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, and each panellist named their top six wines. Below are the wines that made the panellists’ top-six selections from the tasting.
Our panel: Alex Miekle-Briggs, Head Sommelier, Grossi Restaurants; Andrea Infimo, sommelier; Chad Parkhill, Wine Buyer, Young Gun of Wine; Gemma Neil, Head Sommelier and Beverage Director, Coda and Tonka; Hanna Johansson, Sales Manager, Vintage & Vine; James Scarcebrook, Vino Intrepido winemaker; Kara Maisano DipWSET, Wine Director, Masani; Madeleine Horrigan, wine writer and MW student. All wines were tasted blind.
Selected by Miekle-Briggs, Infimo, Horrigan, Maisano and Scarcebrook in their top-six wines from the blind tasting, this fiano was a clear standout for its compelling texture, varietal expression and aromatic complexity. Miekle-Briggs called it his top wine of the day, captivated by its “lush fruit flavours, including ripe yellow Williams pear, green apple, lemon, guava and cantaloupe,” with “elderflower and jasmine” florals, a “signature almond character” and a waxy texture that “contributed depth and richness.” Infimo praised its “intense medium lemon colour” and “cool-temperature fermentation aromatics of yellow grapefruit pith, sherbet, fresh quince, lemon leaf, hazelnut husk and hay,” finding a “firm, phenolic palate” with “chalky salinity and orchard fruit” that showed “modern, confident and varietal” character. Horrigan found it “transportive,” likening the experience to “a Mediterranean garden,” with aromas of “dried herbs and sea spray,” and a palate of “ripe peaches, fresh lemons and juicy apricots” lifted by “bright, mouthwatering acidity.” Maisano praised the “candied lemon, gunflint, wet pebbles, yellow nectarine and white cherries,” with a “beeswax texture, warming alcohol” and a “dry, cleansing finish,” calling it “pleasing on all fronts.” Scarcebrook added that it was “vibrant and fresh” with “great aromatics, citrus and stone fruit, honey, saltiness and mid-palate weight,” noting its “viscosity and supportive alcohol.” A benchmark example of modern Australian fiano that thrilled across the board.
Selected by Scarcebrook, Miekle-Briggs, Johansson, Infimo, Neil, Maisano and Horrigan in their top-six wines from the blind tasting, this Fiano impressed the panel with its layered complexity, distinct herbal tones and structural finesse. Scarcebrook described its “floral citrus quince brightness” and “great zippy, pithy texture,” noting a balance between “subtle fruits and alcohol” that kept him returning to the glass. Miekle-Briggs found it “truly intriguing,” combining “underripe papaya, kiwi, bruised red apple, yellow pear and ripe quince,” with “fresh green bean and a touch of reduction” adding further detail. He admired its structure and suggested it as a match for “oily fish like salmon or Spanish mackerel with gremolata and cannellini beans.” Johansson noted “zingy lemon peel, ripe peaches, floral honey and ocean mist,” elevated by a herbal lift of “lemon balm and dill,” calling it “balanced, food-friendly, and long on the finish with a subtle nuttiness.” Infimo observed “vivacious yellow fruit – peaches, yellow plum, Meyer lemon – vanillin and nougat,” placing it stylistically between “fiano and chardonnay,” and suggested that “bottle age will only improve it.” Neil was captivated by the nose, which brought memories of “Chinese white tea, nashi pear, green cabbage leaf, white musk balls and white lily petals,” noting that while the palate was more savoury, it had a “drying peach skin texture and a linear lemon juice finish” that invited slow enjoyment. Maisano celebrated its “bracing acidity” and bright profile of “yuzu, cumquat, lemon myrtle and zest,” calling it “playful and persistent, like Persian fairy floss with bay leaf and marjoram dancing on the tongue.” Horrigan described it as “subtle and sophisticated,” with “white jasmine florals, white peaches and fennel” and a palate of “just-picked garden herbs,” noting its “elegance and quiet confidence.” A nuanced, cerebral take on fiano that spoke to each taster in a different way – and captivated them all.
Johansson, Infimo and Parkhill each selected this wine in their top six from the blind tasting, praising its clarity, varietal definition and expressive aromatics. Johansson called it “an elegant, varietal example of fiano at its best,” led by “fresh peach and lemon aromas” with deeper notes of “grapefruit zest, lemon blossom, ocean spray, quince, pear, wet stone and rhubarb,” and a palate that showed “a slightly richer body balanced by zesty acidity and a salty, rounded finish.” Infimo noted its “yellow spectrum” of aromas – “wattle, chamomile, perfumed hay, Golden Delicious, spiced quince and ripe nectarine” – alongside a “lightly honeyed quality and lovely woody notes.” He described the palate as “firm and energetic,” with good extract, acidity and “a pleasant dustiness on the finish” giving it a “spicy and savoury” twist. Parkhill saw it as “a masterclass in extracting aromatic impact from fiano,” with “vivid ripe yellow peach leaping from the glass,” a “sweet ripe fruit profile” on the palate, and “crystalline acidity and gossamer texture” driving a long finish touched by “the tiniest little pinch of sea salt.” For him, it stood out as “the very best of the ‘polished and clean’ school of fiano we saw on the day.” A textbook and crowd-pleasing fiano, immaculately composed yet full of charm.
