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Deep Dive:
Australia’s Best Skin Contact Whites

Wines Of Now
15 August 2025. Words by YGOW.

What does a ‘skin-contact white wine’ mean in Australia in 2025? It’s certainly a much tougher question to answer now than it was when we first took a Deep Dive into the topic back in 2019. Following in the wake of a handful of trailblazing definers of the genre, a much more diverse array of winemakers – at all points on the spectrum from ‘natural’ to ‘conventional’ – are now macerating some or all of their white grapes on skins during fermentation. The resulting wines are as diverse as their makers: some so deeply coloured they could be mistaken for light reds, and others so light-on they could slip into the white by the glass section of your local bistro’s list. With such a huge palette of colour and flavour for makers to play with, we thought it was time to revisit the subject and do another Deep Dive.

We gathered every skin-contact white wine that we could find – ranging in colour from yellow gold through to deep ochre – 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.

Our panel: Kevin McCarthy, winemaker, Quealy; Steffi Snook, winemaker, Yayoi; Steve Kimonides, winemaker, Stelios Kimonides Wines and wine buyer, Rumi; James Becker, winemaker, Musical Folk; Florian Rupp, head sommelier, Marmelo; James Ness, wine buyer, Hope Street Radio; Blake Meyer, wine buyer, Reed House; Brad Lucas, Cult of the Vine.

From the Deep Dive

The Top Wines

2024 Good Intentions ‘Magnolia’ Gewürztraminer, Wrattonbully $35 RRP

Snook, Lucas, Rupp and Meyer all ranked this among their top six from the blind tasting, with Lucas calling it “unarguably best in show today… lungfuls of jasmine, cut mango and Turkish Delight… lavish palate… dried papaya concentration… bergamot tea phenolics… plush yet precise… pure ambrosia.” Snook described its “pale copper” colour “like the gentle glow of evening light,” with aromas of “red apple, ginseng, jasmine tea, and orange blossom,” plus “orange bitters and tonic water” on the palate, “balanced by… fine, silky tannins… powerful and composed, with a sense of movement and grace.” Rupp saw it as “a serious skin contact white… flavours of Turkish delight and pomegranate… bittersweet Italian amaro characters, grappa, and layers of complex orange… perfect companion to Middle Eastern fare – or to the classic prawn on the barbie!” Meyer admired its “very Eastern European style… lacquered wooden element unlike oak… Cognac, nutmeg, pot pourri, dried apricot, and dried cranberry… tannins… like those of an ideally extracted black tea… luxurious as fine leather, with the charm of a gruff old man.”

 

2023 Edenflo ‘Quincy J’, Eden Valley $38 RRP

Chosen in the top six by Kimonides, Ness, Lucas, Becker and Meyer during the blind tasting, this wine stood out for its complexity, character and length. Kimonides was drawn to its “deep golden hue and slight haziness,” with “dried mountain herbs – think oregano and thyme – which made it clearly stand out from a sea of wines displaying stone fruit and blossom.” He praised the “crushed ant acidity,” “brassy metal character” and “wonderful tannin structure” that took on “a black tea–like quality.” Ness called it “intensely aromatic – peony, walnut and jasmine robed in a little honey,” with “massive concentration on the palate… young ginger with cucumber skins, alongside crisp, fresh-cut red apples… long, very pleasant finish.” Lucas found it “a fruity, free-spirited style… brimming with brekkie juice aromatics and marmalade-tinged spice… pink grapefruit and buzzy pineapple granita… subtle savoury leanings… brazen, barefoot charm… total nectar.” Becker noted a “confected honey nose – like apricot jam and marmalade on toast, with a fresh glass of Fanta… candles and beeswax… chalky and talc-y palate… great flow and energy… ripper!” Meyer called it “very punchy… marmalade, orange peel, papaya, dried white flowers, a slight cheese rind element,” with “mouth-drying tannins… drinkability very high for a richer, more oxidative style… I implore you to pursue this wine!”

 

2023 Good Intentions ‘Relatively White’ Sauvignon Blanc, Mount Gambier $35 RRP

Selected in the top six by McCartthy, Ness and Becker during the blind tasting, this wine had plenty of intrigue and personality. Ness found a “fascinating aroma of Normandy cider: bruised and slightly funky, with a hint of sea salt,” while the palate was “fresh and focussed, coming in waves – beautiful bruised orchard fruit from apple to Nashi pear… fresh lime juice and crushed coriander seed… refreshing [and] intriguing.” Becker described “burnt lemons and beeswax on the nose, with some orange blossom and chamomile tea… a nice peach skin note… a little bit of gasoline… good acid line with talc-like phenolics… burnt toast on the palate and lanolin… could get stuck into it on a hot day, or sip it alongside shared plates at a restaurant.” McCarthy saw “gold colour … leads with honeysuckle and pink peppercorn top notes, followed by a little hint of Moroccan preserved lemon … limestone minerality picks up where the soft, chalky tannins leave off … Power and weight on the palate, à la Damijan Podversic.
”

