“I would say we’re like Henri Matisse or Joan Miró, very expressionist painters. We play with the colours of life. We put them into our lifestyle and into our wines. It’s a philosophy. A style of winemaking and of wine-living.”

(Photography: Chino Sardea)

 

Mas de Daumas Gassac is a storied Sud de France (Southern France) estate whose rise to fame reads like a fairy tale. Founded in 1972 by Aimé and Véronique Guibert, the winery emerged from humble beginnings as a family retreat in the hidden countryside near Aniane of the Languedoc region. Yet almost serendipitously, it blossomed into one of the most renowned and respected wineries in southern France, earning acclaim as the "Grand Cru of Languedoc." What sets Mas de Daumas Gassac apart is its audacious spirit, marked by the cultivation of an astonishing diversity of over 50 rare grape varietals planted and grown on the estate, many scarcely seen elsewhere, and a steadfast dedication to sustainability and terroir-driven viticulture.

The Guiberts, guided initially by the legendary Professor Henri Enjalbert who famously remarked that the land would yield "grand crus in 200 years," took on the bold challenge of crafting exceptional wines without the weight of regional tradition. Inspired by both Burgundy's elegance and Bordeaux's gravitas, Mas de Daumas Gassac produces wines celebrated for their complexity, depth, and uniqueness, capturing the essence of a Sud de France estate that remains peerless in both vision and execution.

 

 

I first encountered Basile Guibert, the estate's co-owner and head of Asian exports, amidst the lively atmosphere of the recent VinExpo Asia symposium held in Singapore.

Basile sees winemaking not just as a trade, but as a form of artistic expression–a way to preserve the poetry of a wild childhood and a sacred valley–while shouldering the real-world responsibilities of running a globally recognised estate.

 

 

We discussed the rich legacy of his family's winery and the promising horizons ahead, beginning with the inner workings of Mas de Daumas Gassac and its new companion venture, Atelier Guibert, a project driven by the creativity and innovation of the Guibert brothers. Throughout our conversation, Basile spoke openly about the reality behind the prestige: the diligent hard work, deep familial bonds, and relentless passion required to uphold and further the winery’s esteemed reputation. He highlighted both the joyous moments shared working alongside his four brothers and the ongoing struggle to promote Languedoc wines on the global stage.

We delved into the significance of diversity–both in the vineyards with their multitude of grape varieties and in the family’s cosmopolitan perspective shaped by global experiences. Basile shared illuminating anecdotes from his childhood spent amidst vines and barrels, the unique challenges of maintaining the estate's unyielding standards, and insights into his personal transition from a career in political science and international diplomacy to becoming a dedicated ambassador for his family’s wines across Asia.

We’re offered a rare glimpse into lesser-known elements of Mas de Daumas Gassac’s wines, sharing secrets overlooked by critics, and the connection between the land’s unique soil composition and the renowned wines.

 

 

The new Atelier Guibert is the most exciting development. Described by Basile as a creative laboratory of sorts, Atelier Guibert liberates him and his brothers from traditional expectations while allowing for a fresh expression of the Languedoc terroir and varietal character. Basile discussed the philosophical considerations behind Atelier Guibert’s inaugural releases–the vibrant, fruit-driven "Génésis" blend and a pure, expressive Syrah–as well as his hope to captivate another generation of wine enthusiasts.

 

Read our full review of Atelier Guibert's new Syrah and Génésis cuvées here!

 

Our conversation closed with thoughtful reflections from Basile on the future of Languedoc, the proactive steps the Guiberts are taking to combat climate change.

Let’s hear from Basile Guibert about his family's remarkable journey, from their groundbreaking beginnings to their ongoing ambitions for Mas de Daumas Gassac and Atelier Guibert.

“Growing up in Mas de Daumas Gassac, the estate was an amazing playground for us children. We were playing in the river, in the cellar, in the vines. It was a wild environment for children, like a magical countryside. It wasn’t a company with corporate processes. It was just this wild, untouched place where an adventure was happening.”

[88B]: We understand the early years of the winemaking venture were not easy, as folks initially did not want to pay for an expensive wine from the Languedoc.

What grounded your parents’ conviction that this winemaking venture would eventually succeed? Did they know it was simply a matter of time or was it blind faith in the process? And for yourself as someone who grew up alongside the wines, has the Mas de Daumas Gassac wines changed in its symbolism and meaning to you from when you were young as compared to today where you’re actively involved in making the wines and promoting it?

[Basile]: Your questions are so thorough and difficult, and it’s rare to see someone who already covers all the first two layers!

My parents began planting the vines in ’72. The first vintage was in ’78. I was born in ’84. By the time I arrived, they already had six, seven vintages under their belt.

What grounded my parents’ conviction that this winemaking venture would eventually succeed? My God, I wish I knew. Every time I do a training or a masterclass, I start with one of those slides: . “Love what you do, and do what you love.” I don’t think my parents had any idea what would succeed and what wouldn’t. I think they were in love–and this love was the fuel for their energy and their vision.

If you ever meet my mother, you’ll understand–my father has passed away–but they had a Vision. A vision of how to do things–like artists–and they carried that year after year.

 

 

What has changed since I grew up there? So, I was born in ’84. But my brothers, they grew up like me, on the estate. It wasn’t a brand. It wasn’t Mas de Daumas Gassac. It wasn’t famous. It was just the first 20 years of Daumas Gassac. Every year was a learning curve. There were issues, mountains to climb, doors to break through.

For us as children, the estate was a playground; an amazing playground! We were playing in the river, in the cellar, in the vines. It was a wild environment for children, like a magical countryside. It wasn’t a company with corporate processes. It was just this wild place where things were happening.

 

 

My parents were an inspired, visionary couple. My mother had and still has a certain vision about how humans should behave in the world. Her philosophy is very organic –you don’t cut trees; you grow them. She even doesn’t like modern medicine and practices homeopathy.

And my father–born in 1924, studied at Sciences Po Paris, the political school–he had a whole life before Daumas Gassac. He was 40 years old when he started the winery. He already had global business experience. So my mother brought the dream and passion, and my father brought the experience of how to handle a baby company and run it as a sound business–finding clients, talking to the banks, keeping their independence.

They were producing, let’s say, 6,000 to 18,000 bottles in those first vintages. And yes, they weren’t selling in the first 5 years, however export and private clients came fast. For 20 years–until around 1999 or 2000, when the wine documentary Mondovino was released–French people were not buying the wine. They were like, “Wow, this is the most expensive Vin de France!?”

So–did they know it was simply a matter of time? Or was it blind faith in the process? I think it was a bit of both. They were convinced. And when I grew  I was going to trade showsand a lot of people–even some friends–said, “Your father is so good at marketing.” Yes, he was good at marketing. But most of all he was convinced about this blessed terroir. He a very strong conviction. That’s also why he surrounded himself with the best people he could find.

He had the advice of Professor Henri Enjalbert, a top geologist and professor Emile Peynaud who was one of the reatest winemaker of the 80’s and 90’s. My father also connected with top critics in the UK–Michael Broadbent (head of Christie's) was chief among them. Once you made it in the UK, you could make it anywhere.

 

Aimé Guibert, Basile's father and founder of Mas de Daumas Gassac, showed the wine world that the southern region's hillsides too, could produce incredible wine.

 

Deep down, he knew the greatness of the terroir in the Gassac valley, but he was already 50 years old. He didn’t have all the time in the world to play around. He was having fun, yes–but he was also serious. He knew the power of those wines and what the unique soil and  microclimate were offering him.

I had the same epiphany after a few years working in Asia. I was showing my wine and started doing blind tastings. Many times, a private client would come with a top bottle–and we would put Mas de Daumas Gassac next to that bottle from Bordeaux or Burgundy–30 or 40 years old. And Daumas Gassac would shine. Not win every time–but it would be on par, or better, or just slightly under. But it would shine–close to the top of Burgundy or Bordeaux.