Selected by Horrigan, Miekle-Briggs and Infimo in their top-six wines from the blind tasting, this Clare Valley fiano was universally praised for its elegance, expressive aromatics, and compelling texture. Horrigan described it as “a little bit of luxury in a glass,” opening with “candied citrus and juicy stone fruits – ripe apricot and white peach – layered with fragrant acacia blossoms,” alongside a touch of “wet stone minerality and white pepper.” She noted its “beautiful balancing act between richness and refreshment,” with a “bright, zippy acidity” and a finish that lingered on “green apple and yellow nectarine.” Miekle-Briggs called it a “showcase of Fiano’s versatility,” featuring “yellow pear, honeydew melon, honey, beeswax, orange blossom and jasmine,” with floral detail reminiscent of gewürztraminer but “softer and more nuanced.” He highlighted “hazelnut and almond,” a “chalky minerality,” and a “zesty acidic backbone” that made it “elegant and complete,” comparing its style to Alsatian pinot gris. Infimo admired its “gently aromatic nose” with “elderberry, honeysuckle, apricot, and white plum,” plus “lavender and musk,” calling it “slippery and gentle on the palate,” with “white nectarine and Williams pear” giving way to a “pleasant salinity” on the finish. A graceful, layered and texturally engaging fiano that left a lasting impression.
Selected by Miekle-Briggs and Infimo in their top-six wines from the blind tasting, this Geographe-grown fiano stood out for its vibrant fruit profile, savoury complexity and textured structure. Miekle-Briggs described “vibrant flavours of pink grapefruit, honeydew, ripe yellow pear and lemon pith and rind,” with “a subtle note of chamomile and great herbal complexity – roasted thyme and mint – that balanced the citrus brightness.” He was particularly impressed by the “layered waxiness, a hint of smoke and a delicate oiliness” on the palate, all finishing with “a lovely saline minerality” that gave the wine elegance and cohesion. Infimo found the nose “quite expressive,” led by “sun-kissed summer fruit” and yellow florals like “wattle and honeysuckle,” with layers of “Amalfi lemon, ripe greengage and Kensington peach.” He also noted “nougat and sweet pastry” suggesting “old oak and lees work,” and a palate of “Golden Delicious, quince and soft talc-like mineral grip,” with “gentle vanilla and a mild phenolic bitterness” on the finish. A flavourful and textural take on fiano, with a sunlit charm and savoury edge that kept both panellists coming back for more.
Johansson and Neil each selected this wine in their top-six from the blind tasting, both struck by its bold aromatic presence and unique personality. Johansson found it “impossible to miss” even at the end of the tasting, with “pronounced intensity on both the nose and palate,” likening its captivating perfume to something she’d wear: “lemon blossom, acacia blossom, elderflower, passionfruit, lemon zest, honey.” While the palate introduced “peaches, pineapple and grapefruit,” she admired its “elegant, smooth, fuller body” and “bright acidity” – finishing with, “I could not stop smelling this wine.” Neil was equally intrigued, calling it “strange but really enjoyable,” noting an unusual but compelling interplay of “slightly overripe feijoa and pineapple with the funk of fermented white cabbage.” She praised the wine’s “higher acid and rounder, broad structure” that tied everything together, describing it as a wine that made her want to “find out what pineapple topped with kimchi would taste like.” A wonderfully eccentric and expressive wine that thrilled with its floral lift, tropical fruit and food-for-thought funk.
Both Neil and Johansson selected this wine in their top-six wines from the blind tasting, drawn in by its floral vibrancy and layered palate. Neil described “white jasmine, honeysuckle and wisteria” as the leading aromatic notes, with supporting hints of “white pepper and ginger root.” The palate moved from “florals to unripe corella pear,” evolving through “cut green grass” and “guava,” before finishing “clean but lingering,” offering complexity to ponder long after the glass was empty. Johansson was similarly struck by its intensity, noting “unexpected wild strawberries and a subtle hint of blue cheese” among more typical notes of “lemon, honey, raw almonds and tropical fruit.” She highlighted its “rich palate and bright acidity,” and while noting a “slight phenolic bitterness,” concluded that “the rich texture balanced that well,” leaving a “moreish” impression. A fiano that deftly combines the classic with the surprising – floral, textured and undeniably characterful.
Selected by Miekle-Briggs and Horrigan in their top-six wines from the blind tasting, this Fiano impressed with its purity, minerality and electric freshness. Miekle-Briggs admired its “remarkable fruit purity” and “striking florals” of “orange blossom, rose and apricot,” underscored by “lemon pith, mandarin, pink grapefruit and a distinct sea-spray and wet rock character.” He found depth in the texture too, noting “waxy roundness, a matchstick-like character and almond meal,” and a finish of “chamomile and impressive minerality.” Horrigan described a wine that “practically hums with energy,” likening the experience to “biting into a perfectly ripe green apple, followed by a splash of fresh-squeezed lemon.” She highlighted its “cool flinty note,” “subtle textural grip” and “pure, mouthwatering finish,” declaring it the “perfect companion for long summer afternoons that turn into evenings.” A beautifully expressive Fiano, full of verve, clarity and layered elegance.