 

2025 J. P. Trijsburg Pinot Gris/Riesling/Gewürztraminer, Bendigo $30 RRP

Becker and Rupp both included this in their top six from the blind tasting. Becker enjoyed its “fresh and clean notes of vibrant white peach, strawberries and red apple skin… a dead ringer for strawberries and cream… surprisingly phenolic and textural… red apples, lychee, and grapefruit pith… soft acidity.” Rupp called it “fun – but so precise… pure and expressive strawberry jam… fresh guava and zesty grapefruit… lots of ripeness… extremely focused and precise… great drive on the palate… summer in a glass, for any occasion.”

 

2025 Ravensworth Pinot Gris, Canberra $32 RRP

Chosen by Meyer, Lucas and Becker in their top six, this wine won over the panel with both its playful and savoury elements. Meyer declared, “Goodness me, this is a good time… salted watermelon, strawberry fruit leather, fresh grapefruit juice… bright sherbet-y acidity, delightful tension… so fun and invigorating. Hell yeah – give me a bucket and a straw!” Lucas found it “a wilder style… preserved ginger and tangy tsukemono pickles… salt-dipped peaches and orange blossom tea… fine, gauzy grip and faintly saline undertow… interest and satisfaction in equal measure.” Becker noted “fresh-cut cantaloupe and watermelon… bubblegum and Juicy Fruit gum note… a little bit of wax and salinity… juicy watermelon, mandarin peel and grapefruit pith… fine chalky phenolics… cleansing acid.”

 

2023 Momento Mori ‘Staring at the Sun’, Heathcote $44 RRP

Kimonides included this in his top six from the blind tasting, describing the colour as “a bright, almost fluorescent gold – hazy, looking clearly unfined and unfiltered.” On the nose, “a spectrum of lemon characteristics: Meyer lemon, lemon curd, and lemon verbena, all balanced with fresh green herbs and displaying what I see as granitic white soil minerality.” He found the palate had “wonderful acidity, filling the mid-palate and finishing with a magnificent length,” with “a lovely wild malolactic conversion… as a fresh potted yoghurt flavour and texture.”

 

2024 J. P. Trijsburg ‘Skinzy’ Pinot Gris, Bendigo $30 RRP

Snook and Meyer both ranked this playful pink in their top six from the blind tasting. Snook described “a cheerful light pink-red shade… notes of redcurrant, red apple, and rhubarb… cherry cola and a touch of hibiscus… cocktail cherry note… juicy, lively, and easy to enjoy… vibrant, enticing, and slightly flirtatious.” Meyer found it “vibrant dark pink… ruby grapefruit and pink lemonade… joyous, spritzy acid line… yummy and zippy – pure pink refreshment.”

 

2023 Little Brunswick Wine Co. ‘All Seagulls, No Chips’ Greco, Heathcote $38 RRP

Chosen in their top six from the blind tasting by Ness and Rupp, this wine had Ness saying it “tastes like someone made a wine out of Sunnyboy ice blocks – and there are certainly no complaints here.” She noted dried basil and orange oil on the nose, leading to “a wonderfully delineated, nuanced palate of underripe apricots, white strawberries, mandarin peel, and fresh coriander.” For Rupp, “this wine does not hold back – it jumps straight out of the glass with lifted rose petals, fresh white peaches, dried orange and cherry blossoms.” On the palate, “it elegantly dances… with finely structured tannins, yet shows a ripeness and weight that leaves you wanting more. This wine is pure fun in a glass – meant to be enjoyed in the moment, yet refined enough to linger through a deep conversation with a friend … if you can make the bottle last that long!”

 

2024 Avani ‘Amrit’ Pinot Gris, Mornington Peninsula $45 RRP

Meyer selected this for his top six, noting its “unique shade … spice-laden, ripe pinot gris: bergamot, Earl Grey tea, twiggy herbs … sweet paprika spice note… blood orange, ruby grapefruit, and fleshy stone fruit sphere… begging for some South Asian and South-East Asian cuisine.”

 

2024 Box Grove Vineyard Pinot Gris, Nagambie Lakes $35 RRP

Included in Rupp’s top six, this wine impressed with its balance and drive. “Layers of orange fruit and sweet, warming spice… grapefruit character… zesty and pithy… great drive and impressive length… playful in energy, yet grounded in structure… balanced, expressive, and just plain delicious.”

 

2024 David Hook Vermentino, Central Ranges $28 RRP

Selected by Ness in his top six from the blind tasting, this wine’s nose showed “vibrant and expressive notes of crushed rock and pub lime cordial.” Ness described the palate as “deeply concentrated and so harmonious here – Pine-Lime Splice, tinned yellow peaches, fresh lime zest.” She found “a hint of phenolics from skin contact and refreshing acidity” that gave it “a gorgeous, unforgettable shape.”