“I don’t want to stereotype Asia. But as a wine market, it’s still very brand-driven, very status-driven. It’s not yet fully a lifestyle like in France or the UK, where people drink wine with dinner. In Asia, it’s still more tied to social status than we like to admit.”

And then I was like, “Ah, yeah. I understand why my father was in such a hurry.” He wasn’t just a marketing guy. He was in a hurry to show the world that there’s a blessed taste here–very new, very different–that can give divine pleasure. He wanted to share it. To show it to the world what was happening in the wild Mas de Daumas Gassac valley. So no–it wasn’t just blind faith in the process. And it wasn’t just a matter of time.

Just last week–or maybe this week–I was talking to someone who told me, “You know, it’s still hard to sell Languedoc wine in Asia, at the fine wine level.” So, even after 50 years, it’s not just a matter of time. It’s a matter of conviction. Of belief in the divine soil and the blessed land.

When my parents were settling in Languedoc, everyone was growing grapes for high-volume, high-alcohol wine. They were bringing grapes to the co-op. And the wine wasn’t selling due to an overproduction.

And again, we go back to: who was in charge?

My mother–with her passion. My father–with his passion, and the inspiration that her vision gave him. But also–with his understanding of the world. He knew that if you surround yourself with people who lift you up, then you’re going to aim for something special.

They went down this road 2000%. And they weren’t looking at what the neighbors were doing. They were looking at what they loved, who were the best wineries in France. Could we take a bit of this winemaking process, a bit of that vineyard technique–and create our own, using the best tools to do what we want?

And yes, I’m pretty sure–not having the weight of tradition made them more free. No, “My father did this, and his father before him,” kind of thinking.

So now, when my brothers and I are creating Atelier Guibert, it’s totally different. I’ve been making wine for 15 years at Daumas Gassac, and now it’s like I have a blank page. I can do whatever I want.

So–when you have a blank page, but you have experience? Wow. It’s amazing.

And for me, as someone who grew up alongside the wine–has Mas de Daumas Gassac changed in symbolism and meaning over time? Yes and no. I’m still that small kid who grew up in the Gassac Valley, that wild, untouched place. That’s inside me. It will always stay inside. And I think it’s the same for my brother.

Having said that–today, we have 37 employees. We have a payroll to meet each month–that’s a lot of money, a lot of responsibility. We have thousands of private clients, professional clients in France, over a hundred export partners around the world, and their clients who trust us. So yes–there’s weight. Responsibility. But both people live inside me: the young child and the business owner. And they’re having conversations every day.

You used the word “symbolism.” It’s a very good word. And I’d answer like this: I have my young self, who grew up in Mas de Daumas Gassac in the first 15 years. It was an adventure.

Last night, I read a story to my kids–it was about two children who meet during the summer holiday and find a piece of metal related to a local legend… and there start their journey. They don’t know what will happen, but the journey is magical. That was my youth.

The wildness, the river, the forest, building huts–and my parents were filling that life with artists from Russia, Romania… during the Cold War. There were 20, 40 people coming from all over the world for harvest.I would escape my bed at night, trying to go party with them.t wasn’t a closed environment. It was very open. People with issues, people with talent. A lot of energy, coming in all the time.

My brother and I–we know how important it is to keep that. This journey–it’s not just ours. It needs to be shared. With people who can come, who can give energy, and receive energy in return. Because that’s life.

“My vision with Atelier Guibert is to have one or two anchor cuvées, a standard to rely on. Right now, I have two cuvées–one red. And I’m going to be crazy with it. Infused with fruits, herbs. Pet-nat. Sparkling. Grape juice. Whatever.”

[88B]: And so growing up, it was your parents’ encouragement that you and your brothers should not ever feel pressured to join the family’s winery, and that instead each of you should pursue your own interests and path. Your parents themselves cultivated what is perhaps the widest variety of vines in any one given estate– Mas de Daumas Gassac has over 40 varietals with one being the very grape mentioned in the bible from the time of Moses. They are also open to having an incredibly international team of harvesters each season at the estate.

It feels like this deep embrace of diversity is central to your family and thereby Mas de Daumas Gassac. What is it about diversity that your family cherishes so much about? And where do you think it comes from, and then tracing it to the wines, how does that ultimately shape the creation Mas de Daumas Gassac’s wines today? With you and your brothers’ diverse range of experiences prior to joining the family winery, have you all ever found something from elsewhere that you wanted to bring to the winery?

[Basile]: It's the first time someone’s asked me that. Where does our embrace of divercity come from? If I listen to my inner core–as human beings, we want to learn, we want to have new experiences every day. It’s a simple instinct. You know the question: you move into a new house, it’s not ready, it’s a mess–are you going to do a big housewarming? Or are you going to invite your parents? You can, but you’re going to invite them at the wrong time, in the wrong environment, and it’s not going to be pleasant for either you or your guests.

To live in that diversity–you have to be capable of it. To welcome someone into your house, you need to be in a welcoming mood, and the house has to be welcoming. Otherwise, it’s like a country welcoming new citizens–can it afford to or not?

We put a lot of energy into receiving 8,000,9,000 visitors every year then we welcome 50, 60 pickers from all over the world each year. We had in 2025pickers from Greece, Ireland, the US, England and Germany… and many more nationalities.

 

 

When you end up talking with a US or Polish person who have very different political opinions, it takes a lot of energy to be able to welcome and receive. Still, you get so much back. It’s nourishing and inspiring. You’re not stuck in your own environment.

Our estate reflects the world. It’s a style. Not like Burgundy, where Pinot Noir is king and everything is structured around that. Every 20 years there’s a new style of winemaking–it works very well. Or Bordeaux, where you blend in January, and you’ve got this plot of Merlot, that plot of Cabernet, and 200 barrels to mix scientifically, by taste. That’s an old style, too.

Unlike other winemakers I would say we’re like Henri Matisse or Joan Miró, very expressionist painters. We play with the colours of life. We put them into our lifestyle and into our wines. It’s a philosophy. A style of winemaking and of wine-living. That’s what we cherish.

Our parents were full of energy, always receiving people. My mother did three humanitarian convoys during the Cold War in Romania and Poland.

Some people are perfectly happy making only Pinot Noir and seeking a kind of sacred perfection. I’m not saying that’s bad. I’m kind of balancing everything. It’s our energy. That’s what we were born into.

I’m one of the brothers who’s always traveling, always inviting people–always cooking. It’s like a magical potion. A thousand-year soup. You keep adding new ingredients–and it makes the most beautiful taste.

And how does that shape Mas de Daumas Gassac’s wine today? That’s the recipe our parents created back then. But as I’ve said–we’re the second generation. We’re different.

For example, my father used to be 100% against cutting the vine’s branches in summer. He believed in keeping a strong canopy to protect the grapes from the sun–because Languedoc is very hot. But over time, we had to ask: should we try something else?

Because some grapes–like Chenin–need a lot of sun. So we started testing, bit by bit. And now–we’re cutting much more. We’ve shifted from that philosophy. As four brothers managing the estate–we are not our parents. We are making the estate evolve.

“Thanks to the work of our parents, Mas de Daumas Gassac has become as strong as any IGP or AOC–it’s actually more famous than most of the AOC wines from Languedoc. So we’ve created a brand that stands on its own.”

[88B]: How did this diversity-embracing spirit shape Daumas Gassac’s decision to create an IGP blend?

[Basile]: When my parents planted grapes in ’72, there was only one AOP: Vin de Qualité Supérieure (VDQS). There weren’t any other AOCs in the Languedoc at the time. And what we were doing didn’t fit at all into that classification.

50 years after, the current appellation system is now more accurate in reflecting our Languedoc microclimates and specific soils. But it took 50 years of effort, of people trying to get there.