Parkhill selected this wine in his top-six wines from the blind tasting, noting that it “immediately stands out” for its “intriguing vegetal nose,” laced with “a distinctly Australian hint of lantana and seaside bush” overlaying varietal notes of “peach, nectarine and lemon zest.” As it opened in the glass, he found that wild edge mellowed into “plusher fruit and an appealing note of osmanthus flower.” On the palate, he praised the “beautiful fruit weight and concentration,” with “a lovely acid line” that kept things in check, finishing long with “a judicious hint of sea spray minerality.” Parkhill described it as a wine that, in a line-up of “manicured” styles, “stood out owing to its wild, untamed beauty.”
Maisano selected this wine in her top-six from the blind tasting, captivated by its subtle complexity and linear structure. She described a vibrant aromatic profile of “spring sage and thyme, lemon pulp and pith, wet bluestone, ripe papaya and yellow plum,” layered with “sea spray and celery salt.” The palate, she noted, delivered “classic Fiano flavours and markers,” with acidity that “remains tense and linear to the finish.” Maisano declared it “deliciously subtle and refreshing yet persistent,” and, though enjoyable on its own, called it “the definitive match to spaghetti vongole.”
Neil picked this wine as one of her top-six in the blind tasting, admiring its evolution and layered complexity. She was struck by a “nose of wombok and daikon” followed by “an undertone of white flowers.” The palate was more fruit-forward, offering “feijoa skin, pineapple flesh and white nectarine,” before moving into a subtle jasmine tea note. Neil praised the wine’s “high acid,” which “cleansed the palate of the ripe fruit and brought it back to its aromas of wombok and daikon.” She found the wine “flavourful, with a long finish and lip-smacking dryness,” adding: “It made me want to sit on the bottle and find out what’s at the bottom.”
Parkhill and Scarcebrook both included this in their top-six wines from the blind tasting, praising its poise and textural appeal. Parkhill found it “judiciously balanced and well-rounded,” with a nose of “powerful stone fruit and preserved lemon,” lifted by “a savoury hint of cheesy lees” – but without any overt funk. He admired the “sumptuous richness on the palate,” with “good depth of fruit weight, rounded acidity, and a long finish” touched by “fennel pollen and sea salt.” For him, the wine was “foursquare and forthright,” favouring precision over flamboyance. Scarcebrook described it as “shy but shows promise,” enjoying its “salinity, oily stone fruits, floral brightness” and a finish that “rounds out on the back of the palate.” For him, it was “delicious, refreshing but also interesting.”
Horrigan and Scarcebrook both selected this wine in their top-six wines from the blind tasting. Horrigan celebrated it as “Fiano’s lighter side singing,” noting how the palate “bursts with a medley of fruits, pristine and precise – stone fruits caught at perfect ripeness, juicy lime wedge, and a savoury kick of white pepper.” She admired its “zippy acidity and zestier fruit profile,” praising how it “danced across the palate with a lighter step” while still delivering varietal generosity. Scarcebrook echoed her enthusiasm, describing notes of “honeysuckle, salty citrus, brine and capers, with some lovely pickle notes.” He found it “brisk, bright, flavourful and fresh,” with “slightly green notes and a briskness that excites the palate.” A vibrant, refreshing Fiano with plenty of personality.
Scarcebrook selected this in his top-six wines from the blind tasting. Initially “complex, shy but intriguing on the nose,” the wine opened up to reveal a “lovely saline oiliness,” with aromas of “quince and herbs.” On the palate, he found it “rich, round, textural and full but dry,” with “fleshy” fruit and “not flabby,” and a structure that was “dry but not searingly,” “textural but not astringent.” He admired its “mouth-filling” character and overall balance, calling it “complex” and compelling.
Maisano selected this wine in her top six from the blind tasting, captivated by its aromatic clarity and food-friendly appeal. She described notes of “white lilies, honeysuckle and bergamot, pink grapefruit and ripe white peach” over a “background of green pear, finger lime and snow pea tendrils.” She praised its “persistent stone fruit flavours” and “charming floral aromatics,” with “length, texture and a dry finish” that made it “a polished fit to autumn figs and silken prosciutto.”
Parkhill selected this in his top six wines from the blind tasting, praising its subtle elegance. He found “beeswax, sea spray, and chamomile flower” layered over “stonefruit and lemon zest,” typical of the variety but delivered with “detail and definition.” On the palate, it offered “lovely fruit weight and elegant, silky texture,” carried by “bright-yet-soft-edged acidity.” A “gentle” and “subtle” finish brought hints of “saline, fennel pollen and star anise.” Parkhill saw it as “a softly spoken take on the variety,” and one he admired for its restraint.
