We gathered every Australian rosé that we could find – with the brief to present as rosé, or near enough, in colour, with no restriction on grape varieties – and set our expert panel the task of finding the wines that compelled the most. That means we’re not necessarily looking for some platonic ideal of classic rosé, but rather wines of interest and character regardless of style. All wines were tasted blind, and each panellist named their top six wines.
Our panel: Our panel: Yuki Hirosé MS, head sommelier at Lucas Restaurants; Angela Strickland, owner of Independent Wine Store and co-owner of Banksia Wine Room; George McCullough, owner and winemaker at Gum Wines; James Scarcebrook, owner and winemaker at Vino Intrepido; Madeleine Horrigan, WSET educator; Michelle Nielsen, City Wine Shop; Monique Farrow, WSET educator; and Thomas Colman, partner and winemaker at Frankly This Wine Was Made By Bob.
Selected by McCullough, Nielsen, Hirose, and Strickland in their top-six wines during the blind tasting, this rosé stood out for its texture, balance, and vibrant personality. Hirose described it as having a “slightly confected nose like a lolly,” with a “full-body packed with strawberry-yogurt, ripe peach, and rose water.” He noted its “thick texture and weight” and recommended it chilled or paired with “roasted chicken and red plum sauce.” Strickland highlighted its “spice, herbs, and fresh red berries” on the nose, with a palate that was “clean and precise,” featuring “cherry, watermelon, peach, apricot, and orange rind.” She called it a “crowd pleaser” that worked equally well with or without food. McCullough praised its “wonderfully lifted aromas of tangerine zest, red grapefruit, and pomelo,” and admired its “remarkable intensity of fruit, texture, and clarity.” He found it “juicy and pleasurable,” with a “lingering finish that captures all its elements beautifully.” Nielsen described it as “enticing” with notes of “pink flowers, subtle ripe red fruits, and soft cooking spices,” evoking hot climates and pairing perfectly with “chilli mussels by the beach.” She celebrated its “dusty texture, Turkish delight, and musk stick lollies,” and its balanced acidity that left her “begging for another glass.”
Chosen by McCullough, Farrow, and Colman in their top-six wines during the blind tasting, this rosé dazzled with its aromatic complexity and refreshing palate. Farrow noted its “exotic herbal notes of Thai basil, fresh kaffir lime, and cumquat,” with a palate of “lime, mandarin, cumquat, and aniseed,” finishing with “crisp acidity perfect for a hot summer’s day by the pool.” McCullough found it “heady, herbal, and transportive,” with aromas of “lavender, menthol, bay leaf, and eucalyptus” and a palate combining “quinine bitterness, blood plum fruitiness, pink peppercorns, and native myrtle.” He celebrated its “classy yet rambunctious” character, calling it “so fun and so here for it.” Colman declared it a “wildcard wine,” likening it to “lemon sherbet and limoncello,” with “fresh apricots, honeydew melon, and raspberry” and a “stalky green character.” He admitted it was “intriguing and unique,” noting that finishing the glass before deciding its merit was perhaps its greatest endorsement.
Selected by Strickland, Horrigan, McCullough, and Nielsen in their top-six wines during the blind tasting, this rosé charmed with its bold and aromatic profile. Strickland noted its “floral ginger spice, Turkish delight, and rose petal” on the nose, with a “light, fresh palate of red apple, orange musk, and soft herbs.” She praised its “saline edge” and versatility for “pool parties or backyard gatherings.” McCullough admired its “super expressive” aromas of “white flower potpourri, lychee, peach, and watermelon rind,” with a “powerful attack, firm acid line, and creamy lees texture.” Horrigan highlighted its “fresh strawberries, raspberries, cherries, and blackcurrant leaf,” with a “full, textural palate and zesty acidity” finishing “dry and crisp with cherry stone notes.” Nielsen called it “delicate yet pretty,” with aromas of “roses, lilies, and hard meringue desserts,” and a palate of “grapefruit juicy acid, scotch finger biscuits, and lemon shortbread.” She celebrated its “mouth-watering acidity” and “peppery notes” that screamed intention.