Even today, for example–we want to make a sparkling rosé. And that sparkling rosé is classified as Vin Mousseux. But there’s a very strong lobby around vin effervescent and crémant, and so no other appellations are allowed to create a new crémant. There’s a lot of lobbying and competition in this whole IGP/AOC world.

 

 

Regardless of that, we’ve always worked and created based on our energy and on what the soil gives us. You start with the soil, the vine on that soil–that’s your foundation. You don’t start from the textbook or the IGP/AOC criteria.

It’s a very hard journey when you take that approach, because there are many people who don’t want you to succeed–or who tell you what you’re doing is wrong; that it doesn’t represent Languedoc or even doesn’t represent France. That you shouldn’t do that.

But this was the spirit of our parents. They managed to break through. To show us–and to show many other winegrowers and winemakers–that you can break free from AOC/IGP rules…though this journey will be harder. You can also work within appellations - AOC or IGP will help you sell and promote.

Thanks to the work of our parents, Mas de Daumas Gassac has become as strong as any IGP or AOC–it’s actually more famous around the world than most of the AOC wines from Languedoc. So we’ve created a brand that stands on its own.

One of my brother has a CFO by background who worked in auditing and in tech. He brought– around  20 apps or software systems that operate across the estate. Yes we’re still following our parents’ tradition within a complex, organic and natural ecosystem–but we’ve brought in modernity; as we have an Enterprise Resource Planning system, software for logistics, sales, accounting...

That’s just one simple example. There are thousands of things we’ve brought in. And that’s the thing: we’ve brought in a lot of changes, yes–but what we love the most is this wild estate.

And we work with people on this–it sounds simple, but it takes two to three years to implement. It costs €200,000 to €300,000, let’s say. We don’t have so much money, but still–we invested a lot to have a system that allows us to move forward, face modern challenges, and be more efficient.

That’s just one simple example. There are thousands of things we’ve brought in. But we also all love living on the estate–because it’s beautiful, it’s protected, it’s natural. And that’s the thing: we’ve brought in a lot of changes, yes–but what we love the most is this wild estate.

“Most Languedoc wineries don’t travel [to Asia], they don’t brand, they don’t connect. My big metaphor is that I’m rowing on the Amazon River against the current. And I’m rowing alone.”

[88B]: After your various stints, you eventually joined the winery in 2012, and have since taken over a part of the winemaking as well as promoting Mas de Daumas Gassac’s wines in Asia. Do you recall what was the lightbulb moment that made you feel that you would return to the winery and take on that path, and that you were convinced that this would be your life’s mission? How are the wines being received in Asia, and more specifically are there any notable differences in the consideration of wine lovers in Asia as compared to the West?

Together with your four brothers, you each play a hand in bringing each harvest to fruition. We’d love to hear instead of a particularly memorable and fond moment that you had working with your family that you cherish?

[Basile]: I didn’t have any lightbulb moment–again. And maybe I’m wrong but it seems to be the same for my brothers. When we were growing up and looking at our parents, every day was a new adventure.  I remember one day some shelves or walls falling, bottles breaking–we all had to go down on a Sunday, even when friends were over for dinner, to clean it all up. Every day or every week, something new was happening.

Most of it was positive–we’re protecting the environment, so that’s very positive. We’re making organic wine, also very positive. It’s not like making toothpaste–which has less storytelling, I’d say. So growing up in this environment, I think for my brothers and me, we all wanted to come back. We did not know but there was no question about it.

Even when I wasn’t officially working, I was coming back for the harvest. There would be a trade show, a restaurant visit, something. I’d go out and say, “I’m from the family.” So it never stopped. There was never a break for me.

 

 

That said, my brothers and I were already given shares in the company at an early age. For the dream to continue, the technical side had to be sorted too. My father, before he passed away, had organised everything. We didn’t have to do anything–it was already done. I’ve seen so many families where a parent passes and nothing is in order. It becomes a real burden for the next generation.

But if it's organized properly, you can focus on your work, and carry on the vision. If I’d had to battle my brother over who gets what, that would’ve been a whole other problem. So there’s the dream part–but there’s also the technical reality. And for us, that was perfectly handled. So we’ve had no issues carrying on.

As for the wines in Asia–I’ve spent a great deal of time there. Our wines have been in Asia since ’80 or ’85 in Japan, and then by ’98 in Hong Kong, Singapore, and other markets. By 2010, we were already in China, Korea, Taiwan, Vietnam, Cambodia, Thailand–key places.

Some markets, we entered way too early. Most of the players in those markets were big companies. So when we arrived with Mas de Daumas Gassac’s vision–where the idea isn’t just entry-level wine or ultra-fine wine like it was confusing for consumers. We showed up with blends of Cabernet Sauvignon, Pinot Noir, Tannat, Malbec, Nebbiolo, Dolcetto…all together.

Even today in Asia, there’s still this strong preference for Bordeaux, Burgundy–and now Napa and Penfolds. Not even Australia–just Penfolds. It’s still hard. Because Languedoc is not known for fine wine.

I don’t have the Union des Grands Crus Bordelais, with a hundred people & estates backing me. I don’t have the name recognition or hype of Burgundy. Even if you're not the best winemaker in Chablis or Meursault, having “Meursault” on the label will strongly help to sell itself.

Me? I’m alone. Who else in fine wine from Languedoc travels to Asia? Alain Chabanon? Yes. Olivier Jullien, Grange des Pères, Marlène Soria, no . Most high end Languedoc wineries don’t travel, My big metaphor is that I’m rowing on the Amazon River against the current. I’m rowing alone. And it’s not a big boat with an engine.

I’ve been doing that for 10 years. Before me, in Asia it was my brother and before himour father. Now it’s 2026, and the wine world is in crisis.

My strategy has been to streamline–to sell to clients exactly what they need. Not too much. Not too many SKUs. Just consistent allocations that match their clientele. That’s key.

“I don’t think my parents had any idea what would succeed and what wouldn’t. I think they were in love–and this love was the fuel for their energy and their vision. They didn’t know they would succeed, but they wanted to. They didn’t want to fail.”

Look at Cambodia–a very challenging market. Look at Singapore–in the past 5 years, it’s changed a lot. In 2016, it was still very Bordeaux and Burgundy driven. But in 2018, ’19, ’20–everyone started importing diverse artisanal or small boutique wineries more actively. It became more like France or the UK in style. Then 2024, 2025–suddenly people are saying, “Wine is too expensive, fridges are full.” Singapore is ever evolving. In China–Shanghai is very into natural wine now. Same in Tokyo, Osaka.

Yet I don’t want to stereotype Asia. But if you do and look at it as one big  a wine market, it’s still very brand and status-driven compare to France or the UK, where people drink wine with dinner. In Asia, it’s still more tied to social status than we like to admit.

 

A Mas de Daumas Gassac tasting in Taiwan.

 

That said, the percentage of consumers in Asia who drink wine for pleasure–because they enjoy it’’  complexities more than beer–is growing. Of course it’s slow and we have trade barriers: customs in Malaysia and Indonesia, high taxes in India, Vietnam is going back to putting excise taxes.

You really have to look at who sets the rules–the governments. That’s a two-hour discussion. But let’s move on.

As for a particularly memorable, cherished moment working with my family–I’d say the first one that comes to mind, strangely enough, is when my father passed away. It’s weird to say, but we were a big group, and it came with a flood of memories. It was very strong, very powerful. Winemakers came, friends came, everyone shared a memory. It was a very, very strong moment for my family. A beautiful memory. I’d say it’s one of our most important memories as a family.

“It could be your family–or another family–running the estate, and the wine could still be the same. Why? Because it’s the soil. The soil, the soil, and the microclimate. The red glacial ice scree soil is the unique signature of the Mas de Daumas Gassac rare wines. That’s the key. You can’t replicate it. This is what makes the wine what it is.”

