Vino Intrepido is a natural continuation for James Scarcebrook’s long-term connection with Italian wine, from fine-wine retail and extensive wine-focused travel to wholesaling some of Italy’s best wines. His range, which was launched in 2016 with two wines, has grown to include a suite of Italian varieties, including sangiovese, nebbiolo, fiano and nero d’avola. The grapes are all sourced from Victorian vineyards, then made in a way that takes inspiration from traditional Italian methods but is carefully tuned to be sympathetic to the natural expression of individual sites and seasons.
Scarcebrook started his career in wine with a job in retail, in 2004, with cellar door duty following at the Yarra Valley’s Domaine Chandon. After graduating as a Master of Wine Business from The University of Adelaide, he set off on a 16-month global wine tour, visiting wineries in ten countries, including working vintage at two wineries in Germany in 2012.
“For me, it is vital that the right varieties are selected from the right source. I do not necessarily want to make wine from an Italian variety because I can, I want to find a correlation with a local region and a region in Italy, to attempt to show the variety at its full potential.”
Once home, Scarcebrook started his Vincast podcast series, while also working for two leading Sydney-based importers of Italian wine as their Melbourne representative for a total of nearly seven years. In 2016, the first Vino Intrepido wines were launched, but it was in 2019 that Scarcebrook went all in, rebooting the label and expanding the range to capture a brace of key Italian varieties.
That exclusive focus on Vino Intrepido saw him set up a home base at the Craft & Co. Farm in Bangholme, in Melbourne’s south-east. “Since I started making my own wine I have worked closely with experienced winemakers in collaboration and conjunction, and I have appreciated that shared creative space,” says Scarcebrook, who has been working alongside The Story’s Rory Lane at Craft & Co.
With minimal winery experience until he began his own label, Scarcebrook credits working alongside experienced operators with helping him to realise his ideas. “For the most part, I am testing theories I have developed,” he says. “And, for the most part, I have been incredibly lucky to make wines that are close to my intention. I have learned the hard way about working with the grower and the fruit, rather than stubbornly sticking to the original plan and trying to get something out of grapes that are not suited for a style.”
With ample history with Italian wines over his years selling them, plus extensive travels in the country, the focus of Vino Intrepido is perhaps not surprising, but there’s more to it than that. Scarcebrook saw great potential for Italian varieties across the great diversity of Victorian growing conditions, from the cool and maritime to the hot and rugged.
“Italian varieties’ ability to often ripen later and retain acidity helps keep the wines flavourful and fresh. I also select varieties that reach flavour ripeness at lower sugar levels, to keep alcohol levels at a balanced place. Picking at the right time and not fucking it up in the winery is how I try to work.”
“For me, it is vital that the right varieties are selected from the right source. I do not necessarily want to make wine from an Italian variety because I can, I want to find a correlation with a local region and a region in Italy, to attempt to show the variety at its full potential. I’m attempting to capture the best drinkable elements of Italian wine through the prism of Victorian vineyards and climates, working in a simple and honest way to express grape and origin.”
The other factor that deeply influenced his decision was climate change, with Scarcebrook believing in the varieties’ general suitability not just to today’s already hotter and drier conditions, but for what he sees as an ongoing trend of warming. “Italian varieties’ ability to often ripen later and retain acidity helps keep the wines flavourful and fresh. I also select varieties that reach flavour ripeness at lower sugar levels, to keep alcohol levels at a balanced place. Picking at the right time and not fucking it up in the winery is how I try to work.”
That approach in the winery sees traditional methods employed, with Scarcebrook noting he takes inspiration from classic Italian practices, but always with the fruit profile that comes off the site prioritised. “Expression of soils and climate is important, not to mention drinkability for the end consumer,” he says. “For me, minimal intervention is about keeping things simple and doing what is necessary to preserve authenticity and freshness.
“Most wines are made with spontaneous fermentation and without fining or filtration. Sulphur is added minimally and when necessary, reacting rather than prescribing… No cold soaking is performed, but in some cases post-ferment maceration is used. For example, sangiovese spends a month on skins, whereas nebbiolo spends at least eight weeks on skins. Mature and/or large-format wood is preferred.”
Scarcebrook notes that one of his biggest lessons is to be patient, and to not rush the process. “This applies to the way they hold their acidity as they reach flavour ripeness on the vine, the way they can sometimes go into slightly funky stages when fermenting, and particularly once they are in bottle. This is particularly the case with the Mornington Peninsula fiano, which can really shut down at particular stages, but give it time and it absolutely sings.”
Turon White has not strayed far from his beloved Adelaide Hills, excepting experience-gathering vintages interstate and abroad, with the rich diversity of the region and the pristine fruit quality ideal for the elegant yet intense wines he makes under his Turon Wines label. With chardonnay, pinot noir and shiraz to the fore, White takes a minimal-intervention approach, but his wines are in a classic mould, expressing variety, site and season with bell-clear clarity.
Carland’s choice of the name Quiet Mutiny for her own label is a metaphor of sorts. Having spent much of her career making wines for numerous clients – she was a Senior Winemaker with Winemaking Tasmania (the largest contract winemaker in Tasmania) for 12 years – Carland slipped away from her role in 2016 to pursue wine her way, to show what she sees in Tassie fruit through her unique lens. A classic riesling gains complexity from skin contact and wild fermentation, while pinot noir from the Derwent Valley sees a quarter of the fruit left as whole bunches. Carland also makes wines under the Laurel Bank label, which is her family’s vineyard in Granton that they planted in 1986.