 

2024 Poppelvej ‘Rå’ Greco, McLaren Vale $36 RRP

Selected in the top six by Becker during the blind tasting, he described this as “a banger! Gasoline, heaps of dried mandarin peel and apricots, orange liqueur and marmalade… lavender, pot pourri, dandelions, dried ginger and cloves… salty and grippy phenolics… lots to get your teeth stuck into… Juicy Fruit chewing gum… brilliant.”

 

2025 Smallfry ‘Gewürzbomb’, Barossa Valley $35 RRP

Selected in the top six by McCarthy during the blind tasting, who called it “Edgy, exciting, nervy. Leads with lychee and rosewater on the nose. Underneath there’s preserved lime zest, yellow grapefruit zest and pith, and a whiff of earthy, stewed apricot jam. Superb fine phenolic mouthfeel – so fine! Bright and driving acidity, with impressive length.”

 

2023 Logan Wines ‘Clementine’ Pinot Gris, Orange $26 RRP

Lucas ranked this among his top six from the blind tasting, calling it “a madly fragrant thing with soaring, spice-drenched aromatics and swells of frangipani, burnt orange and beeswax.” He said the aromatics “beckon you towards a palate soused with oozy squished peach and tangerine peel bitters, fringed by a soft, gingery warmth.” For him, it was “almost molten in texture, but any fleshy largesse here is deftly tempered with cohesion and clarity… a brilliant iteration of skin-contact white, with appeal for both laypersons and cognoscenti alike.”

 

2022 Little Brunswick Wine Co. ‘The Valley Is Empty, but Echoes’ Pinot Gris, Macedon $38 RRP

Selected in the top six by McCarthy during the blind tasting, who said, “Edgy, yet everything in balance! Coppery colour – very much looks like a ramato-style wine. Acacia flower, black pepper, blood orange zest, sour morello cherry and clingstone peach on the nose, alongside something Campari-like and bitter. Driving acidity, powdery yet firm tannins, serious depth of flavour and length. Simply delicious.”

 

2022 Ravensworth ‘Seven Months’, Canberra $45 RRP

Kimonides placed this in his top six from the blind tasting, finding “a deep amber colour, brilliant and clear” with “a spectrum of stone fruit, particularly ripe apricots and nectarines, balanced with a rigid gunmetal note… softened by some sugared almond character.” He said the palate had “acidity and tannins in balanced measure, filling the mid-palate and finishing extraordinarily long,” with oak and oxidative handling “brilliantly” managed, giving “a baked peach tart character, juxtaposed with a white rock minerality on the finish.”

 

2024 Charlish & Co. Viognier, McLaren Vale $30 RRP

Snook ranked this in her top six from the blind tasting, describing it as “pale straw yellow, glowing like sunlit hay in late summer.” The nose was “golden and generous: like biting into a ripe nectarine or apricot and feeling the gentle fuzz of their skins… creamy warmth beneath… touched by vanilla and dried straw.” On the palate, “plush and layered, with an apricot yoghurt and soft stone fruit feel, wrapped up in a silken texture… never heavy, just deeply satisfying. The finish lingers… long after the last sip, you’re still wondering, ‘Am I drinking Condrieu?’ Delicious, expressive, and sure of itself – a wine that hums with quiet opulence.”

 

2024 Pizzini ‘Nove’ Pinot Grigio, King Valley $28 RRP

Chosen in their top six from the blind tasting by Lucas and Kimonides, Lucas found “whispers of saffron and curry leaf fade to gentle, struck-match reduction.” He described it as “gently bronzed in complexion – aglow with poached quince and rockmelon, fringed with watercolour shades of musk, and all dappled with docile, peach-tea phenolics… lovely restraint and delicacy here, with a subtle piquancy and softly pitched acidity. Utterly charming.” Kimonides noted it was “deep orange, bordering on a pale red… The nose evokes memories of rainfall on hot bitumen after a summer’s day with its white-stone minerality, whilst saline and fraise de bois strawberries dance together.” On the palate, “acidity… shines liked polished stone, held up on the shoulders of phenolic tannins,” with balance from “a wild malolactic conversion character of clotted cream,” and “a finish … long, with a kirschwasser cherry note.”

 

2023 MDI Grillo, Murray-Darling $29 RRP

Kimonides had this in his top six from the blind tasting, describing “a bright, light golden colour and a slight haze.” On the nose, he found “freshly fried doughnuts and tangy clingstone peaches, all bound together with a lovely honeysuckle white floral character.” The palate brought “a bitingly satisfying acidity, balanced with a curd-like wild malolactic conversion character that gives generosity… and a long finish of honeyed nuts.”