Selected by Scarcebrook and McCullough in their top-six wines during the blind tasting, this rosé impressed with its balance of savoury complexity and ripe fruit. McCullough described “menthol, tarragon, lavender, and thyme” aromas with a “lick of Aussie bush honey” and a “savory, amaro-like bitterness” balanced by a “sweet fruit core of ripe currants and citrus.” Scarcebrook admired its “pale salmon hue,” calling it “generous, ripe, and flavourful,” with “delicate red fruits, subtle floral notes, and phenomenal texture” that makes it both “friendly and very drinkable.”
Strickland and Farrow selected this rosé in their top-six wines during the blind tasting for its vibrant and herbaceous character. Strickland noted “soft green herbs, mint, and spice” with a palate of “apricot, nectarine, lychee, red currant, and citrus,” complemented by “lovely acid structure, gentle phenolics, and chalky tannins.” Farrow described its “pale pink colour” with aromas of “orange blossom, white jasmine, strawberry, and raspberry.” She praised its “high acidity balanced with residual sugar” and “lingering notes of strawberries and cream.”
Selected by Strickland and Scarcebrook in their top-six wines during the blind tasting, this rosé captivated with its elegance and complexity. Strickland highlighted its “light pale apricot colour” and aromas of “peach, tropical fruits, and strawberry,” noting a “lively, fresh palate with zippy acidity” and a “tight, focused structure.” Scarcebrook found it “pale pink, floral, and musky,” with a “bright and clean flavour profile of strawberries and cream” and a personality that is “both friendly and expressive.”
Scarcebrook and Hirose selected this rosé in their top-six wines during the blind tasting for its elegance and drinkability. Hirose noted an “elegant nose of watermelon and jasmine tea” with a “waxy texture on the palate from gentle lees contact.” He found its “wild berries and rhubarb” savouriness ideal for “opening a long Sunday lunch.” Scarcebrook praised its “gorgeous colour, focused floral red fruits, and vibrant freshness,” calling it a rosé “with more to say” that balances “generosity with subtlety.”
Colman selected this rosé as his top wine from the blind tasting, celebrating its unique and savoury profile. He described “freeze-dried raspberries and sun-dried tomatoes” alongside “oregano and curry leaf” notes, calling it “fascinating and a little wild.” He found its “edges and personality” compelling, likening it to a “bloody mary” with “length and spiny edges of dried tomatoes, cherries, and jalapeño.” Colman admitted it felt “naughty to like it” but declared it “intriguingly good.”
Hirose selected this rosé in his top-six wines during the blind tasting, appreciating its subtlety and refreshing palate. He noted “cherry blossom and pale strawberry” on the nose, with “white nectarine juice and brisk acidity” on the palate. While “simple and beginner-friendly,” Hirose praised its “pleasure and drinkability.”
Scarcebrook and Strickland selected this rosé in their top-six wines during the blind tasting for its fresh and vibrant character. Strickland admired its “crushed rock, orange, and strawberry” aromas, with a “Campari-like palate without the bitterness” featuring “sweet red apple skins, soft herbs, and a chalky mineral finish.” Scarcebrook called it “pale salmon-copper” with “bright, generous, and dry flavours of small strawberries and rose aromas,” celebrating its “wild and drinkable personality.”
Horrigan selected this rosé as her top wine during the blind tasting, praising its bold fruit and savoury complexity. She noted “ripe red berries and stone fruit” on the nose, with a palate of “cherries, nectarines, and plums bound by zinging acidity.” Horrigan highlighted its “hint of river stone minerality that contributes textural sophistication” and called it a “serious food wine,” suggesting pairing it with “salty sweet Thai food” or enjoying it solo.
Farrow and Strickland selected this rosé in their top-six wines during the blind tasting for its vibrant and playful style. Farrow admired its “backbone of acidity” integrated with “crunchy exotic fruits like persimmon, pomelo, and pomegranate,” noting its “long, lingering finish would match well with Thai fish cakes or yum cha.” Strickland described its “bright pinkish cherry colour” and “vibrant palate of cherry, red toffee apple, and berries with cream.” She appreciated its “hint of sweetness balanced by spice and spearmint,” with a mineral component adding further interest and
balance,” calling it “a park-style rosé” perfect for casual enjoyment.
Nielsen selected this as her top wine from the blind tasting, describing it as “summer in a glass.” She highlighted a “strawberries and cream nose” evolving into “dried mango and subtle dried herbs.” The palate showcased “nectarines, cured meat flavours, and beautifully balanced acid,” delivering “enough texture to make the experience perfect.” Nielsen praised its evocative quality, calling it “juicy, fresh, and moorish,” and paired it with memories of “Christmas in North Queensland and Uncle Neil’s garlic prawns.”