Miekle-Briggs included this wine in his top-six selections from the blind tasting, calling it “exceptionally well-balanced.” He highlighted “vibrant notes of mandarin pith and juice, ripe pear, apricot, yellow nectarine and grapefruit,” supported by jasmine and honeysuckle florals with “a subtle hint of white pepper.” He found “an alluring salinity” and a “refreshing green, stalky character” that added savoury contrast. Lees contact added “hints of parmigiano rind,” and the wine finished with “great interplay of fruit and structure.”
Scarcebrook and Maisano both selected this wine in their top six from the blind tasting. Scarcebrook found “deeper floral notes,” “yellow-red berries,” and “ripe stone fruits,” noting it was “brisk, zippy and fresh” with “enough texture and weight to support” the dry style. Maisano praised its vivid aromatics of “custard apple, pomelo pulp and peel, wet river stone, clay, yellow peach, perfumed daffodil and marigold.” She admired the interplay of “mineral notes” and “tightly wound acidity,” calling it “thrilling” and a benchmark expression of “stone fruits, character and terroir.”
Johansson selected this in her top six from the blind tasting, highlighting it as a “very different style of fiano” that initially challenged, then captivated. She noted a “clear and unrepentant oak expression” on the nose with “nutty, toasted aromas,” but was won over by its “honey, ripe stonefruit, fresh lemon and delicate tropical expression.” On the palate, it was “well balanced,” with “oak nicely framing the fruit” and a finish marked by “honeyed almond tones, slight phenolic bitterness and salinity.” She concluded: “Not your typical fiano, but a wine worth your notice.”
Horrigan selected this in her top six wines from the blind tasting. She described it as “a wine for those who love surprises,” with initial flavours of “ripe quince, fresh-cut hay and wildflowers – like walking through a summer meadow,” followed by “a fascinating toasty note and a hint of marzipan.” On the palate, she noted “refreshing acidity and a gentle grip that hugs your cheeks,” calling it “a serious expression of Fiano that evolves in the glass, rewarding slow sipping and close attention.”
Maisano selected this in her top six wines from the blind tasting, calling it “a great expression of what Fiano can achieve.” She described aromas of “marzipan, underripe apricot, cedro, preserved lemons and sunflowers,” with a palate that was “rich and textured as expressed by the exoticness of the fruits unveiled,” finishing with “racy acidity” and striking notes of “apricot kernel and bitter almond.”
Neil selected this in her top six wines from the blind tasting. She was struck by the “fresh citrus characters on the palate,” noting how “lemon and yellow grapefruit juice” immediately made her pucker before the wine transitioned into “stone fruit steeped in jasmine tea.” She praised its “tea-like persistence” and the way it balanced “vegetal, floral and fruit in a really pleasing manner,” calling the wine’s intensity “just right.”
Parkhill selected this in his top six wines from the blind tasting, noting its “richer end of the fiano spectrum” with aromas of “lanolin and beeswax adding depth” to “ripe yellow nectarine, lemon zest, and jasmine blossom.” He admired its “admirable elegance and grace,” with “plenty of fruit weight and presence” that was kept in check by “just-bright-enough acidity” and a “little hint of salty minerality on the finish.”
Infimo selected this in his top six wines from the blind tasting, praising its “exuberant nose with elevated aromatic intensity.” He found “hazelnut husk, ripe lemon, and beautiful white nectarine and peach,” calling it a “youthful, more fruit-driven and aromatic style” with a “lovely crunch” and “delicious and inviting fruit that makes you salivate.” He commended its “optimal ripeness” and “great vibrancy and palate flow.”
Neil selected this in her top six wines from the blind tasting, calling it “a wine I think could be great for a difficult to pair dish or a quiet afternoon of contemplation.” She was captivated by the “unique” nose, describing “aromas that hinted at mint, with pink and red florals slightly sweet,” plus “wooded spice” providing contrast. The palate followed with “grapefruit pith into white melon flesh finishing on a raw green capsicum bite,” ending on a “cleansing acid” and “faint white tea finish.”
Parkhill selected this in his top six wines from the blind tasting, highlighting “beautifully-defined aromas of ripe white peach, lemon zest and lemon blossom,” lifted by “a smoky little hint of reduction.” He found the wine “generous in fruit weight” with a “silky texture,” and admired its “vibrant acidity” and the “delightful little hint of toast and hazelnut” on the palate. He called it a “polished” style with “charming rustic edges that hint at fiano’s wilder expressions.”
Johansson selected this in her top six wines from the blind tasting, noting how it “stood out in the lineup” with a nose of “orange blossom and grapefruit zest” alongside “lemon peel, yellow peach and ocean breeze.” She praised the wine’s “good intensity on both the nose and palate,” with “manuka honey, white blossom and fresh passionfruit” emerging, and a “bright acidity” that kept the “moreish” palate in balance. A “pleasant salinity” rounded out the finish of what she called a “refreshing wine with good complexity and length.”