 

2024 Momento Mori ‘A Fistful of Flowers’, Heathcote $36 RRP

Snook placed this in her top six from the blind tasting, noting “aromas of salted pineapple… ripe but restrained,” layered with “the savoury lift of fresh thyme and the citrusy perfume of lemon verbena – there’s something herbal, grounded, and quietly complex beneath the fruit.” The palate mirrored the nose “with clarity: juicy pineapple, lemon oil, and a gentle herbal thread that runs all the way through.” She found “bright and well-pitched” acidity giving “structure and length without pulling too tight,” finishing with “a fine, lingering line of fruit, herb, and mineral in quiet conversation… a wine that balances vibrancy with depth.”

 

2024 Scion ‘Super V’ Viognier, Rutherglen $36 RRP

Selected in the top six by McCarthy during the blind tasting, who said, “Love the aromatics – richness and power, with a pithy citrus core. Shows stewed apricot, apricot kernel, honeysuckle and ginger powder on the nose. Vibrant acidity, and a slight oiliness on the palate alongside the expected tannic grip, which provides a pithy hint of lemony bitterness.”

 

2022 Clo ‘Amber’ Pinot Grigio, Tumbarumba $38 RRP

Kimonides picked this in his top six from the blind tasting, calling it “an intoxicating bright orange colour… with a pretty haze.” The nose carried “well-worn leather, forrest truffles, and Black Russian tea… lifted with an animalistic, sexy barnyard quality.” On the palate, “acidity… raises the stakes with a grippy tannin structure,” showing “bruised apricots and freshly-baked mushroom tart, alongside a long, phenolic finish of cinnamon and allspice.”

 

2022 Logan Wines ‘Clementine de la Mer’, Orange $26 RRP

Ness included this in his top six from the blind tasting, finding the nose “of slightly underripe pineapple, pithy lime, and green peppercorn … intoxicating.” On the palate, “crisp, peppered Fuji apples and a notion of freshly-diced green capsicum. A triumphant flavour combination!”

 

2022 Unico Zelo ‘Esoterico’, Riverland & Clare Valley $25 RRP

Becker ranked this among his top six from the blind tasting, calling it “pretty cool.” He described “grilled pistachio nuts and orange marmalade over toasted sourdough,” with “a nice bit of salinity that adds interest to the dried apricot nose.” On the palate, “beeswax and candle wax… with some nice creaminess and soft acidity that flows throughout. Textural and interesting.”

 

 

2023 Good Intentions Pinot Gris, Mount Gambier $35 RRP

Snook also ranked this in her top six from the blind tasting, describing “a luminous hue somewhere between copper and pale straw – like dried summer grass catching the last light.” The lifted, intriguing nose held “ginseng and ginger root, fresh-cut daisy, and a whisper of dried hay,” with red apple and yellow plum bringing “a juicy brightness, softened by a gentle warmth.” On the palate, it struck “with precision: a vivid hit of acidity… ginger and orchard fruit linger, underlined by a light oxidative edge that adds texture and complexity without overwhelming the frame… alive, layered, and full of personality – a wine that keeps you guessing, then keeps you coming back.”

 

2024 Ricca Terra ‘High Noon’, Riverland $30 RRP

Rupp had this in his top six from the blind tasting, saying the nose “instantly captivates, with expressive aromas of freshly cut grass, sweet passionfruit, zesty lemon, orange peel, crushed gooseberries, and hints of baking spices.” He found the mouthfeel and texture “immaculately balanced, with fresh acidity and structure from the fine tannins – making every sip as relaxing and delightful as lounging in a hammock on a warm spring day.”

 

 

2024–25 Smallfry ‘Tangerine Dream 10th Anniversary’, Barossa Valley $36 RRP

Selected as a top-six wine by McCarthy, who said, “Beautiful intense fruit leaps out of the glass – arresting. Citrusy with a savoury edge – orange marmalade, candied cedro peel, grilled lemon halves, a dusting of caraway and cumin spice, maybe a hint of curry leaf. Not super-bright, and acidity is not the driving force, but tannins, phenolics, and minerality here provide freshness. Earthy bass notes and a gentle feel on the palate. Well-managed, fine phenolic structure.”

 

2021 Torch Bearer ‘Skinsy’ Chardonnay, Tasmania $45 RRP

Selected by McCarthy as one of the top six of the tasting. “Ripe yellow nectarine stone fruit character on the nose, showing some attractive development. Well-handled phenolics a feature – a real statement palate, with a lick of nectarine-skin bitterness. Marzipan and Speculaas biscuits, a dusting of white pepper and clove spice, Christmassy orange zest. Silky tannins, soft mouthfeel, weight and depth indicating some age.”