[88B]: Favourable reviews in the winery’s early days played a big hand in helping the estate’s wines take off. Has there been anything that the writers have nevertheless missed or perhaps never quite picked up on? We’re also curious if there’s a particular flavour, aroma or character that’s never quite identified as to its source that you’re nevertheless aware of? And to that end does Mas de Daumas Gassac’s wines hold any secrets that very few people know about?

[Basile]: There are mysteries even for us. We’re working in it every day, so our eyes and bodies are immersed in it–but we don’t always realise everything. I would say the biggest mystery is the human energy–and that’s the most complex thing to analyse.

I think the influence of my mother on the estate is tremendous. Definitely. And I think the work we've done over the last 20 years, as the second generation, hasn't really been written about or closely dissected. What we’ve tried to do is let the world feel that there’s been no change at all in the style of our wines while behind the scenes, we’ve been working like mad people to make that happen. Passion, hard work and consistency is the secret.

So, to answer your question–it’s more about human energy than anything else.

As for whether there’s a particular flavour or aroma or character that’s never been identified–no, I think people have started identifying many things but one of them is interesting; the garrigue aroma. One of our Japanese interns actually did his PhD on garrigue aroma–at the Bordeaux wine school. He did his thesis on garrigue (local forest) and it’s natural resinous herbs such has thyme, sage...

Now, more and more people talk about this “garrigue” aroma. But the study was done already–25 years ago–at Mas de Daumas Gassac. And back in the day, people would tell us , “No, no, that’s not possible, it’s your marketing. What are you talking about?” And now, everyone is using the term. I even heard a Rhône producer on video two days ago talking about “garrigue” and “Mediterranean aromas.” So yes, some things we discovered here on the estate that used to be questioned are now being recognised.

 

 

Do the wines hold any secrets? Of course. Many, many secrets. But it wouldn’t be fun if I told them all, right? *Laughs*

And then there’s the blend–typically about 75 to 80% Cabernet Sauvignon. That leaves 20%, which comes from a wide range of rare varietals. And I know people say, “Okay, but Cabernet Sauvignon, Merlot, Cabernet Franc–these aren’t rare names.” And yes, the names are familiar.

But when we say rare, we don’t mean you've never heard of the varietal. We mean the origin of those non-cloned varietal are super rare. For example, the Merlot or Cabernet Sauvignon we grow originate from an extremely rare selection. You can’t find it in any nursery anymore. My father understood this. He had a sense for complexity and diversity in farming. He traveled around France and the Mediterranean, collecting old vines that were non-cloned.

Of course, non-cloned vines grow more slowly, produce less, and are less resistant to disease–but the it has an exceptional taste… The true taste. These varietals are rare not because you’ve never heard their names, but because their genetic origin is unique. For instance, the Cabernet Sauvignon in Daumas Gassac come from a 1920s collection that pulled from 100 different Bordeaux Fifth to First growth in estates. You won’t find this exact strain anywhere else in the world.

As for unique character–that adds up to the secrets on our unique taste my father used to say; “There are some years where even just 1, 2, or 3% of Syrah or Pinot Noir will bring something magical.” That’s the varietal and the vintage effect. That’s how it is.

And sometimes, you’ll never see it again. That’s the magic of having those varietals. Some years they shine–and you don’t know why. You can’t explain everything. Even if you're the best, with the most advanced scientific knowledge, some things will always remain unshareable and unexplainable.

“I’m still that small kid who grew up in the Gassac Valley, that wild, untouched place. That’s inside me. It will always stay inside.”

[88B]: With typically about 4% of your wines coming from a wide blend of rare varieties, is there a particular variety that demonstrates a very unique character that you could share with us? And of course the estate has largely focused on just three flagship expressions (the red, white and rose frizant) over the past 50 years, do you ever tinker with the idea of a single varietal expression from the estate?

[Basile]: Yes. For example, we already have the Cuvée Emile Peynaud, which is 100% Cabernet Sauvignon. I’ve been "fighting" with my elder brother about doing a 100% Pinot Noir. He’s been blocking that idea. And I didn’t push too hard either, so it’s both our fault. But it will happen. In 10 years, 15 years–it will happen.

 

 

You know, as the second generation taking over something this big, with so much reputation–it takes time. I mean, I think we’re only just now starting to feel free of the pressure, to have enough confidence, to trust ourselves. Enough confidence to be able to say: Yes, this is Mas de Daumas Gassac white, the Grand Vin, and not just in one vintage, but consistently.

My brother took over the cellar with my father’s cellar master. He really started on his own in 2008. So now it’s been 20 vintages. And even after 20 vintages–or 50!–every vintage is still a challenge. But we feel more confident now.

On the vineyard side, we’re restructuring. My father loved planting. He planted a lot–sometimes too fast. So now, part of what we’re doing is restructuring. For example, pulling out vines planted too quickly, cleaning the soil. And that takes 10 years before replanting. It’s a long-term process and we have 30, 40, 60 years.

We’re rethinking the estate layout, the valleys, the rootstocks we use. We’re focused on making the vineyard itself stronger–rather than just chasing after more diversity like our father did. And that process started around 2012–so it’s been about 13 years now.

With Atelier Guibert, we’re also exploring new things. We’re looking at Corsican grapes–my brother Roman really wants to grow Nielluccio. I want to bring in Pinot Noir, and I want to grow it following a pergola system such as the old Austrian, Georgian, or Italian style–with a very high canopy.

Why? Global warming. You want to be under the trees–yes it will mean lower yields production, but better protection from the heat. So I think now, with Atelier Guibert, we’re entering a new phase of the second generation.

We’ve built a good team, we’ve found the right pace–people looking after the estate, looking after the cellar. And we can now afford to be creative, the way our parents were.

We created Atelier Guibert about five years ago. We finished the Atelier winery construction in 2023, but we started planning it back in 2015. It took us seven years–visiting other wineries, meeting with different architects, artisans, producers of vats, of presses–putting everything together.

And just doing that… honestly, I felt like I had a second wife and two more kids. I already have a wife–but this was a new life to fit into the existing one.

And like being a father–you don’t want to have children or a wife just for fun. You want to be committed. You want to raise the children right. And it takes energy, to be good at what you’re doing.

So yes, there’s a lot to come–but step by step. Slowly. That’s how it has to be. There will be some single varietals. But it’ll take time. We’ll get there.

For example, my brother Roman at Atelier is already doing a 100% Grenache. And it’s absolutely… I mean, I won’t say too much–but people will discover it soon. I don’t know when he’ll release them. But it’s going to be very nice.

“Mas de Daumas Gassac will change–but not because of us. It’s because of the vintage, the climate. And that’s happening whether people like it or not.”

[88B]: Mas de Daumas Gassac’s style has stood the test of time unwaveringly, thereby adhering to the advice of Emile Peynaud, one of the greatest wine consultants in the world. You’ve mentioned that the goal is for the estate’s wines to transcend the trendiness of the time, and your brother Samuel has also mentioned that a shared marker of success for the second generation of Guibert’s is for there to be no discernible difference in the wines from the previous generation to the current.

Yet we can’t help but wonder if there’s anything you’d change about the estate, the winemaking, or the wines itself? Or perhaps is the plans to keep Mas de Daumas Gassac as it was, whilst a breakthrough in creativity would instead come via your new winery, Atelier Guibert?

[Basile]: So, Mas de Daumas Gassac is always the same and ever changing at the same time–but not because of us. It’s because of the vintage, the climate. And that’s happening whether people like it or not.

We’ve never made a wine that was trendy during the Robert Parker / Michel Rolland era–when it was all about oak and alcohol. Now, our wines have become more trendy because we have a fresh expression of Languedoc, balanced alcohol, balanced aromas, balanced oak aging.

But we’re not doing full bunch, for example. And full bunch is the trend now. Mas de Daumas Gassac is Emile Peynaud’s style–elegance and finesse, It’s classic. It’s 1980s-style Bordeaux, Médoc-style winemaking. And that won’t change.