The surge of Italian grape varieties in Australia could give one the impression that all those vines have been championed in Italy for centuries, finding their unique pockets of best expression and maintaining their place, just as pinot noir and chardonnay have in Burgundy, or riesling has in the Mosel. The reality is that many Italian grapes that are now vital symbols of their regions were almost snuffed out of existence.
Grapes such as nebbiolo and sangiovese have never been under any great threat, always being totemic symbols of Italian wine, but many others – such as arneis, greco, pecorino and fiano – were pushed towards extinction in the latter half of the 20th Century, and some are only just properly recovering.
Italian vineyards – along with much of Europe – had been savaged by phylloxera (an American louse that destroys vines) in the 19th century, wiping out many traditional vineyards and threatening the future for varieties that had been grown for hundreds, and in many cases, thousands of years. When time came to plant again, those varieties that had perceived limitations were largely excluded.
“It’s totally a winemaker’s grape. It will do anything from steely or aromatic crisp dry whites to lees-aged, textural, oak-influenced wines that drink well up to 10 years. Skin contact also works well for fiano, either short or long. Basically it can do anything. I think fiano will become a major white grape for Aussie viticulture.”
A tendency to produce naturally low yields saw fiano – a Campanian white grape – shunned in favour of high-yielding and generally reliable varieties, even if they were intrinsically less characterful. As technologically produced wines became possible, high yields were the key to profitability in what was an industrial revolution in wine that churned out blandly pleasing wines. That period saw Italian wine garner an international audience, but in the process, it was beginning to lose some of its identity.
What replaced traditional vines across Italy depended on the region, but in many cases popular local grapes like sangiovese and montepulciano were planted more broadly, while the somewhat nondescript but bountiful trebbiano took up more than its fair share of vineyard space. French varieties also made inroads, which was enhanced with the global obsession with cabernet and chardonnay in the late 20th century.
Those ancient and almost forgotten varieties needed their champions.
In the case of fiano, it took the efforts of Antonio Mastroberardino to almost single-handedly revive its fortunes, while his work with greco was similarly celebrated, and arguably even more so with aglianico, where he championed single-site bottlings, releasing three vineyard-specific Taurasi Riservas in 1968 – a first for southern Italy, and a landmark moment that propelled the aglianico grape onto the world stage
Mastroberardino had considerable success, but he was firmly swimming against the stream for decades before a broad appreciation for the spectrum of the best indigenous varieties again found favour, making more meaningful international breakthroughs in the 1990s, when Fiano di Avellino, Greco di Tufo and Taurasi all become celebrated regional wines.
The Mastroberardino family settled in the town of Atripalda, Irpinia, in 1878, building the estate up over the years, before decades of economic hardship and the catastrophe of World War II saw it all but destroyed. Once Antonio Mastroberardino took the reins, he set about rebuilding the family business in concert with reviving local winegrowing traditions.
Mastroberardino had made his first fiano in 1945, picking bunches from stray vines he found here and there. That first vintage was a mere 30 bottles, but it set in train his desire to revive the fortunes of the grape. That saw him buy up remnant vineyards and propagate vines from cuttings taken off those old vines, as well as advancing his winemaking methods to enshrine fiano grown in Avellino as a world-class wine.
In the 1960s and ’70s, technology was being employed to make bright but somewhat industrial wines that took the world by storm. But that technology also enabled Mastroberardino to present clear varietal fiano – and greco – that would appeal to international tastes, with some ageing in small oak also adding to the appeal at the time.
In 1978, the DOC for Fiano di Avellino was granted (becoming a DOCG in 2003), somewhat cementing the future for the grape. It was not until the 90s that other producers in Irpinia started to make their mark, but they were already established as growers of local varieties, and while much of southern Italy fell into the arms of the key French varieties – especially chardonnay and cabernet sauvignon – Campania pursued a largely indigenous path.
Today, Avellino has some 430 hectares of vines on the limestone and volcanic soils of the region, with an elevation between 400 and 700 metres. That elevation, coupled with a continental climate (warm days but cool nights) and the cooling influence of the Apennine Mountains make the zone a cool one, though with abundant sunshine. The wines naturally vary, with some lower lying vineyards on soil with more clay that make richer wines, while those more elevated can have a distinct smoky minerality from the sulphur-rich soils, and the wines tend to be fine and crisp.
It was not until the 1990s that fiano was seen as a serious prospect outside Campania, with its adaptability to warmer condition proven in lower-lying and warmer areas, such as Cilento on the coast in Campania’s south. While the flavours certainly become richer, tropical even, fiano holds its acidity particularly well in warm climates, maintaining freshness in the finished wines.
That suitability to warm and hot conditions saw fiano succeed in the heel of Italy’s boot, in Puglia, as well as becoming a logical choice for Sicilian vineyards. Today, about 31 per cent of Italy’s fiano plantings are split between those regions, while Campania accounts for 65 per cent of the 1,377 hectares (at last count). Unsurprisingly a smattering exists in Basilicata, which is wedged between Campania and Puglia, as well as further down the boot in Calabria and further north in Molise on the east coast.