 

 

2023 Poppelvej ‘Øst’ Riesling, Adelaide Hills $35 RRP

Meyer included this in his top six from the blind tasting, calling it “a real left-of-centre wine as far as skin contact whites go – very distinct.” He noted “wild alpine herbs, wild mint, a wild grass element that verges on nettle, green stemmy herbs, lemon jam and lemon balm, almost Aesop-like in its botanical fanciness.” For him, there was “a tincture-like, almost medicinal quality… plenty of clay, wet rocks, and damp earth on the nose. Strange in all the right ways – plenty to sink your teeth into here.”

 

2024 Chaffey Bros. ‘Not Your Grandma’s White’, Barossa Valley $25 RRP

Lucas included this in his top six from the blind tasting, describing it as “a well-made nod to maceration as a means in the cellar, rather than an end.” Nearer to golden than amber, it was “a richly aromatic style, a-tingle with lemongrass and yuzushu.” The nose “is a fitting preamble for a palate sodden with starfruit and lime curd, in concert with a tonic water–fresh sting,” abetted by “finely pixelated phenolics… mellowed with licks of cashew and meringue.” The finish offered “hints of smoky mezcal with a subtly bitter edge.” For Lucas, “whether ‘orange’ or not, this offers high intrigue – and is undeniably delicious.”

 

2024 Poppelvej ‘Æventyr’ Gewürztraminer, Adelaide Hills $36 RRP

Rupp placed this among his top six from the blind tasting, noting “classic tropical pineapple and fresh mango, with a bit of lingering marzipan spice alongside lifted aromatics of makrut lime and lemongrass.” He found “freshness… but generosity as well, with lemon curd and coconut characteristics lending a depth and softness that just sits really well here.” For him, it was “incredibly balanced, with each component giving just enough character to keep everyone happy.”

 

 

2024 Poppelvej ‘Only Shallow’ Viognier, Adelaide Hills $34 RRP

Ness ranked this in his top six from the blind tasting, calling it “perhaps the most singular aroma and colour of the day’s lineup.” On the nose, he found it “enchanting… pine resin, flecks of eucalyptus, fresh slices of fennel with lemon zest and lemon oil.” The “oily, deeply phenolic palate” brought “fresh white nectarines, fennel, and sorrel together into a gorgeous combination, leading to a long dry finish.”

 

2024 Unico Zelo ‘Terra Cotta’ Greco, Riverland $36 RRP

Snook selected this in her top six from the blind tasting, describing it as “pale copper in the glass” with a “savoury and subtle” nose, showing “whispers of flor, salted almond, and dried hay.” Ginseng and ginger root “bring warmth,” while green olive and citrus pith “add a sharp, savoury lift – think aged Junmai sake crossed with the intrigue of a dirty martini.” On the palate, she found it “both fleshy and precise, with pink grapefruit, yellow citrus, and olive brine gliding over a clean acid line.” A “gentle oxidative edge” brought “texture and umami depth,” while “the salty, nutty layers build slowly… finishing long and mineral-crisp – savoury and mouthwatering like the last sip of a perfectly made dirty vodka Martini… a wine of elegance, tension, and quiet swagger.”

The backstory

What does a ‘skin-contact white wine’ mean in Australia in 2025? It’s certainly a much tougher question to answer now than it was when we first took a Deep Dive into the topic back in 2019. Following in the wake of a handful of trailblazing definers of the genre, a much more diverse array of winemakers are now macerating some or all of their white grapes on skins during fermentation. The resulting wines are as diverse as their makers: some so deeply coloured they could be mistaken for light reds, and others so light-on they could slip into the white by the glass section of your local bistro’s list.

Few other wine categories are so defined by their appearance as skin-contact whites. Certainly, ample styles of red or white are – rightly or otherwise – defined by their shade: some may argue that any given wine is too pale to be ‘serious’ red wine, or too richly golden to be a crisp, fresh white, and so on. But immediate appraisal by colour alone is generally confined to rosé and our case in point, ‘orange’ or ‘amber’ wines. Rosé needs little introduction, with a general expectation of style accompanying a variety of pinkish and tawny onion-skin hues. Skin-contact white wines, on the other hand, have been lumbered with being defined by their Pantone number, courtesy of a few prominent examples.

To be helpfully plain – skin-contact whites, be they orange, amber or myriad shades thereof – are’ wines made from white-wine grape varieties using the method traditionally used to make red wines. Rather than being divorced from each other relatively quickly, juice and skins from these white grapes are instead encouraged to mingle together during fermentation. Those skins in turn imbue the wine with heightened realms of colour, aroma, and flavour – and perhaps most strikingly once the wine hits the palate, tannin structure, otherwise described as ‘phenolics’.

Above: a skin contact white ferment (gewürztraminer, in this case) in progress.