Mas de Daumas Gassac white won’t change either. People love it–we’re sold out. Demand is so high and we don’t have enough plots to satisfy what people are asking for. We’re not planning to grow more or expand the winery. So: no change. We’re just getting better at the style we already do.

Little by little–in the sorting table, in the cellar, the cooling system–we’re improving. That low-intervention, finesse-first vision gets enhanced every year. It’s a quest for excellence, and it takes time, resources, energy. So yes, things are  changing–but only for the better.

As for creativity, definitely–that’s where Atelier Guibert comes in.

 

 

You’ll try our Atelier Guibert Génésis wine, which is natural. I mean, my goal is just to bring new taste and aromas. Sometimes I cook for myself as I don’t want to eat what I ate the day before. We’re like that–humans–we want different tastes every day. And I think people want that in wine, too. New flavours. New boundaries.

That said–I just love my 10-year-old Mas de Daumas Gassac. When I drink it, I get that never-ending feeling of enjoyment. Like: wow, this is truly amazing. And when you’ve been playing around at Atelier Guibert, and then go back to Mas de Daumas Gassac–you go, Ahh okay, the soil, the terroir does not lie.

Atelier Guibert brings wine at a price you can actually play with. You can buy it while Mas de Daumas Gassac is rare. It’s not for everyone. Atelier captures the Gassac spirit of, at accessible price.

“What do I think needs to happen to raise the profile of Languedoc? …Right now, someone like Gérard Bertrand is doing amazing work–but he’s doing it alone. … We need a group effort. A top-tier wine dinner. A high-level tasting that shows: this is the level at the top. And then, there’s room for the rest.”

We’re going to release an Atelier Guibert 2020 Syrah after five years. The Génésis wine will probably go for around S$40–50. It’s 11.5% alcohol. And I love it–because I can drink one glass, two glasses, and I’m just tipsy.

You know when you drink a 13.5–14% wine and you’re tipsy after the first glass? Especially after a long day, no food, straight into an apéro–you’re already feeling it. You're exhausted from thinking, working all day, and then your first sip of high-alcohol wine just knocks you. That doesn’t happen with Génésis. I can drink three glasses, feel better. That’s what I love–going back to that older, low-alcohol style we add in France in the 1980’s. 11.5% is much more digestible.

So yes, Atelier Guibert is where we go crazy. That’s where experimentation and freedom are.

My vision with Atelier Guibert is to have one or two anchor cuvées, a standard to rely on. Right now, we have two cuvées–Atelier Guibert Syrah and Génésis. And then going  wild with smaller batch of several other creations such as  Wine infused with fruits, herbs, Pét-nat, sparkling, grape juice… whatever makes us dream.

What do I think needs to happen to raise the profile of Languedoc? I’ve been saying this to many of the Languedoc institutions: we need something like the UGC (Union des Grands Crus) model. Just take the top of the pyramid and do something in London, Berlin, Tokyo, New York. Bring the best of the best together.

 

Gérard Bertrand is a renowned French winemaker, particularly known for his work in the Languedoc-Roussillon region of southern France. He is the owner of 16 châteaux and wine-growing estates, all farmed biodynamically.

 

Right now, someone like Gérard Bertrand is doing a tremendous  work to promote South of France wines. He’s very strong, very successful. But we need a group effort. A top-tier wine dinner. A high-level tasting that shows: this is the level at the top. And then, there’s room for the rest.

If you want to have a creative discovery in 2026 , come to Languedoc. There are thousands of new winemakers, creations, new terroir… But it takes time. From the moment someone discovers them and brings them to Singapore, or Tokyo, or New York–it’s 10 or 15 years. It also takes courage; someone in Singapore has to put money down and bring the wine in. That’s not easy.

Languedoc needs more promotion–and not just for volume wines. Volume wine has its place, its market. Most of the government bodies–like CIVL (Conseil Interprofessionnel des Vins du Languedoc)–are putting more money into volume. But we need to put more money into value. Into raising the value. And that’s what’s missing.

[88B]: What more do you believe needs to be done to raise the profile of Languedoc?

You’ve mentioned that there are still “more mountains” for the estate to climb – what are these challenges or new heights that the estate must overcome or ascend to? As your family begins the work of replanting the vines (after 50 years of age), has there been any special efforts taken to account for climate change?

[Basile]: If you look at us–we're 3 brothers working on export. We are covering the 5 continents each year, visiting multiple countries to share our wines.This is what people don’t always realise–you need to open the bottle. In today’s very competitive world, you have to open those beautiful bottles all over the world. And yes, it costs us but that’s what it takes.

We have to get closer to the people. Always! . During COVID, everything was online, and by 2023 I thought, “Great–no more traveling!” I was happy. I felt more in tune staying in one place. But I saw very quickly how disconnected I became from people and the markets.

You have to be on the ground to make the wine alive, open bottles for people–to help them connect with the wine. Because there’s so much competition. And, to be honest, there’s also a lot of bad wine out there–but with very good salespeople. So we need to compete against bad wine with good sales.

You mentioned that we still have more mountains to climb at the estate. I’d say the challenge is just this: to get a wider range of private clients around the world to be aware of Mas de Daumas Gassac. There are still so many who don’t know it.

And you know, many wine lovers don’t know the winemakers behind a Meursault. But they’ll buy Meursault. They might not care who made it. They’ll buy Pauillac from Bordeaux– same.. But you can’t just buy “Languedoc” or “Sud de France.” You have to buy Mas de Daumas Gassac. And that’s the big challenge: there are so many barriers to entry before someone gets to Mas de Daumas Gassac. So yes, that’s the big mountain–to build more awareness among the global fine wine community.

With Atelier Guibert, there will be mistakes–but also, a lot of success. However, what is exciting is that there will be plenty of hills to climb and descend. It’s a journey. As for replanting the vines–we actually started that 18 years ago. And yes, there have been special efforts made to adapt to climate change. For instance, we’ve experienced more frost. We had frost in 2017 and 2021–and I think I’m forgetting another year–where we lost 15–20% of the harvest.

So now, we’re better understanding how frost moves through our valleys. In areas where frost hits early, we avoid planting early-ripening varieties. And in the opposite zones, we plant later-ripening ones.

 

 

We also have to install irrigation systems for baby vines that are not producing grapes in the first 2-5 years. Fifteen years ago, we didn’t need irrigation. You planted your vine, and you’d water it once, maybe twice during summer. Now–if you don’t irrigate, your vine dies. It’s just too hot and dry.

We’re also world leaders in agroforestry with70 plots, where each plot is on average 0.77 hectares and each of them is surrounded by forest. That helps us maintain a stable environment/ecosystem–hence a stable vineyard–even with global warming and extreme summer heat. The forest protects us.

And that brings me to another personal mountain: planting more trees. More trees. More trees. In the parts of the estate where there are fewer trees, I want to grow more forest. It will allow us to fight global warming–not just survive it, but fight it.

“I hope we’re going to make some amazing natural wine. I mean really amazing natural wine–in the purest sense of “natural,” with no faults at all, and that can age to be full of emotions.”

[88B]: Turning towards your second estate, Atelier Guibert, what role does Atelier Guibert play alongside the Mas and Moulin de Gassac in the overall picture of the Guibert family’s winemaking? What are your hopes for this endeavour?

[Basile]: I mean, we grew up–my brothers and I–in this wild Gassac Valley. And as the fame kept growing, more and more people came to visit. More trucks, more cars. And I remember being 20 years old, waking up in my family home, looking out over the valley. When I was a kid, the only noise was the forest. But now–it was trucks.