Hirose and McCullough selected this rosé in their top-six wines during the blind tasting for its complexity and expressive palate. Hirose noted its “intense nose of ripe cherry and apple skin,” with a palate offering “bay leaf, thyme, and flinty reduction” that he found attractive and complex. He suggested pairing it with “garden salad and pomegranate dressing.” McCullough found it “super expressive” with “elderflower, lime cordial, red fruits, and juicy yellow nectarine,” describing a “crisp, saline palate” with “stone fruit, black tea, and chalky structure.” He called it “fresh, clean, and deliciously structured.”
Horrigan selected this rosé in her top-six wines during the blind tasting, praising its vibrant energy and complexity. She described “crunchy strawberries and tart raspberries” supported by “blossom notes, white pepper, and tomato leaf.” The palate delivered “bright green apple acidity and soft body,” balancing fruit and savoury elements. Horrigan celebrated its “multi-dimensional character” and called it “pure pleasure in a glass.”
Nielsen selected this rosé in her top-six wines during the blind tasting for its layered complexity. She was drawn to the nose of “clothbound cheese and aged comté,” which evolved into “nectarines, peaches, white florals, and candied almond.” On the palate, she noted “searing acidity and sherbet sensations,” shifting into savoury tones with “finesse and rhythm.” She praised its “depth and expression,” imagining it paired with “cheese, spicy pasta, seafood, or shared with a friend.”
Colman selected this rosé in his top-six wines during the blind tasting, appreciating its bold and unconventional profile. He likened it to “pet nat, with a redskin confectionary character” and “aldehyde notes.” The palate was “spiky, sharp-edged, and balsamic vinegar-soaked strawberries with vanilla ice cream.” He called it “yummy” and “perfectly suited for a typical Australian summer day.”
Farrow selected this rosé in her top-six wines during the blind tasting, admiring its “pale salmon colour with onion skin rim” and notes of “lemon, tangerine, ripe strawberry, and red berry jam.” She noted a “juicy palate with high acidity and savoury texture,” making it a great match for “whole baked barramundi with lemon juice.” She called it a “tasty, crunchy rosé” balanced with lingering residual sugar.
Colman selected this rosé in his top-six wines during the blind tasting, calling it “what you should imagine when you think of rosé.” He praised its “substantial palate weight” and focus on “fruit quality” rather than oak. With “raspberry, cherry, peach, and darker fruit spectrum,” it delivered “width and generosity” throughout. He declared it “potentially the most balanced wine in the lineup.”
Scarcebrook and Nielsen selected this Rosé in their top-six wines during the blind tasting for its distinctive and aromatic character. Scarcebrook noted its “pale peach colour” and “tropical notes of peach and cumquat,” praising its “sharp acidity and decent length.” Nielsen celebrated its “gorgeous nose” of “red roses, musk, Turkish delight, and strawberries.” She admired its “salty peaches and nectarines, macadamia texture, and lip-smacking acid,” calling it “dusty, elegant, and morish.”
Horrigan selected this rosé in her top-six wines during the blind tasting, celebrating its fun and refreshing nature. She described “bright raspberries and redcurrants” with “lime, cut grass, and stony minerality,” noting its “perfectly cooked pasta-like texture.” She called it “easy-drinking yet intriguing,” perfect for a sunny afternoon.
McCullough selected this rosé in his top-six wines during the blind tasting, praising its luxurious and fresh character. He highlighted “blackcurrant leaf, bay leaf, and spiced oak” on the nose, with “white currants, tangerine, and creamy stone fruit” on the palate. McCullough celebrated its “chewy, textured, and mouthwatering” structure.
Nielsen selected this rosé in her top-six wines during the blind tasting for its understated elegance. She noted a “nut-forward nose of creamy hazelnuts and walnuts” alongside “red currants, pomegranate, and cranberries.” She admired its “inkerberry acid and fleshy texture,” calling it “modest yet expressive” and a “seriously elegant rosé.”