Colour me stunned

The hues achieved by skin-contact whites made in this fashion will often be conspicuously deeper than ‘conventional’ white wines – though not exclusively. Only those with the lengthiest time spent macerating on skins will be blatantly orange in colour, and, even so, length of skin contact is no guarantee that the wine will eventually come out a deep umber. This may seem like semantics, but it’s crucially instructive to understanding a style that is an undeniably broad church.

 

Above: a line-up of wines from our first Deep Dive into skin-contact white wines shows the array of hues in the category.

Attempts at a catch-all pigeon-hole name for these skin-contact white wines has proven largely elusive – “off-whites” being a particularly unhelpful low point – so terms like ‘orange’ and ‘amber’ persist as convenient, if somewhat inaccurate, handles. But as with traditional red and white wines, colour is among the least vital elements in assessing skin-contact whites – although we hasten to add that brick-ish and tawny notes may hint at oxidative handling in the winery. Colour in ‘orange’ or ‘amber’ wines is simply a function of pursuing other outcomes during winemaking – ones that are more important and more indicative of the category.

It’s further worth noting that many aspects we may be tempted to associate with terms such as ‘orange wine’, ‘natural wine’ and the like are not rusted-on necessities. Skin-contact whites can be both pure and wonderfully focused, or they can lurk – and happily so – at the hazier, funkier end of the pool. What you can anticipate from skin-contact whites is a heightened array of aromas accented in ways that elude conventionally pressed wines, with a markedly enhanced structure courtesy of those skin-derived phenolics – whether that structure is chewy, gently silty, or chalk-dust fine. The wines need not be necessarily oxidative – but they might be, as a contributor to overall style. They may clearly tell an experienced taster their varietal composition – or that composition may be impossible to pin down without reading the back label. They might be molten orange in complexion – or, you guessed it, they just as likely won’t be, nor anything else approaching those intense tones so commonly linked to the genre.

Colour in ‘orange’ or ‘amber’ wines is simply a function of pursuing other outcomes during winemaking – ones that are more important and more indicative of the category.

When distilled down to its essence, ‘skin-contact white’ is merely a cellar technique. But when that technique is parsed through the matrix of grape variety/ies, the nuances of site and soil, fermentation vessels and process variations, the possibilities, as they say … but before we can explore these possibilities further, we need to take a little historical detour.

 

Georgia (and Friuli) on my mind

The 20th century saw a revolution in Italian wine. It was a movement that catapulted Italy’s reputation from that of a producer of mediocre jug wine to one of international renown. Science stepped in, and traditional methods were largely abandoned in the interest of making clean and ‘pure’ wines – often with a decent seasoning of small French oak, and sometimes comprised of grape varieties that were likewise more French than vero italiano. While these wines were celebrated – and were a good path to commercial success for growers and producers – something was lost. Many unpleasantly ordinary, dirty, and oxidised styles were banished – but there was a sanitising, internationalising effect, too.

Joško Gravner made celebrated wines in this modern style from his family’s estate in Oslavia, Friuli, in the north-eastern corner of Italy that culturally spills into nearby Slovenia. Somewhat disheartened by the style of wine that he was making – one that he felt didn’t respect and reflect territory and tradition – Gravner extensively researched ancient winemaking methods, which finally, in the year 2000, led him to the former soviet country of Georgia.

Above: A man stands next to a qvevri in Georgia, circa late 1800s.

Georgia is a strong contender for the title of ‘the cradle of winemaking’, with archaeological evidence showing that the artform had been practiced there over 8,000 years ago. (Georgia’s next-door neighbour, Armenia, dukes it out with them for that title – a fight we have no interest in adjudicating.) While a lot has changed in those 8,000-odd years – the soviet years, when the country was part of the U.S.S.R., were particularly unkind to Georgian viticulture, despite the fact that Stalin himself was born there – by the year 2000 Georgia’s small-scale winemakers were still tenaciously clinging on to and actively rediscovering their traditions. And a key tradition for these winemakers is the use of qvevri, clay amphorae, to ferment wine, with fragments of similar vessels having been found in archaeological digs dated to 5,800–6,000 BCE.

It was wine in made in these vessels, particularly white grapes fermented on skins for long periods, that switched a light on for Gravner. Swiftly taking delivery of some qvevri, he fermented his Ribolla Gialla and ‘Breg’ white blend in the clay vessels – buried in the ground, as is traditional in Georgia – then left them on skins for six months before pressing and ageing further in large oak casks. The deeply-hued wines that resulted had wildly unorthodox flavour characteristics and structural profiles, wowing some and disgusting others. Thus a Friulian wine-industry legend was born.

Above: a fermentation in action in qvevri. Opposite: Landscape in Friuli, Italy – ground zero for the rebirth of skin contact whites.