So we tried to take the trucks away, out of the wild valley–to protect the moment. At the same time, I wanted to make 100% Pinot Noir. I wanted to try lots of things. Another brother also wanted to create something new at Mas de Daumas Gassac. But you can’t push the walls–we had no more space. We had to stay focused: making the white, the sparkling, the red, the Vin Laurence, and sometimes Cuvée Emile Peynaud.

So we needed to make Daumas Gassac perfectly in the Daumas Gassac cellar. But at the same time–we had the desire to do something else.

Moulin de Gassac is about value for quality. It’s wine you’ll find in Raffles, Sentosa, Shangri-La, Capella. We know how to make something at Moulin Gassac with real quality, but not overly complex. It’s meant to be drunk every day–very good value.

We also know how to make a grand vin that can age 50 years–thanks to the soil and the microclimate. So between Moulin de Gassac (everyday wine) and Mas de Daumas Gassac (grand cru style), we had this big gap. There were wine lovers who couldn’t afford $100–200 bottles, but who were looking for something around $50–something amazing. And commercially speaking, we had nothing for them.

My brother Roman and I really wanted to fill that space. That’s when we started imagining the building, imagining the cellar, not spending too much, But  also wanting to be bold–with new technology, new materials, new processes.

Since 2023, we’ve had this new cellar–just 700 meters from Mas de Daumas Gassac. The same team–the same family who takes care of Daumas Gassac. We look at the tools, we see the processes. It’s very interesting because it lets us test new things–things that maybe, one day, we can bring back to Daumas Gassac.

 

 

So Atelier Guibert is really a place where we are daring. We have to take risks. And every evening at Atelier–we have this incredible view. At Mas de Daumas Gassac, you’re at the bottom of the valley–it’s wild, you hear the birds, you’re surrounded by forest. But then you walk or drive 700 meters, and suddenly you're at Atelier Guibert–with this open view, the horizon in front of you, incredible sunrise or sunset wether it’s ‘winter or summer. It’s a completely different feeling.

What’s the vision for Atelier Guibert? I hope we’re going to make some amazing natural wine. I mean really amazing natural wine–in the purest sense of “natural,” with no faults at all, and that can age to be full of emotions.

I hope we’ll create some new tastes. I hope we’ll create new winemaking processes. I hope we’ll make a lot of mistakes–because from mistakes, you learn the most. When you fail, you learn so much more than when you succeed. To be honest, it’s very interesting to fail. It makes you stronger. Way more mature.

“The grape varieties at Atelier are more regional: Syrah, Grenache, Carignan, Mourvèdre, Cinsault… You won’t find Cabernet Sauvignon, Chardonnay, Viognier, Chenin, or Petit Manseng in Atelier Guibert. That’s Daumas Gassac.”

[88B]: You’ve mentioned that the same core values that have created Mas de Daumas Gassac will be brought over to Atelier Guibert – yet would we see a difference in how these core values are interpreted and applied?

In comparison to the Mas, are there prominent differences in the terroir despite the relative vicinity to one another? And will there be changes as to the viticulture and viniculture philosophy and practice?

[Basile]: So yes–the core values that created Mas de Daumas Gassac will absolutely be brought over to Atelier Guibert. But will we see a difference in how those core values are interpreted and applied? I think yes–and that’s because one of the original core values of Mas de Daumas Gassac was creativity.

Before the first vintage in ’78, and even all the way through to 2000, there was this constant burst of creativity. We created very successful cuvées that were not mainstream at all. But when we, the second generation, took over, the estate had become somewhat established. It was no longer the wild, experimental project of the ’70s through 2000–it had become a known institution, with Mas de Daumas Gassac and Moulin de Gassac.

So, our first job was to make sure we could take it over successfully–without anyone noticing a change in the style or taste of the wines. Whether it was the white, the sparkling frizant, the red, the Cuvée Emile Peynaud, or the Moulin Gassac wines–we had to maintain our identity.

But now, with Atelier Guibert, we’re once again standing in front of a blank page. And we have a lot more freedom to be creative–to look back at the energy and innovation of our parents.

We no longer have the luxury to be fully creative at Daumas Gassac–it’s too well defined. But Atelier Guibert is a space where we can create whatever we want–new processes, new tastes, new wine styles. And if something we create is truly interesting, maybe it can influence Mas de Daumas Gassac, or Moulin de Gassac.

So in that way, Atelier Guibert is like a laboratory of ideas and aromas. And that’s very much the spirit of the project.

 

 

Now, in terms of terroir, Mas de Daumas Gassac has an absolutely unique and amazing terroir. There’s something mind-blowing about the limestone rocks in the white wine parcels, which bring fruit, beautiful acidity, and minerality. It’s just amazing. And then there’s the red glacial ice scree soil. I’m sure you’ve seen those photos–the red earth, scattered with small pieces of limestone. That’s a huge part of the Mas de Daumas Gassac blend. And that magical taste will always, and only, come from Daumas Gassac.

Atelier Guibert is close by. Some of the vines even touch Mas de Daumas Gassac plots. But those vines are not part of the Mas. Either they’re from zones that aren’t considered top terroir for Daumas Gassac, or they’re owned by growers who just want to grow grapes–they don’t want to be involved in selling or marketing. And we, as a family, have the sales and marketing strength to make it work. But the terroir is still very interesting.

We have maybe 16–20 plots for Atelier Guibert. Around 4–5 of those have galets roulés, the pebble soils like in Châteauneuf-du-Pape. Others are sandy alluvium soils–ancient riverbeds. Others are clay-rich. So it’s a totally different set of soils from Daumas Gassac. That’s the big difference.

 

Glacial scree soil refers to a specific type of soil formed from the accumulation of rock fragments, known as scree, at the base of slopes, particularly in glacial landscapes.

 

And the grape varieties at Atelier are also more regional: Syrah, Grenache, Carignan, Mourvèdre, Cinsault… So we’re bringing Atelier Guibert’s creative mindset to very traditional South of France terroir and grapes.

That gives us something special. Like the Génésis, which is only 11.5% alcohol. We’re working with local varieties–but with the same elegance and finesse, and the low alcohol style we’ve always aimed for.

You won’t find Cabernet Sauvignon, Chardonnay, Viognier, Chenin, or Petit Manseng in Atelier Guibert. That’s Mas de Daumas Gassac. Though, we might be launching a white at Atelier in 2026. As for the viticulture and vinification philosophy–that remains the same. The same team of 6–10 people who look after the vines at Mas de Daumas Gassac are also tending the Atelier Guibert vines. Everything is bio AB-certified organic.

And for me personally, I am getting  more involved in the vineyard. I am starting to be begin looking after one or two plots myself–and try to manage them biodynamically.

A salesperson has joined us for Asia, so that’ll free me up a bit. That way, I can balance things out–free up the space to really focus on one or two small parcels. And if I can do that, I’ll try to go fully biodynamic.

“Now, as for the flavour profile: I had a rough idea going in. Low alcohol plus carbonic would give me fruit and lightness. But I want Génésis to have a bit more density, a bit more structure, and this kind of electricity inside.”

[88B]: In the first debut of the wines from Atelier Guibert, you’ve opted to first unveil a 100% Syrah and a blend titled Génésis that will feature Syrah, Carignan and Cinsault.

Could you take us behind the creative process of conceptualising these wines? What were the considerations behind the choice of these two expressions for a debut? What should we expect from Atelier Guibert in the years to come?

[Basile]: Ten years ago, around 2015 or 2016, we started thinking: Okay, we need a new warehouse–we don’t have enough space. In 2020, we purchased a new plot. We knew we were going to build something within three years. That new plot was 100% Syrah, but it was a clonal selectionand at Mas de Daumas Gassac, we only have massale selection.

Initially, we thought, Let’s just buy it for the future. We don’t need it now. We’ll rip out the vines and let the soil rest. But then I went to look at the Syrah, and I realised that even though it was technically a plantation from 1986 to 2003, the oldest parts were more complex–actually mixed with some Alicante and Aramon.