Selected by Hirose and Colman in their top-six wines during the blind tasting, this rosé delighted with its savoury and complex profile. Hirose noted its “pale rim with an orange hue” and a “peppery note reminiscent of Austrian Grüner Veltliner,” describing “white pepper, cedar bark, and a hint of Campari” that gave it energy and lift. He called it a “connoisseur’s rosé” perfect with “cured meat or tuna tartare with chicory.” Colman praised its “seductive richness on the nose,” with “lanolin, melon, and freshly sanded wood” leading to “rhubarb, strawberry, and navel orange” on the palate. He highlighted its “savory balance” and noted that its evolving character made it increasingly appealing.
Hirose selected this rosé in his top-six wines during the blind tasting, admiring its expressive body and texture. He described its “strawberry gum and blossomy nose” leading to a “chunky, almost-oily palate” with “phenolic bitterness balanced by acidity and freshness.” He suggested pairing it with “richer fish like kingfish with pink grapefruit,” celebrating its broad appeal for diverse drinkers.
Scarcebrook selected this rosé in his top-six wines during the blind tasting for its sharp focus and mineral elegance. He noted its “lean, tight nose” with “subtle quince, underripe red cherry, and hints of cloves and curry powder.” Scarcebrook described it as “brisk, bright, and mouth-puckeringly dry,” treading the line between rosé and white wine with poise.
Colman selected this rosé in his top-six wines during the blind tasting, celebrating its bold and natural style. He described “big juicy plum and cherry aromatics” with “phenolic grip and tannins” that gave it the feel of a light red. Colman noted its “Campari-like character with condensed red berry, herbal, and blood orange flavours” and likened it to “gentle macerated pinot noir,” calling it “delicious drinking and gastronomically intriguing.”
Horrigan selected this rosé in her top-six wines during the blind tasting for its lithe elegance and vibrant flavour. She highlighted “tart cranberries, fresh strawberries, and crunchy red currants” with “dried herbs and a lick of saltiness.” Horrigan praised its “bone-dry, crisp finish” and called it “pure summer happiness in a bottle.”
Farrow selected this rosé in her top-six wines during the blind tasting, admiring its pale salmon hue and intriguing complexity. She noted “tangerine, lime, and red frog lollies” on the nose, with a palate of “stewed rhubarb, savoury notes, and a rich, textural finish.” Farrow suggested pairing it with “Thai cuisine” to complement its “balance of citrus, sweetness, and umami.”
Horrigan selected this rosé in her top-six wines during the blind tasting for its balance of freshness and fun. She described “strawberries and cream fruit” layered with “lightly confected red fruit notes” reminiscent of “red sour straps from the local milk bar.” Horrigan celebrated its “cheek-puckering acidity, subtle creaminess, and sea breeze finish,” calling it “summer in a glass.”
Farrow selected this rosé in her top-six wines during the blind tasting, praising its rich ruby-red colour and natural character. She noted its “cloudy appearance from minimal intervention” and flavours of “stewed wild strawberry, vanilla bean, cream, cinnamon, and nutmeg.” Farrow called it a “standout rosé,” perfect for pairing with “pavlova and whipped cream on a 40-degree Aussie Christmas day.”
Our panel: Yuki Hirosé MS, head sommelier at Lucas Restaurants; Angela Strickland, owner of Independent Wine Store and co-owner of Banksia Wine Room; George McCullough, owner and winemaker at Gum Wines; James Scarcebrook, owner and winemaker at Vino Intrepido; Madeleine Horrigan, WSET educator; Michelle Nielsen, City Wine Shop; Monique Farrow, WSET educator; and Thomas Colman, partner and winemaker at Frankly This Wine Was Made By Bob.
“Interestingly, the vast majority of the ones we tasted this afternoon are wines of texture. There’s so much texture across the lineup. It’s really cool to see.”
McCullough kicked off the discussion by observing a strong theme of texture across the lineup. “I think, interestingly, the vast majority of the ones we tasted this afternoon are wines of texture. There’s so much texture across the lineup. It’s really cool to see. Whether it’s stuff that’s seen time in barrel or lots of lees work… there were some very different styles, but all very textural.”
Colman agreed, noting how these textural interpretations stood out. “There were only a few wines that tasted as though they’d been made in stainless steel tanks.”
Adding to this, Scarcebrook reflected on the stylistic focus of the wines rather than their varietal identity. “I didn’t see a particularly large amount of varietal identity – it was very much a stylistic kind of thing. There were a few in there that possibly presented a regional identity, but ultimately, rosé is a style. It’s trying to appeal to a customer.
