Status games in Wine industry .pdf

Rst few years critics largely withheld glowing praise

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rst few years. Critics largely withheld glowing praise and high scores. For example, well-known British wine critic Jancis Robinson (2014) remarked simply that Dominus Estate is highly dis- tinctive. Ever gracious, Moueix explained his vision for Dominus Estate to consumers, critics, and journalists: Neither distinctly Californian nor distinctly French, Dominus Estate is a unique combination of Napa terroir and Bordeaux spirit. 7 In other words, Dominus Estate wine expresses Napa Valley terroir through uniquely French winemaking. Moueix produced more vintages without changing his approach, and over time reactions to his wines changed. Eleven years after describing Dominus Estate as more like a Pomerol 6 He favors farming without irrigation and harvests grapes early to produce less intensely fruity wines with lower alcohol. He pioneered the practice of thinning the crop, thereby increasing the intensity of avors in the remaining grapes. 7 This simple statement re ects the importance of terroir, coming fi rst, followed by the unique approach to that terroir ( . napawineproject.com/dominus-estate/). Status Games / 149
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[from Bordeaux] than Napa Cabernet (K&L Wine Merchants 2018a), Robert Parker wrote that with the 1995 vintage, Christian Moueix and his talented winemaking team continue to rewrite the de fi nition of a Napa Valley reference point wine (K&L Wine Merchants 2018b). Parker found the 2001 Dominus Estate A classic in the making, this is a awless, seamless example of elegant, complex Napa Cabernet Sauvignon that possess a Bordeaux-like personality (K&L Wine Merchants (2018c). Parker awarded 98 points. Twelve years later, Decanter , James Suckling, Robert Parker, and Vinuous Media awarded the 2013 Dominus Estate, its 30th vintage, a perfect 100, marking Dominus Estate as forever capable of greatness. As winemakers gain status, they gain in uence over critics. As one critic, Chris, said, I ve learned to accept and appreciate more by tasting with winemakers. From these experiences and others, critics articulate complex feelings and sensations and create benchmarks through numerical scores (Ali, Lecoq, and Visser 2008; Lehrer 2010; Maciel and Wallendorf 2017; Schatzki 1996). In this way, reviewers create a structure, and a language for the dif fi cult-to-de fi ne sensations of consuming wine, and these standards help consumers develop preferences (Huberman, Loch, and ¨ Onç¨uler 2004; West, Brown, and Hoch 1996). Consumers, members of the trade, and others use these standards to learn about wine in the same way as medical students learn gross anatomy by comparing the benchmark with experience (Becker 1961). When the experience is highly ambiguous, consumers struggle to develop an independent and objective evaluation.
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