I spoke with my brother and said, We already know we’ll be working with this kind of varietal in three years–why not try our hand at it in advance? At Mas de Daumas Gassac, we’d never vinified Syrah this way before–not on this terroir. We had worked with Syrah at Moulin Gassac, but that was a very different context.

It was a big step–and 2020 turned out to be an amazing vintage, it was very balanced in terms of weather.

We harvested and vinified it in the traditional Bordeaux Médoc style from before the Michel Rolland or Parker era–more in the Emile Peynaud style. That means one or two gentle pump-overs per day, each for two to five minutes. What people today call “infusion,” that's really what we were doing: a gentle extraction, leaving the skins in with the least contact possible.

 

 

Now the Syrah, that was really an infusion–very slow extraction. The wine turned out so good that we gave it a long ageing–18 to 20 months in barrel. At one point, it became undrinkable–too closed and in 2023 or 2024, the sales team didn’t want to touch it

But I had a plan from the start: Once the new winery is built, we’ll already have something to offer.

And I wanted to get some experience with barrel aging. As soon as we had the new cellar, we bought two Stockinger foudres–big 30-hectoliter barrels. At Mas de Daumas Gassac, we only work with 228-liter barrels. I felt that our Syrah wasn’t happy in small barrels, so I called different cooperages. Many of them offered all kinds of customisation, heating options, coloured staves–a lot of marketing. But Stockinger has only one model. No tricks. No fads. Just quality. That gave us knowledge, experience–and a beautiful wine we could unveil.

Also, I had this image in my head of Singapore. It’s hard to find a 5-year-old excellent wine priced at S$60–80 on a wine list. If it’s that age, you’re usually paying 120+. I wanted to create a wine that lands at SGD 60–90–but drinks like something twice that.

I mean, even S$90 is a lot. Especially in 2025, when people are just trying to pay for food. Restaurants in Singapore, France, everywhere–food prices have become stupidly expensive.

So yes–this was strategic. And it’s working so far, though it’s mostly private clients buying directly. In France and Europe, private clients had three-bottle allocations, and we’re now sold out. Vintage Club in Singapore, worked on an exclusive allocation to Britt Ng, Wine Director at Marina Bay Sands.

In 2021, there was frost–so no Syrah. In 2022, we added Marselan and Mourvèdre. Then in  2023, we removed those and added Carignan and Cinsault. In 2024, I brought in a bit of Cabernet Sauvignon–because it balances the alcohol.

And for Génesis I had this wish to craft a wine that’s drinkable at 11.5% alcohol. Génésis is that. I drink two or three glasses a day–and I’m not drunk. You know those 13.5% wines–you drink one glass after a long workday and you’re already tipsy. I didn’t want that. I wanted to go back to how wine was 50 years ago.

And honestly, I wasn’t focused on anything else other than balanced alcohol. But once we had beautiful vines, we harvested when sugar was a bit high but flavour was already present–so just slightly underripe. That helped us get that fruit-driven profile.

We did a blind tasting last summer against 10–15 other wines under 12%. Ten people: winemakers, professionals, sales. And Génésis came in third. Some people called that a success. I don’t–not until it’s completely sold out. But we’re already at 60–70%, so that’s pretty great.

This was my first vintage doing carbonic maceration. This year, I’ll be doing carbonic again, plus regular Syrah and some other creation. Step by step. I understand a bit more of one cuvée, , then I move on to the next creation–empirically, with attention. I improve the first wine, build the second, dream of the one to come…

Now, as for the flavour profile: I had a rough idea going in. Low alcohol plus carbonic would give me fruit and lightness. But I want Génésis to have a bit more density, a bit more structure, and this kind of electricity inside. Hard to describe, but I know it when I taste it.

As for the creative process–it started bottom-up. We chose parcels with poor, sandy soil–not rich, not flashy. I wanted the old vines to speak more than the soil. For example, the Carignan vines are 70–80 years old, and we’re talking yields of 25 hectoliters per hectare. Ridiculous yields. But that’s where I want to be.

So what to expect from Atelier Guibert in the years to come? Good question. So many people asked. And one month ago, I had this moment where I thought: Fuck it. What matters is what exists. And we should be proud of that. Of course we have ideas. But which ones will succeed? Which ones will fail? I don’t know.

What I do know is this: my brother Roman and I are the two winemakers in the Atelier. We each have our own cuvée. Roman’s vision is more Burgundy-style–one varietal, one plot, one wine, more focused.

I’m more Mas de Daumas Gassac, as I love blends and what complexity it brings. But Roman's single-varietal wines–Grenache, Carignan, Cinsault are absolutely amazing.

Let’s say Génésis is 12,000 bottles. His cuvées, which we might release in the next 6–12 months, are smaller production. But we’ll release them when they’re ready–when they’re tasting just right.

“You go to Sumatra, and there are rice fields that even the Balinese would be jealous of. And then you go to Bali, or the Cameron Highlands. Even Fort Canning in Singapore is beautiful. I love that park. And there’s Japan, China…We’re very lucky to have been born in the first world. And I think we have to fight for the environment in our own way.”

[88B]: If there’s one thing you learnt about wines (and/or life), what is it?

[Basile]: To be honest, I feel like I’m in a part of my life where I’m not yet able to answer that question. Not yet. We’re still in the process of creation, in the process of building myself. I’m extremely lucky to have the life I have.

I love visiting so many beautiful places and meeting people who have a sense of beauty. You go to Sumatra, and there are rice fields that even the Balinese would be jealous of. And then you go to Bali, or the Cameron Highlands, Fort Canning in Singapore – so many  beautiful places. I love that park. And there’s Japan, China…We’re very lucky to have been born in the first world. And I think we have to fight for the world in our own way.

 

Basile beside renowned Singaporean wine writer, Ch'ng Poh Tiong.

 

I’m not going into politics. But I know that for Atelier Guibert, for example, I want only recycled packaging – recycled boxes, recycled label paper. I’m having meetings now to change the bottles to 380 grams, even 300 grams if possible. All this it’s not activism exactly, but I think it’s a form of fighting to protect Mother Nature.

 

 

To be honest, there’s no clear, simple answer that comes to mind when I hear that question. Maybe when I’m 55 years old, I’ll have one. But right now, I still have 15 years ahead of me. I’m not yet a wise man. I might have some grey hair–but I’m still a teenager in my mind. So yeah… maybe I’ll never be wise.

“France used to have so many more varietals in each region 100 years ago. And now you’ve got a lot of farmers, or young winegrowers, who are starting to grow again old grape varieties that were forgotten in France.”

[88B]: Having travelled to so many places, has there ever been any other place that has caught your curiosity as to wanting to make wines there?

[Basile]: Oh, there is. There is one.. But I can’t tell you. It’s a secret–because I’m trying to buy land there. *Laughs* It’s in France.

But where I really want to grow grapes–there are two places, actually. One is on the Mas de Daumas Gassac estate, but it’s in the forest. It used to be old terraces, and the forest has taken over in the last 60 years. So I’d love to clear a small plot on one of these terraces and maybe try growing vines on the trees, like they used to do in Austria, or still do in Georgia–those high canopies, like what they call the... I don’t really remember the exact name, but very high-trained vines, protected by shade. Maybe very low yields, I don’t know. But that’s one place I dream about working on–right here on the estate, in the forest.

And I’d like to plant Pinot Noir. I’d love to use some old, special massale selection of Pinot Noir. That’s been a dream for a very long time. Something biodynamic, grown up in the trees, from non-clonal selections of Pinot Noir–something unique. Maybe just 1,000 to 2,000 bottles. That’s something I would really love to do.

Then, the second place is elsewhere in France. It’s actually linked to my family story. It’s one of those places... France used to have so many more wine regions 100 years ago. And now you’ve got a lot of farmers, or young winegrowers, who are starting to grow again old grape varieties that were forgotten in France. So that would be the place.