The influence of Gravner – alongside Friulian contemporaries such as Stanko Radikon and Edi Kante, not to mention less well-known pioneers such Marko Fon in Slovenia or Giusto Occhipinti of Sicilian icons COS – is hard to overstate. Those wines were, and in some cases still are, extreme for many. They are singular expressions of their place and varieties that still polarise – but their disciples are even more fervent than their critics, and their current pricing now firmly places them in the ‘fine wine’ establishment that once shunned them.

Gravner’s adoption of ancient methods, allied with organic or biodynamic farming, was a clarion call for natural winemakers – a way of making wine from white grapes that took lo-fi winemaking back to its ancient roots. The results were startling, igniting a revolution that has been felt around the world – including Australia.

 

I love an amber country

Compelled by a revelatory visit with Gravner, Mornington Peninsula winemaker Kevin McCarthy is widely – if slightly reluctantly for his own part – hailed as the author of Australia’s first premeditated ‘orange’ wine. This wine, the 2008 T’Gallant ‘Claudius’, was a blend of chardonnay, gewürztraminer and moscato giallo that he treated to seven suspenseful months on skins prior to ageing in large oak – a cellar regime that echoed the Gravner approach he’d observed in Friuli (minus qvevri, then unavailable in Australia).

Instructively, McCarthy actually took a stab at the style a year prior in 2007, fresh off his Friulian expedition. However, pangs of ‘classical’ winemaking caution intervened, prompting McCarthy to cautiously whisk the wine off its skins as it traversed a delicate awkward phase in its evolution. This initervention fatefully ‘set’ the wine in that ungainly mode – and the experiment was thus foiled.Steeled with the patience and conviction instilled by lessons learned, he studiously sampled his 2008 reattempt over two vigilant months before it began to coalesce and cohere into something resembling the extraordinary wines he was so struck by at Gravner.

Opposite: Kathleen Quealy and Kevin McCarthy of Quealy. Above: Aerial view of Quealy’s estate vineyards, Mornington Peninsula.

More polemic than revolutionary at the time, and in a domestic market sphere steeped in the same orthodoxy that cursed his initial attempt at the style, McCarthy’s wine planted a valiant seed. There were initial doubts, to be sure – the wine enjoyed scant commercial resonance – but it remains a rightful forebear of what would follow. The cat was now well and truly loose among the pigeons.

As it happens, while conspicuous ‘full-on’ skin contact of white grapes for extended periods might have heralded a seismic shift in winemaking and drinking convention, it’s equally intriguing to recall that West Australian industry icon Jack Mann trialled skin contact – albeit for a day or so – when creating his first ‘White Burgundy’ for Houghton. Mann recognised the expanded sensorial depths unlocked by macerating juice and skins together – in 1932, no less! – which might draw some useful parallels to the present day, where the phrase ‘skin contact white’ now signifies a much larger spectrum of styles, and hues, than it did when we took our first Deep Dive into the topic.

Skin contact whites are as diverse as their makers: some so deeply coloured they could be mistaken for light reds, and others so light-on they could slip into the white by the glass section of your local bistro’s list.

McCarthy’s opening salvo spoke to a movement fervently percolating in the late noughties. Around this same time, fuelled by independent inspiration, modern-day luminaries Tom Shobbrook, Anton van Klopper, James Erskine and (the sadly departed) Sam Hughes joined forces and aspirations to form the Natural Selection Theory project. Distinct from their respective solo projects – which included Shobbrook’s wholly apropos and now seminal ‘Giallo’, a skin-contact wine then made entirely from sauvignon blanc – this avant garde quartet devised a project of extreme ambition.

Headquartered in Hughes’s hometown of Sydney, Natural Selection Theory fermented their first collaborative wine in 44-litre ceramic eggs in a warehouse in White Bay. The nine eggs were encased in three different soil types – clay, quartz and limestone – and then serenaded with different music styles according to their soil types for good measure. The wine they lavished all that attention upon was a 2010 semillon, quixotically sourced from the old Brokenback vineyard of the legendary (and very un-avant garde) Len Evans, which was dosed with a token amount of sulphur then ‘bottled’ in 900 mL wax-sealed ceramic eggs, both as individually cuvées separated by soil types and as a blend of all three.

Above: Natural Selection Theory’s 900 mL ceramic egg ‘bottles’. Image via wakawakawinereviews.com.

Needless to say, their project engaged and enraged in equal measure, setting more pigeons aflutter – but it remains a breakout moment in Australia for both skin-contact wines and the natural wine movement more generally. The starry-eyed mavericks could provoke opinions and palates in a way that eluded McCarthy just a couple of years prior.

If we fast-forward past the ‘natural vs. conventional’ debates that so plagued Australian wine in the 2010s to the present day, we can see a rather more embracing winescape made possible by early adopters such as Shobbrook, Erskine, van Klopper, Abel Gibson of Ruggabellus, and Dane Johns of Momento Mori – many of whom remain vital to the skin-contact genre, along with a newer generation they’ve helped to inspire. Established makers with more conventional leanings now oversee cellars that increasingly hum with macerated white ferments – even if their stylistic targets aren’t a heady hue of deep orange. No longer heretical, to be sure, skin-contact as a style – or indeed simply as one of many methods in a winemaker’s arsenal – is now an indelible part of the Australian wine zeitgeist.

