This post touches on the wine counterfeiting topic
raised by Peter (below), the ongoing theme of Chinese wine consumption growth,
the difficulty that some consumers have telling the difference between wines at
very different price points, and a look at alternate business models in the
industry.
I met Maureen Downey a few years ago in Boston. A
wealthy friend of mine had invited me to accompany her to a lecture given by
Downey, who works with my friend’s father, the owner of a collection vast
enough that he owns a large warehouse purely to store wine.
Downey has made a name for herself as a wine
authenticator and "wine detective", assisting authorities in pursuing
wine counterfeiters. It sounds ridiculous, but wine counterfeiting is actually
a major force in the modern market. The process is easy: make a blend of
modern, cheaper wines that resemble the rare ancient variety, print a close
reproduction of the original vineyard’s label, and then faux-age it (with dirt,
staining, ripping and fraying the paper, etc.). When a bottle sells for tens or
hundreds of thousands of dollars, the margin on that transaction can be high.
As a result, one French mine producer estimated that 80% of pre-1980 Burgundies
sold at auctions are fake (link)!
Others paint a far less pessimistic picture.
The drivers for counterfeiting are essentially the
same as those that drive price. For one, income and wealth have become more
concentrated at the top of the economic ladder, shifting consumer behavior for
all goods towards discount and luxury, away from middle-tier. Second,
volatility in mainstream financial assets has increased the pull of art and
items such as rare wines and whiskies as objects of investment (link).
Third, Chinese demand is burgeoning, especially for certain brands (Margaux,
Lafite, etc.) – and that consumer is often unsophisticated. Finally, whereas it
is well-known to most people that paintings and money can be counterfeited
(think The Thomas Crown Affair), that awareness is not as widespread in the
wine world.
As a result of that growth in counterfeiting, demand
has emerged for authentication services and “wine detectives” by investors
spending thousands of dollars on acquisitions. Downey performs these services.
Most famously, she worked closely with the FBI and DOJ on the Rudy Kurniawan
case.
I’ve pasted some links below that I heartily
recommend, because the Kurniawan case is highly entertaining. Before he started
mixing wines and faking corks in his home, Kurniawan was a Chinese-Indonesian
immigrant of means. Apparently, he tasted a 1996 Opus One in the early 2000s
and was enthralled. In the years afterwards, he started buying rare wines like
crazy, becoming an expert in Burgundies and single-handedly driving up the
price for older vintages by driving bidding in the big auctions. He apparently
had a great sense of taste, with the ability to identify wines “double-blind”.
At some point, he realized that there was an opportunity.
Kurniawan sold expensive wines for over 5 years before
getting caught. He was aided in his activities by the characteristics of old
wine, such as:
- It is common for old wines to be recorked; thus it raised few flags when some bottles had young-looking corks
- Older vintages often had variable labeling (not as corporatized and standardized as modern production), so inconsistencies were expected
- Some Burgundies were only produced in such small vintages that very few people really know how many there are and how they look
- Going back to the value of context, even experts couldn’t be sure of tastes; people that tasted wines pre-auction and thought they were amazing then thought the fakes tasted horrible afterwards
Some fakes are expected, but it started happening too
often to bottles sold by Kurniawan. Victims like billionaire William Kock (as
in the politically-active Koch brothers) had gotten suspicious and launched
lawsuits. The final straw was his attempt to auction off bottles dating back
several decades before the first vintage from that vineyard was ever produced.
A raid on his Arcadia home that turned up thousands of empty bottles, corks,
fake labels, and sealing wax. Even worse, it turned out that Kurniawan had
overstayed his visa for 10 years ago and was in the country illegally.
Downey’d been tracking him for years, and had
counseled auction houses not to take his wine. She’d come across faked bottles
in her previous life as a restaurant manager and sommelier, and then some of
Kurniawan’s bottles as an auctioneer.
Downey is making money with wine in yet another way
besides the various parts of the value chain we've already reviewed in class.
Her consulting firm, Chai Consulting,
provides authentication and wine collection management services. The latter
consists of essentially acting as a wine librarian, cataloging and organizing
thousands of bottles that are often simply piled in every extra square foot of
space in a wine cellar. Chai Consulting also runs the website WineFraud.com, which acts as a sort of
club continually updating its members on counterfeiting-related developments,
as well as tips on how to check certain wines for fraud.
Reading about Downey, I also got a sense of the vast
marketplace that exists for wine that you would expect for any high-value, rare
product -- there are appraisers, auctioneers, insurers, etc. If someone else
wants to take the ball and research these, it might make for a good next blog
post!
Links
My favorite part from the SF Weekly article:
ReplyDelete"Rudy opened up this bottle of 1947 Cheval Blanc. It was a spectacularly beautiful wine, and I still have no idea if it was authentic," says Chung. "It didn't really matter, to be honest."
Downey's client Gregory not only attended Kurniawan's wine dinners, he bought six bottles of fake '61 Pétrus from him. But Gregory still recalls the dinners fondly. "There's something romantic about drinking the best wines on earth," he muses. "Even if the wine wasn't what it said on the label, I still had a great time."
I really like this attitude. It keeps in mind the chief purpose of buying wine: to drink it! A label is just a label. It also parallels how I think about art. I will always buy art (whatever the price point) based almost entirely on my own enjoyment, and not any commercial intent.