“In terms of the colour, they did, for the most part, lean on that paler end of the spectrum. As a producer and a former retailer, colour is so critical to rosé. It was interesting to see there were some that were sparkling clean, like heavily filtered, and a number that weren’t afraid to retain more of that texture George is talking about.”
“When guests at work ask, ‘I’m looking for a glass of rosé,’ we don’t really ask, ‘Would you like a glass of pinot rosé? Would you like a grenache rosé?’ We always ask about style because rosé is a style, right?”
Strickland then commented on the overall balance of the wines. “They all had a nice balance to them, really, didn’t they? They were pretty well put together, I thought, most of them.”
Hirosé linked this to how rosé is often approached by consumers. “When guests at work ask, ‘I’m looking for a glass of rosé,’ we don’t really ask, ‘Would you like a glass of pinot rosé? Would you like a grenache rosé?’ We always ask about style because rosé is a style, right?”
Hirosé also brought up an observation from his tasting notes. “I found that reductive characters came across a few times. I wrote ‘onion’ a few times in my notes. As long as it’s in balance, I don’t mind it, but for some of them, all I could smell was onion skins – almost cabbage – with a heavy reductiveness.”
“There’s a few tasting notes where I wrote, ‘white wine with colour.’”
Scarcebrook shared a similar observation. “I found that too, Yuki. There were some wines in there that were trying to be a bit closer to a white wine rather than a rosé. I think some people maybe don’t understand what customers generally want from a rosé. They want a little bit of softness. And the reductiveness – whether it’s a case of being made in stainless steel or a ripeness issue, I’m not sure, but there were quite a few that looked more like sauvignon blanc.”
McCullough added, “There’s a few tasting notes where I wrote, ‘white wine with colour.’”
Scarcebrook continued, “Whether it’s a choice of variety or the producer trying to make what they think is the most accessible style of rosé – trying to copy that Provence pale and dry style – I just think some might be missing what rosé means to most customers.”
Farrow agreed, pointing out the impact of reductive winemaking. “I think there were some that took it a bit far with the reductive winemaking. Some of them tasted almost fortified.”
“The colour thing – people are hung up on colour. If it’s got a bit more of a richer colour, they automatically think, ‘It’s a sweet wine – I don’t want it.’ So, trying to get across that it has fruit and complexity but is still dry is a tricky thing to do with rosé. We’re getting there, though.”
This led Nielsen to pose an important question: “What do we all think stylistically Australians prefer?”
Scarcebrook offered his perspective. “It is that paler, drier style, but I think the Australian palate still wants a little bit more personality without being too challenged. There’s obviously a difficulty in distinguishing between ‘fruit’ and ‘sugar.’ When I started in cellar doors a long time ago – I won’t say how long! – the perception was, ‘I don’t like sweet wines,’ but people mistake fruitiness for sweetness.”
Strickland noted similar challenges in retail. “You see that in a retail environment too. The colour thing – people are hung up on colour. If it’s got a bit more of a richer colour, they automatically think, ‘It’s a sweet wine – I don’t want it.’ So, trying to get across that it has fruit and complexity but is still dry is a tricky thing to do with rosé. We’re getting there, though.”
Horrigan summed it up: “Colour equals flavour doesn’t always resonate with consumers.”
Farrow highlighted the surprises in the lineup. “There were definitely some examples where you thought, ‘Oh, this is going to be like lolly water, confectionery,’ but you were surprised by the citrus background and the high acidity, which was really well-balanced.”
Horrigan added, “I was pleasantly surprised by how savoury a lot of the wines were. Whether it was lees work or skin contact, something was going on to make them more balanced – not just lolly water.”
McCullough rounded off the discussion by reflecting on what he values in rosé. “When I think of rosé, I think of juicy characters, but I also think of dry characters. I want the palate to be dry, but I want this instant feeling that you’re biting into a fresh piece of fruit and then you’re refreshed. There were a lot of wines in the lineup this afternoon that really captured that for me. There was a lot to love here.”