Perhaps most notably, Diego Planeta planted the grape for his ambitious eponymous endeavour in Sicily. Along with French red varieties and the tried and trusted nero d’avola, Planeta planted a raft of experimental grapes to find the best fit for sites across the island. He tested some 60 varieties in all and is seen as being largely responsible for championing fiano there from a vineyard in Menfi on the west coast.
Planeta’s ‘Cometa’ was first released in 2000, and it couldn’t have been more different to the classic wines made in Irpinia. At the time, Diego Planeta was very much riding a wave of modernism, making intense fruit-froward styles and often with a dose of oak from French barriques, including in the ‘Cometa’. Style aside, Planeta proved that fiano could thrive in hot conditions, retain acidity, and also that it could age – one of his missions, as few native Sicilian white varieties do.
In 2001, Nicolas Belfrage, the renowned English expert on Italian wines, noted that experiments with fiano were occurring in Sicily, Puglia and Basilicata. “Next thing you know it will be an international star, I don’t think,” he wrote in ‘Brunello to Zibibbo’ his landmark work on the wines from Tuscany through the south and on the islands. That comment is just over 20 years old, and although it is hard to dispute Belfrage’s prediction, fiano’s success may just have eclipsed his modest expectations. While the grape is still largely planted in Italy, Australia now has well over 50 makers working with the grape.
Fiano had in fact found its way to Australia in 1978, which seems somewhat progressive as it was only first granted a DOC in the same year. However, the material that was brought in by the CSIRO never progressed beyond a research phase, with commercial plantings only occurring in the early 21st century. The first vineyards were established by two of the great champions of Italian grapes in Australia, the Coriole and Chalmers families, the former with the CSIRO material and the latter with their own imported vines.
“Fiano is fantastically adaptable to soil types, climate conditions and aspects, so it has found a great home in many different regions of Australia. It can work well in humid and hot climates (think Hunter Valley to the Riverland), it also works at altitude or low elevation – think Alpine Valleys or Adelaide hills to Murray Darling or McLaren Vale.”
Both families debuted a commercial release of the grape in 2005, with the Chalmers’ fruit coming from their Murray-Darling vineyard, while Coriole’s was off McLaren Vale plantings that had been established in 2001, two years after Mark Lloyd fell for the grape after a trip to Italy. And although those regions are very different, they are both warm viticultural zones, which is a signpost for the future application of the grape. The Chalmers family ended up focusing on fiano in their Heathcote site, which they purchased in 2008, but warm zones are by no means the only ones that favour the grape.
“Fiano is fantastically adaptable to soil types, climate conditions and aspects, so it has found a great home in many different regions of Australia,” says Kim Chalmers, Director at Chalmers Wines. “It is a grape-grower’s dream. It has thick skins, good bunch placement, balanced yields, great natural acidity a great open, upward growing canopy and picture-perfect bunch architecture. Its thick skins mean it has great disease resistance as well as sun protection, so it can work well in humid and hot climates (think Hunter Valley to the Riverland), it also works at altitude or low elevation – think Alpine Valleys or Adelaide hills to Murray Darling or McLaren Vale.”
The Murray-Darling is still responsible for a lot of the fiano grown, as is South Australia’s Riverland. Ashley Ratcliff’s Ricca Terra Farms is a key source of quality fiano, amongst other alternative varieties, supplying many cutting-edge makers with fruit. Ricca Terra currently have around 6 hectares of fiano amongst their 80 hectares of vines – with a solid lean towards Italian and Iberian varieties. The grape has become a key pillar in the business, and the access to fruit for thoughtful makers has played a big part in the development of different expressions. Aside from fiano’s suitability for warmer climates, the very reason why it declined in Italy is something that Ratcliff sees as a distinct advantage.
“Fiano has been a hugely important variety here at Coriole, both in itself and how it has influenced our white winemaking in general. Its thick skins and loose bunches provide great protection to the warmth of McLaren Vale, and by varying canopy management we can manipulate bunch exposure to influence phenolic ripeness.”
With small berries and bunches, fiano is suited to high-quality production, a self-limiting attribute that is ideal in an area of abundant sunshine like the Riverland. Unlike many growers in the region, Ratcliff has always pitched his business as a premium operation, and one built on grape varieties that don’t just survive the heat but actually thrive. As it stands, the demand for the Ricca Terra fruit, along with other progressive Riverland growers, very much outstrips supply. That’s a pretty sure sign that fiano is very much on an upward trajectory, no doubt to the surprise of Mr Belfrage!
In McLaren Vale, Mark Lloyd’s son Duncan steers the winemaking at Coriole. Alongside the phenomenal success that sangiovese has been in their portfolio, fiano has become their key white grape, even bottling a reserve alongside their shiraz and cabernet flagships. “Fiano has been a hugely important variety here at Coriole, both in itself and how it has influenced our white winemaking in general,” he says. “Its thick skins and loose bunches provide great protection to the warmth of McLaren Vale, and by varying canopy management we can manipulate bunch exposure to influence phenolic ripeness.”