“Mas de Daumas Gassac has five lives. The first 3 years, then 7 to 15, 15 to 20, 20 to 25, and 25+ years.”

[88B]: Could you select any 5 wines from the Guibert family’s portfolio that will serve as a tapestry that tells us the story of the Guibert family? And as the second generation of the family’s winemakers, what are your hopes, dreams, concerns, ambition, and how do you find your voice amidst this weight of heritage?

[Basile]: So the five wines would be Guilhem from Moulin de Gassac, Faune from Moulin de Gassac, Mas de Daumas Gassac Red, Vin Laurence, and Génésis from Atelier Guibert.

 

 

Guilhem was created by my father–it's a style that walks the line between traditional and modern. It was created in 1992 or 1993, and today it’s over a million bottles sold annually–red, white, and rosé–in more than 70 countries. You find it in Capella, Sentosa, Shangri-La, Korea, Whole Foods in the US. It’s a wine that’s incredibly pleasant, affordable, and something people can buy every day or every week. People love it in hotels and restaurants.

 

 

Then Faune, also created by my father under Moulin de Gassac. It’s a blend of Chardonnay and Viognier. Back in 2000, no one was doing this kind of blend. It was quite pioneering. Now you see lots of wines blending Chardonnay, Viognier, Sauvignon... but this was magical–fresh, aromatic, and still one of our bestsellers. We don’t make much volume–about 10,000 to 20,000 bottles–but it’s a crowd-pleaser.

Then there’s Génésis, of course. It’s my blood, my baby. I worked so hard on it. I sweated over every little thing–from the vines to the winemaking, cleaning the cellar, ensuring everything was clean and pure, free from bacteria. Waking up at 4am to be in the vineyard by 5, planning, thinking, doing. Even the label design, the packaging selection–it was all me. It was like a pregnancy–9 or 12 months of carrying this baby.

And now I see how it's come alive. It’s not my wine anymore–it’s the people’s wine. They get some bottles of  it, they share it, and I see how it lives its own life. I love it. I’m a proud father of this child, definitely.

Then there’s the Mas de Daumas Gassac Red. I mean, when you drink Mas de Daumas Gassac Gassac, then you drink so many wines from Burgundy, Napa, Australia, Japan, China–but I always come back to Mas de Daumas Gassac red. The 2023 vintage that people are just receiving now–it’s amazing. It's bloody delicious and I dream about  how it will evolve over time.

I say Mas de Daumas Gassac has five lives. The first 3 years, then 7 to 15, 15 to 20, 20 to 25, and 25+ years. I love it either when it's super young or super old. That’s my favourite way to drink it. A lot of people like it at 7–15 years old, but I currently love mindblowing vintages like ’89, ’86, even ’84, which wasn’t a "big vintage" has well has 2023 and 2024!

I’ve had so many bottles of Daumas Gassac stand up against First Growth Bordeaux–and win. During COVID, I was part of a tasting group in Singapore. We’d all pitch in for one expensive bottle, then everyone brought a second bottle. A few times, we pitted Daumas Gassac against Bordeaux First Growths–and it won.

And the fifth wine would be Vin Laurence, a dessert wine, a blend of Sercial and Muscat–again, a creation of my father. It’s beautiful. It’s a secret wine, in a way. We only have 15 barrels, and it’s done in Solera. It’s totally outside of convention–just like Daumas Gassac always was.

My hopes and dreams? It’s to reach a point, maybe at 60 or 70 years old, where I can say I truly contributed to giving greatness  the family estate–to building a Atelier Guibert that can go through 100 years. That’s a big challenge. You go through crises, bad times, market changes–but I want to keep strengthening the estate and its biodiversity.

We are still, compared to many top estates, very unknown, very niche. You say we’re one of the greatest wines in the world–and a lot of people say the same. And I feel it too, when I drink the wine. But still, we’re not widely known. And I work every day toward changing that–to build something strong, something that lasts.

Whether it's more forest, more organic and ecological actions, better brand awareness, better placement–where we’re sold, and at what price–that’s what I focus on. I want to keep reinforcing what my parents created.

We’re four brothers managing the estate now. And recently I was at Vinexpo Singapore, and one of the co-exhibitors at our booth said, “It’s amazing how you four brothers work together.”

Because when there are two brothers, and they argue, it's one versus one–and only the parents can settle it. But when there are four, and it come to two against two, the other two can help mediate, balance, help to settle and them move on. And to be honest, it works super well. It’s crazy how well it works. It really saves us from making bad decisions–or decisions that could have serious consequences.

So yeah–it’s not easy. There’s the weight of the legacy, the pressure of the name, the expectations. But I’ve also found my own path, through wines like Génésis, through Atelier Guibert, and through trying new things while staying true to the core. It’s about building forward, with love for the past–but not being stuck in it.

[88B]: And if you could share a wine with anyone, who would it be and what wine would you choose?

[Basile]: I would go for the 1980s. Maybe with Émile Peynaud, if we stay in the wine world. I’d love to share a bottle from ’82, ’84, ’85, or ’89 with Émile Peynaud and Jean-Bernard Delmas from Château Haut-Brion–and those great Bordelais figures of the ’80s.

 

Jean-Bernard Delmas was the visionary winemaker who helped modernise Château Haut-Brion.

 

I’d love to have just one lunch with them–where everyone brings a bottle. And you’d have all the First Growths, and many other Grand Crus around the table.

And I love those wines. I mean, Bordeaux from the 1980s–I don’t know what it is. There was something special in the climate during that decade that, for me, the ’90s didn’t have. The 2000s don’t have it yet either. Maybe it’s just nostalgia, I don’t know. But the genius, the feeling, the taste of many ’80s vintages–for me, it’s just a bit above the rest of the past few decades.

“I try to find back my inner youth, my inner child, but still be the working man I am now.”

[88B]: Having such a diverse range of experiences personally, and together across your family, and having grown up around wine luminaries such as Professor Enjalbert and Emile Peynaud – what’s the best piece of advice (from anyone) that you’ve received? What are your words to live by?

[Basile]: Tough question–the best piece of advice from anyone? I received advice from many people. I think it was my dean in school who told me, “Basile, patience is a virtue.” And one of my bosses when I was working in London said something kind of similar.

The problem is… I’m not patient. I’m still not patient. If you want to move mountains, you don’t climb Everest in one go–unless you're extra superhuman. But to move a mountain or to climb it takes a lot. A big team, a lot of steps, different base camps. So: step by step, I would say.

Then, like those cheesy Instagram quotes: “Consistency and self-discipline.” You know? It sounds like something that comes from a 40-year-old boomer, but at the moment, yeah–it’s consistency, and trying to go towards your dream.

“I shouldn’t say this, but I really enjoy a good Asahi. When you’ve had a long day walking in Japan, you arrive at the teppanyaki, and you have an Asahi draft–it's amazing. I'm also looking forward to my pint of Guinness when I’m in Ireland in a few weeks’ time. It's gonna be good.”

[88B]: And last but not least, what are you drinking when you aren’t drinking wine?

[Basile]: A lot of water and juice at the moment. There are just certain moments–depending on the time of day or year, or where you are–where you crave one thing over another – whether it’s a spirit or alcoholic drink.

I shouldn’t say this, but I really enjoy a good beer – my wife bought me Asahi once. When you’ve had a long day walking in Japan, and you arrive at the teppanyaki, and you have an Asahi draft–it's amazing. I'm also looking forward to my pint of Guinness when I’m in Ireland in a few weeks’ time. It's gonna be good.

But yeah–water, juice, and sometimes, beer.

[88B]: This has been an amazingly entertaining and insightful chat, Gerald. Thank you for the privilege!

Atelier Guilbert's debut Syrah and Génésis wines are slated for worldwide release in the months to come. Follow Basile Guibert's socials for the latest on this!