Above: Our Deep Dive panellists gathered at the Mount Erica Hotel, Prahran (Melbourne).

Outtakes from the tasting

We gathered every Australian skin contact white 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: Kevin McCarthy, winemaker, Quealy; Blake Meyer, sommelier/wine buyer, Reed House; Florian Rupp, sommelier, Marmelo; Steve Kimonides, sommelier/wine buyer, Rumi; Brad Lucas, wine merchant, Cult of the Vine; James Ness, sommelier/wine buyer, Hope St Radio; James Becker, winemaker, Musical Folk; Steffi Snook, winemaker, Yayoi.

Lucas commenced proceedings by observing the number of wines that could be classified more broadly as white wines where skin contact was utilised as a winemaking technique, as opposed to wines that could be called more robustly ‘orange’ or ‘amber’. He noted that many in the lineup “skewed more kind of ‘textural-slash-aromatic, with a little bit of skin contact tucked in’ rather than being fully-fledged ‘orange’ or ‘amber’ styles.” He added that in these wines the skin-contact was “building spice, and texture, and weight, and some interesting aromatics – but they’re not what I’d categorise as orange wines … it’s such a broad church.” Meyer concurred, adding that, in a hospitality setting, “you could pour a lot of these as white wines.”

Above: Brad Lucas. Opposite: Steve Simonides and Blake Meyer.

Both McCarthy and Snook observed that their own winemaking experiences using skin-contact for white varieties showed that the colour and tannin level of the finished wine didn’t always necessarily correlate to the amount of time on skins. “I did a six months on skins chardonnay,” McCarthy said, “and it didn’t look like it was on skins at all. Not one iota.” Likewise, Snook said “I’ve done chenin blanc for three weeks on skins, and it didn’t take colour – in amphora, with daily-punch downs.”

Above: Florian Rupp. Opposite: Steffi Snook.

Meyer observed that grooves in the glass on many of the wines in the blind line-up indicated that these wines had been sealed under Stelvin screw-cap, which in turn lead him to believe that “more people are taking on skin-contact as a technique that are maybe a touch bigger in terms of production scale and market reach – which is interesting for the category, but is also something I was surprised by … a big contingent of floral or aromatic whites that struck me as mostly made from vermentino.” He added: “I’ve had maybe twenty orange wines come through my job and they’ve all been under cork.” (In response, Lucas added that many small-scale producers who initially bottled under cork have recently switched to screw-cap for “purely economic” reasons.)

“Makers are using skin contact as a winemaking method to kind of make a more harmonious finished wine by changing the phenolics, changing the tannin, changing the texture.”

For Ness, “winemakers are embracing skin contact just as a method more generally” to balance seemingly conventional white wines. “People are going, ‘Oh, this variety’s a bit too fruity, or tropical, or confected,’ and they’re using skin contact as a winemaking method to kind of make a more harmonious finished wine by changing the phenolics, changing the tannin, changing the texture,” he said.

Above: James Ness. Opposite: James Becker.

Snook saw this change as part of a generation of winemakers growing up: “There was a real wave of going into the kind of funky and fun wine, then there was a real change of the guard. Millennials are getting more into wine – they’re graduating, getting to a place where they can afford to buy more interesting style of wines. They’re getting a little more refined, and moving into a different, more classical palate.” Becker concurred: “No-one’s listening to Action Bronson any more!” 

“Millennials are getting more into wine – they’re graduating, getting to a place where they can afford to buy more interesting style of wines. They’re getting a little more refined, and moving into a different, more classical palate.”

Kimonides said that he was “looking for minerality” in the wines when assessing them. “The wines that displayed minerality, or had some sort of granitic, petrichor, or white soil characteristic really enamoured themselves to me,” he said. “Then obviously balance with the malolactic conversion – a nice wild malo, just balancing the acidity. You can find quite a lot in the glass here without getting kicked in the face.” He added: “And all that’s winemaking, I suppose – you’re trying to create layers, and add complexity to the wine, which is why we do it.”

Above and opposite: The panel tasting. All wines tasted ‘blind’.

Reflecting on the category that he – perhaps unwittingly – created, McCarthy said, “basically it’s progressing.” He added: “I allude back to pinot gris when we started in the ’80s with that – it’s  very similar. Because people couldn’t pronounce pinot gris when we started it – they didn’t know what it was. Now I think there’s understanding with skin contact whites, and there’s recognition. It’s a whole conversation.”

Above and opposite: The panel in action. All wines tasted ‘blind’.

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