Lloyd says that the natural depth of flavour and acidity in the grape are key, with his role to build texture, both through viticultural practices and in the winery, with some skin contact and the use of large format oak. “We have found fiano to be a great addition to the other white wine styles we produce from McLaren Vale,” he says. “It carries the most weight and depth of flavour with enough structure to stand up well with food.”
Today, there are plantings of fiano in many Australian regions, from the cool of the Alpine Valleys and the Adelaide Hills to the heat of McLaren Vale, Barossa, Murray-Darling, Riverina and Riverland, and it is also establishing a presence in the west, with plantings in Geographe, Margaret River, Great Southern and the decidedly hot Swan Valley.
“Fiano is working well in the Swan District,” says Garth Cliff of Vino Volta. “It has high acidity, so it gets to good ripeness without adjustments. It has nice tropical and citrussy flavour and lends itself to building texture, which we do with a little skin contact prior to fermentation, then ferment and mature with high solids in barrel.”
Cliff says that the fruit is already in high demand, with alternative varieties somewhat clamoured over in general, but he sees a distinct potential for fiano in the region, both being climate apt and producing wines of character. “The flavour is good, and it makes nicely textured wines. It has the potential for mass appeal, but we’re still really early in our exploration,” he says.
Kim Chalmers believes the potential is vast both in terms of where it can be grown and how it can be made. “It’s totally a winemaker’s grape,” she says. “We make traditional method sparkling from fiano in Heathcote with plenty of ripe fruit flavour and loads of acid, so no acid adds and no dosage. Miracle! And as for table wine, it will do anything from steely or aromatic crisp dry whites to lees-aged, textural, oak-influenced wines that drink well up to 10 years. Skin contact also works well for fiano, either short or long. Basically it can do anything. I think fiano will become a major white grape for Aussie viticulture. It just works!”
Our panel: Alex Miekle-Briggs, Head Sommelier, Grossi Restaurants; Andrea Infimo, sommelier; Chad Parkhill, Wine Buyer, Young Gun of Wine; Gemma Neil, Head Sommelier and Beverage Director, Coda and Tonka; Hanna Johansson, Sales Manager, Vintage & Vine; James Scarcebrook, Vino Intrepido winemaker; Kara Maisano DipWSET, Wine Director, Masani; Madeleine Horrigan, wine writer and MW student.
Scarcebrook, who was on the panel for our previous Deep Dive into fiano, kicked off the discussion by reflecting on the changes he’s seen in the Australian fiano landscape in the intervening three years. “The first big difference between the first and second fiano tasting is that there were more today, which is certainly a reflection of how much more fiano seems to be produced in Australia.”
Scarcebrook continued: “Another big difference for me is that, the first time, I feel like there was a much more common theme of trying to get fianos that were aromatic and fresh, and relatively crisp and dry. This was possibly a reflection of where it was planted in warmer regions – going for that more riesling/sauvignon blanc style of fiano. But today I found that there was more diversity of expressions of fiano, which I hope is partly a reflection of it being planted in more diverse areas, but also a bit more experience and comfort in working with fiano in a different way – not simply either a fresh style or a skinsier style. I found it greatly encouraging to see a bit more diversity of expression – and if I’m honest, I think that the overall quality was a lot better this time.”
Infimo was also struck by the diversity of styles. “There were a lot of examples that were made in a more youthful and fruit-forward style, more aromatic and primary – but by all means these were really quality – and a few examples that were slightly more experimental or lo-fi. Probably different vessels – I wouldn’t be surprised if the come of them were amphora. Definitely some examples with lower sulphur. It was a wide spectrum.”
“I was on the hunt for character and texture to the finish. I wanted wine drinkers to be enticed by the subtle beauty that is Fiano.”
Within that diversity of styles, Maisano found a corresponding diversity of flavour and aroma. “This tasting showcased distinct flavours for me, namely exotic tropical fruits, summer stone fruits, floral aromatics, and finally garden herbs and green orchard fruits. Minerality flavours ranged from sea spray and wet clay to river stone. I won’t lie, I was on the hunt for character and texture to the finish. I wanted wine drinkers to be enticed by the subtle beauty that is Fiano.”
Mielke-Briggs was impressed by the quality of the viticulture and winemaking on display. “I thought there was some really, really pure examples, in kind of both styles [aromatic or textural], but the the actual quality of the fruit really, really shone. I think that it’s something that’s only ever gonna get better as, we’ve got more and more experience, as vine age grows.”
For Johansson, the tasting showcased the development of fiano as a variety in an Australian context. “What really stood out me most was the palate and the texture of some of them – a little bit of lees, maybe some older oak snuck in there, just adding texture to make a style that I haven’t often seen from Italy or anywhere else. It showcases what fiano in Australia is capable of doing.”