In France, pinot noir is used for pink wine in Sancerre, in the Loire Valley, and at times in Burgundy, with the commune of Marsannay being a historically important rosé producer. However, rosés are largely made with some of the more powerful grapes, with production increasing the further south you get, where rugged, sun-kissed grenache, mourvèdre and syrah vines (amongst others) turn out elegant and delicate wines, redolent of just-picked berries and lilting florals.
And while there are many historic Italian rosé, or rosato, styles made, many of them with varying degrees of fizz and sweetness (think Brachetto d’Acqui from Piedmont – Moscato d’Asti’s blushed, strawberry-scented cousin), they rarely mirror the Provence archetype. Well, they never used to at least.
“When I was judging at the Melbourne Wine Show… [rosé] was all toilet cleaner pink. In 2004, there was no rosé that was that colour,” he continued, pointing to a pale pink example in glass. “And there were none that were dry!”
Today, powerhouse Italian varieties like aglianico, primitivo, nero d’avola and nebbiolo are tuned into gently blushed offerings, proffering their individual varietal character in a style that we have come to expect. That’s not to say that Italy hasn’t retained its fair share of traditional rosato styles, some of which could easily be classified as light reds. But suffice to say that Provence has had a global impact in markets both progressive and stubbornly traditional.
That impact is true here, too, with a slew of reliable and affordable Provençal bottlings making it to our shores. This exposure, and consequent influence on winemakers, has seen the appeal of rosé increase significantly over the last 15 or so years. Rosé is now taken seriously, even if it is still a drink characterised by boundless frivolity. Prior to this revolution, Australian rosés were oft sweet and mostly varied between luridly fluorescent tones and somewhat sombrely dark hues, knocking on the door of red wine.
Bill Downie is best known for making Pinot Noir, but he has also had a long-term fascination with rosé, honed over his time at De Bortoli and taken further under his SOS label with Jason Searle. Downie was a panellist at our first Rosé Deep Dive in 2019. “When I was judging at the Melbourne Wine Show… [rosé] was all toilet cleaner pink,” he remarked at the time. “In 2004, there was no rosé that was that colour,” he continued, pointing to a pale pink example in glass. “And there were none that were dry!”
Back then, Australian rosé was almost exclusively a secondary product, with young vine fruit, or poorly selected clones or sites, or both, ending up as rosé by way of clawing back some revenue. The other method was essentially utilising a by-product. Drawing off some of the juice from a tank at the start of fermentation concentrates the primary product: red wine. This method is called saignée. That bleed-off is fermented into rosé, and though often good, is subservient to the red wine, so the alcohol or flavour profile can be ill-suited to rosé. Having said that, Gary Farr made some significant statements with the style during his legendary tenure at Bannockburn Vineyards.
In other words, rosé was never at the front of anyone’s thinking. No-one planted vineyards to make aspirational rosé, or rosé of any kind, really. That’s not to say we didn’t have the appropriate varieties already planted. We did, and we do. It’s simply that varieties like grenache, shiraz and mourvèdre were better commercial options as red wines – cinsault, a vital cog in Provence rosé, was largely ignored – and pinot noir as rosé was, and still largely is, a financial disaster, given its finicky nature, low yields and the generally low tariff for pink wines.
So, what we got, in the main, were wines of opportunity, wines of necessity, and often with a perception that they had to be sweet. Fair to say that few producers were benchmarking rosés from around the world, although Turkey Flat and Charles Melton turned out highly regarded versions, and Julian Castagna made a bolder and more aspirational statement with his ‘Allegro’ in 1998, which came with a price tag that was unheard of for rosé at the time.
The classic Provence style of rosé was fittingly championed by two transplanted Frenchmen. When Dominique Portet founded his eponymous winery in 2000 after many years at Taltarni, he produced what is regarded as Australia’s first properly pale and dry pink wine. While in 2001, after landing at Sutton Grange, near Harcourt, Gilles Lapalus intently fought the battle for pale, dry rosé, while also expanding the possibilities with both an entry level and reserve style, plus a flor-raised fino-like rosé that was well ahead of its time.
The combined efforts of rosé’s champions didn’t have immediate effects, but before long the shift was overwhelming: the neon hues were dialled down, and the palates tipped to the drier end of the scale.
With the imagination of the consumer now well and truly captured, dry, lightly textured wines with pink to onion skin hues are now made at scale, and with primary intent. However, supplying to this exemplar has arguably seen the local category nestle itself into a ‘beverage’ segment, rather than declare itself as ‘serious’ wine.
