter a maze. The chalky walls are tall (relative to me at least). Then at a certain point there is greenery towering above. The clear blue skies above shine gently on you and so the effect is therefore built up anticipation for the actual property to come. It certainly stirs a sense of wonder. What will the next turn bring me? Are we there yet? This evokes deeply embedded memories of childhood - an afternoon game of hide and seek perhaps. 

The Chemin des Crayères was designed by the landscape artist Christophe Gautrand and this labyrinth slopes gently for nearly 400 feet. The white walls are intended to replicate what lies beneath – that is  the surface of the famous crayères that literally put Ruinart on the map. It was scanned and then hand replicated for the project. After the short twist and turns, you emerge and catch glimpse of the newly renovated Nicolas Ruinart pavilion. The entire experience is said to mimic the experience of a fresh pour of Champagne, with bubbles rising to the surface! 

Inside The Nicolas Ruinart Pavilion

The Nicolas Ruinart Pavilion is the embodiment of Ruinart’s vision for the future. It is a bold declaration of its hyper modern persuasion. The most striking feature for me is the intentional gradient from the opaque milky top that gradually fades into the transparent glass giving you, the viewer, a sneak peek into the premises. It’s a modern form of a glass house so to speak. The roof concaves ever slightly so that the lines that border the building are not too sharp. This conscious detail was rather shrewd, I had to concede. The building now takes on an interesting shape. Overall, I believe Sou Fujimoto was said to be inspired by the Champagne itself and his work was meant to evoke the image of Champagne when it is first poured into the glass, where the pour sparks a flurry of effervescence.

Inside the building the natural light permeates the space, but no matter the harshness of the afternoon sun, the room seems lightly shaded with a nice tranquil glow. 

The designer Gwenaël Nicolas has certainly organised the space beautifully. 

It has an open concept and the focal point or the piece de resistance if you will is the Blanc de Blancs encased in glass which I believe is an entrance to the cellars below. The space is framed by some gently sloping curved rods that slice the space up slightly, guiding the visitor through the space. 

As this pavilion houses the terrace, some sitting areas and the boutique, this clever feature keeps the space open and inviting without overly cluttering the place. 

At once I feel a sense of peace. 

Dining at 4 Rue Des Crayères

Where the entrance was completely bare, here it was a hive of activity at the dining bar and I am pleasantly surprised that we had to suffer not a moment’s wait. Immediately, I was ushered to the beautiful al fresco terrace.

The composition of the crowd ranges from stylish early retirees to gaggles of ladies who speak different tongues. Close to us, Russian and American cliques each keeping to their own flock, busily chirping away and pecking on their respective caviar bumps. 

There are pear trees abundant with tiny pears hanging onto the trees tenderly just like a heavy Christmas ornament hanging on for dear life. The air is fresh with a cool light breeze flowing by; tiny little sparrows flit about the fallen fruit. It’s hard not to marvel at the sight behind me but there are important matters at hand – making the right order.

After a decisive flip of the menu we knew we had to get the classic Blanc de Blancs and the Rosé.

And so we did!

Tasting The Ruinart Blanc de Blancs & Rose

On the eye - a light pale yellow with some greenish yellow undertones. This is quite fruity on the nose -  I think of lemons and pears. On the palate the ripe citrus fruit cuts through most prominently and there even is a tropical flavour to me. I can’t help but think the planting of the pears out here is intentional! Overall delicate and lovely.

The Rosé – rosy coral pink on the eye. It is the clear winner for me in the moment. The intensity of the strawberry and cherry flavours (that I am partial to) shone beautifully. I found myself pleasantly surprised after my second sip. This beauty has an astonishingly long length for a rosé in my opinion. For summer, it is simply perfect - it is so dynamic and refreshing. A joy for to have for a lengthy afternoon tête-à-tête.

The Blanc de Blancs was meant to pair with the carpaccio. Resident Chef Valérie Radou conceived the carpaccio for pairing with this and together it elevated the light tangy sea bass fillet and perfectly complemented the tangy lime that dressed it.

This is perhaps the first time that I have consciously had a gastronomic experience with Champagne, where Champagne is intentionally paired with my food. 

At its core, Champagne is a wine and while it is often overlooked, it too can elevate your experience.

The meal began with the dense but fluffy mound of bread that I adored. It came with a generous slab of butter sealed with the royal “R” on the most gorgeous crockery that is for sale at the boutique. The serving plates as well as the butter dish had a leaf imprint dotted within the plate in the most detailed and precise manner. The many dots and the tracing of the leaf’s spine is an ode to the bubbles gently being released in our glasses.

The Ruinart dining experience ought especially to be praised for its thoughtful selection of crockery and even cutlery. I was very impressed by the use of Christofle cutlery for its dining bar. It is not only a patriotic nod but a generous detail, though not too small to escape my attention.

From this, I am left with the lasting impression that Ruinart values each and every patron even those who’s first entry point into the world of Ruinart is from a visit to its dining bar. The experience is well-curated and the enthusiasm shown by the staff has reinforced Ruinart’s emphasis on service excellence. The warmth demonstrated from this physical experience at the Maison suggests that the brand is perhaps moving towards inclusiveness. The new design and especially the openness of the space perhaps is a telling signal that the Maison wishes to unveil and demystify its House to the World. 

To allow walk ins without prior appointments such as I have done must have been deliberate in a world which has long basked in the reputation of hush hush exclusivity.

While Ruinart seeks to make itself more accessible to the public, the commitment to excellence and attention to detail suggests that it will not do so at the expense of its luxurious quality.

Ruinart has certainly reinvented itself for the next generation and I can’t help but wonder how this might shape the future experiences of other Houses in the world of Champagne. 

Until then, I am longing for my next visit which will hopefully take me to the famous crayères. 

@crystaltonic