Horrigan adds that this developing Australian take on fiano is a product of the freedom of Australian winemakers to experiment, unbound by old-wold tradition. “You can take a variety that has a very true character in Italy and then make it your own, or express it in a totally unique way, experiment with the winemaking. Throughout the tasting I found wines that I thought were true to character, but then also wine that made me think, ‘This is actually really intriguing – it may not align with what I thought I was going to see today, but I actually really like the direction this is going’. It was quite a tough choice coming up with my top six.”
“It’s not just another alternative variety, it’s becoming a bit of a mainstay within Australia.”
Mielke-Briggs adds that this new confidence in Australian fiano is as much about consumer demand as it is about improving viticulture and winemaking. “It’s not just another alternative [variety], it’s becoming a bit of a mainstay within Australia … People are more aware about it. People recognise it, and they’re willing to take the next step and purchase it.”
For Neill, that increased consumer awareness can be tied to the cosmopolitanism of the average Australian wine-drinker’s palate. “I think Australian drinkers are global drinkers compared to say, Europeans. They go overseas a lot, where they drink local products, and then they come back here and say [to wine professionals] ‘I really want this variety here or that’. They go looking for the Australian versions – and because they are varietally focused, I think they ask for those by variety, which is interesting.”
“Compared to a lot of Italian varieties, fiano is also pretty easy to pronounce!” adds Scarcebrook.
Parkhill notes that increased consumer demand for fiano is a rising tide that lifts all boats. “There was a really lovely array of styles today, and hopefully that will be reflected in an array of price points as well. There were so many just well-made, very delicious, approachable wines in the lower half of the bracket – you can’t really be upset that this is something that people are reaching towards. It makes sense when you see the quality of the average wine today, which was really good.”
Alex Meikle-Briggs is the Head Sommelier for Grossi Restaurants. Originally from the UK, he moved to Australia in 2020. A certified sommelier with a passion for Italian wine, Alex has completed the Barolo/Barbaresco Academy Langhe Wine School. His love for Italian wine is showcased at Grossi, where he has curated the first restaurant wine list in Oceania to dedicate a full A4 page to the lesser-known Timorasso, an indigenous Italian grape.
Gemma Neil is the Head Sommelier for Melbourne’s Tonka and Coda, where she leads a dynamic team and curates wine lists that balance intrigue with value. Originally from Canberra, Neil relocated to Melbourne in 2007 and began her hospitality journey at The Italian, where an early interest in wine saw her step into a junior sommelier role. Following further wine study, including WSET Level 2 and 3 qualifications, Neil joined the team at EZARD in 2013. Over five years, she progressed into restaurant management while continuing to deepen her wine knowledge, beginning the WSET Diploma in 2017. In 2019, she helped open Lagoon Dining in Carlton, a pivotal role that reignited her passion for wine service and food pairing. Since taking on the Head Sommelier role at Tonka and Coda in 2023, Neil has found a balance between wine leadership and team management, bringing a thoughtful, inclusive approach to hospitality and list building.
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.
Kara Maisano is the Sommelier and Wine Director for Masani in Melbourne’s Italian heartland, Carlton. Maisano is a VIA Italian Wine Ambassador, Court of Master Sommeliers Advanced Sommelier, WSET Diploma holder and WSET Certified Educator. She was the Gourmet Traveller Wine Young Sommelier of the Year for 2018.
Andrea Infimo grew up in Naples, coming to Australia as an environmental science graduate in 2013. He began working at Movida Sydney on what was meant to be a sabbatical year, but there he fell in love with wine. After Movida, he worked at Sydney’s iconic 121 BC wine bar, then under Annette Lacey MW for the Lotus Group. A move to Melbourne saw Infimo reconnect with Movida in 2018, where he is the Group Beverage Operations Manager, as well as the Head Sommelier for the original restaurant. Infimo completed his WSET Diploma in August 2022.
Hanna Johansson is the Sales Manager at Vintage & Vine in Melbourne, bringing a broad international background in wine and hospitality to her role in wholesale. Originally from Sweden, Johansson has worked across Australia, New Zealand, and Italy, with a strong foundation in front-of-house roles, particularly as a sommelier and restaurant manager. Holding a WSET Level 4 Diploma, Johansson combines academic rigour with real-world experience, having worked everywhere from cellar doors to wine bars. Her current role sees her drawing on that breadth to connect top-tier producers with Australia’s wine trade, bridging the gap between story, service, and selection.
Chad Parkhill is a beverage writer, sommelier, and the Wine Buyer for Young Gun of Wine. His work spans writing, wine selection, and venue management, underpinned by a deep passion for storytelling through drinks. Parkhill is the author of Around the World in Eighty Cocktails (2017), and his writing on wine, spirits, and cocktails has featured in The Oxford Companion to Spirits and Cocktails (ed. David Wondrich, 2021), PUNCH, The Guardian, and more. From 2020 to 2023, he owned and operated the critically acclaimed Footscray cocktail and wine bar Trouble in Dreams, which was listed among Melbourne’s best by Broadsheet. Prior to his current role, Parkhill was sommelier and bar program manager for Melbourne’s Coda and Tonka restaurants.
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.
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