Yes, exceptions abound, but there is a functional quality to much rosé. Joyously functional, but functional, nonetheless. If we take Provence as the fountainhead of today’s rosé movement, and we should, rosé is a wine suited to the sun-drenched languor of that beautiful part of the world. Try finding promotional notes that don’t mention azure waters or the sun, always the sun. There aren’t many.
The French Riviera, or Côte d’Azur, is a place of infectious glamour, of good times, and of tantalisingly obscene displays of affluence. People want a part of that. You can see why the fine wine bit sits a bit behind that combination of sparklingly blue water, gleaming sun and the blinding impact of reflected riches.
But before relegating rosé to both summer and the judgement-free beverage basket, next to Prosecco, Italian lager and Aperol spritz (not picking on the Italians, but they do carefree well), the diversity of pink-tinged wine in this country has blossomed apace with the explosion of bottles within the Provençal paradigm. Especially if you take colour and application as defining characters, rather than being bound by production rules of a far-flung part of the world. Afterall, the Italians make coppery, blushed pinot grigios (ramato) that are essentially rosés in terms of their appearance and use – a rosé by any other name…
Provence has also seen an explosion of prestige rosé bottlings. Some of those are squarely aimed at the ultra-luxury market, servicing the mega-yachts of celebrities, oligarchs and the like, but there is also a quieter push into expressing territorial differences. That conscious foray into ‘serious’ rosé is unearthing fascinating discoveries, a world away from the brash marketing-driven wines fronted by Post Malone and the like.
“The Provence Wine Council [CIVP], who have some hardcore research divisions in marketing as well as winemaking, conducted an experiment where they vinified 13 plots of Grenache from all over Provence, made exactly the same way, and there was a staggering colour difference. This was a game changer for me in showing how rosé can reflect site. Sure, not to the same terroir-porn levels of Burgundy’s crus, but it shows the style stands above mere winemaking process.”
Felix Riley founded his wine wholesale business on the bedrock of French rosé, and he’s been closely watching the development of rosé’s more serious side. “The Provence Wine Council [CIVP], who have some hardcore research divisions in marketing as well as winemaking, conducted an experiment where they vinified 13 plots of Grenache from all over Provence, made exactly the same way, and there was a staggering colour difference,” he says. “This was a game changer for me in showing how rosé can reflect site. Sure, not to the same terroir-porn levels of Burgundy’s crus, but it shows the style stands above mere winemaking process.”
In Australia, while the broader region certainly marks rosé with individual character, the dive into terroir-expressive rosé is perhaps in its infancy. But that leap into ‘serious’ wine territory is not holding Australian rosé back from being one of our most exciting categories, with a panoply of styles that are shattering style barriers and developing in ever more interesting ways. Rosé is a beverage, yes, but it is also a steppingstone between white and red at the dinner table. And more than that, it has now fanned out to nestle up to whites and light reds, filling in the gaps and giving drinkers even more options.
Yuki Hirose MS fell for wine while working in bars in his native Tokyo. Moving to Sydney over 15 years ago, he honed his sommelier skills over a decade at Rockpool, while also working his way through the ranks of the Court of Master Sommeliers with the aim of achieving the highest distinction. Hirose moved to Melbourne during the pandemic to launch a world class wine program with Loic Avril for a string of ambitious venues for LUCAS Restaurants. Today, as Wine Operations Manager, he oversees the lists and sommelier teams at Society, Kisume and Grill Americano. In August 2023, after five previous attempts, Hirose became a Master Sommelier, one of less than 300 worldwide.
Angela Strickland has been working in the hospitality industry for 25 years, starting her career in Hobart before moving to Melbourne in 1999. With experiences gained at some of Melbourne’s most respected Wine Bars, Walters Wine Bar and Punch Lane, she later moved into retail during the heyday of Randall the Wine Merchant in Albert Park. Strickland opened here own store, Independent Wine Store, a decade ago in Rye, Mornington peninsula. Recently she opened Banksia Wine Room in McCrae as a co-owner.
Monique Farrow is a WSET Educator with over a decade of experience in wine education, having taught since 2012. She holds the WSET Diploma and is a certified French Wine Scholar, a credential she achieved in 2016. Farrow’s professional background spans roles with leading companies like Pernod Ricard and Australian Vintage Limited, and she spent seven years as a wine panellist for National Liquor News in Sydney. Most recently, she was a Wine Buyer for IGA Liquor from 2020 to 2024, shaping the retailer’s wine offerings. Her diverse expertise combines wine education, industry insights, and a deep understanding of global wine styles.
Madeleine Horrigan is a wine educator and communications specialist with over a decade of experience across Australia, Germany, and the UK. Her journey in wine began at her family’s Pimpernel Vineyards in the Yarra Valley, producers of boutique wines, where her passion for the industry took root. Currently, Horrigan is a WSET-certified Wine Educator with Melbourne Wine School, and she also offers freelance wine communication services, including digital marketing, content creation, and hosting tasting events. Her clients include wineries, retailers, and wine publications. Horrigan earned her DipWSET in 2019 and is currently a Stage 2 Master of Wine candidate, combining her expertise and global perspective to inspire and inform wine enthusiasts and professionals alike.
Thomas Colman is the partner and winemaker behind Frankly This Wine Was Made By Bob and the co-founder of Frankie and Mo’s, a natural wine bar in Blackheath, nestled in the Blue Mountains. Together with his father, Bob, Colman runs both ventures, creating wines and a space that champion the ethos of natural winemaking. A graduate of the University of Adelaide with a Bachelor of Science (Honours) in Oenology and Viticulture, Colman has honed his skills through multiple vintages across Spain, Germany, France, and the USA, as well as extensive experience in South Australia. He has also completed the AWRI’s Advanced Wine Assessment Course, further sharpening his expertise. A passionate advocate for natural wine, Colman credits mentors James Erskine (Jauma), Alex Schulkin (The Other Right), and Gareth Belton (Gentle Folk) with shaping his winemaking philosophy. His work reflects a commitment to authenticity, experimentation, and respect for the craft.
James Scarcebrook graduated from The University of Adelaide as a Master of Wine Business before a 16-month global wine adventure saw him visit ten wine-producing countries, including working two vintages in Germany. Scarcebrook has worked in fine-wine retail, as a representative for two leading importers, both with a focus on Italian wines, and now makes wine full-time under his Vino Intrepido label. That label is centred on Italian varieties and a quest for finding Victorian sites where they excel, teased out in a way that reflects on Italian tradition but seen through a new lens.
George McCullough is a sommelier-turned-winemaker and the founder of Gum Wine, launched in 2022. With a career rooted in hospitality, McCullough has worked at some of Melbourne’s most celebrated venues, including Grossi Florentino, Coda, and Tonka, and is currently based at King & Godfree in Carlton. Drawing creative inspiration from the gastronomic wines of the Old World, McCullough has spent extensive time exploring iconic wine regions such as the Loire Valley, Champagne, Burgundy, and the Rhône. His hands-on experience includes assisting with harvests and visiting influential estates, deepening his understanding of site and tradition. McCullough’s winemaking journey has been shaped by mentorship under Adam Foster of Syrahmi, with no formal studies but a focus on craftsmanship. His wines reflect a love for whole bunches, phenolics, and texture, inspired by the wines of Burgundy and both the Northern and Southern Rhône. With Gum Wine, McCullough is crafting wines that bring his sommelier’s palate and winemaker’s vision to life.
Swan Valley is Australia’s second oldest wine region, a treasure-trove of old vines, history and rich cultural connections. But whilst it has been deeply unfashionable for a time, the 2020 Young Gun Top 50 features two game-changing makers – Vino Volta and Chalari Wines – that encapsulate just how exciting the region is right now, and it’s only getting better.
The Barossa is arguably Australia’s most revered wine region. It is the home of powerful red wines, established names making established styles, but there are also makers finding new meaning in the territory. The Barossa has been fertile ground for YGOW finalists, producing four Young Guns, Matt Gant (First Drop, 2007), Pete Schell (Spinifex, 2008), Abel Gibson (Ruggabellus, 2012) and Fraser McKinley (Sami-Odi, 2014). This year’s Top 50 includes Jonathan Ross (Micro Wines) and Steve Crawford (Frederick Stevenson).
The southern Italian grape fiano has had a relatively meteoric rise in Australia. We gathered every Australian varietal fiano we could find and set our expert panel the task of finding the wines that compelled the most. All wines were tasted blind.
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