European wine—or at least the European wine most worth caring about—is largely defined by the restrictions of planting within any of the prestigious appellations. These seek not only to maintain a minimum standard but also to create an understandable, distinctive style to link to the name. Elsewhere in the world, the choice is more open: plant what you want, where you want, and make it how you want. To use a slightly quaint term, that’s New World wine for you, and it describes wine from South Africa—slightly. But only slightly.

South Africa’s wine industry dates back to 1655. Yet paradoxically, for all intents and purposes its wine history is one of the world’s most recent. In comparison to the other non-European wine producing countries, South Africa has shied away from the tried and tested, brand-building style of production—think Yellow Tail in Australia or 19 Crimes in the U.S.—and is more aligned with the European search for terroir, and a shared stylistic vision within regions and sub-regions. Producer associations such as the Swartland Independent Producers—which groups the shared talents and marketing power of like-minded, small producers together—are a testament to the collective vision many of these newer projects share. The most sought-after, expensive wines share far more in common with their counterparts in Europe than they do with the trophy wines that receive the fanfare elsewhere. While the argument continues as to the social impact of “Old World” and “New World” as terms within wine, South Africa is the only New World country to challenge them on stylistic grounds. 

Why? South Africa is certainly not short of sunshine, nor does it suffer from planting restrictions, or a lack of ambition to create wines with a global appeal. Yet the wines that have propelled the South African wine renaissance have more in common with the best wines of France, Italy, and Spain than they do anywhere else. 

A key reason for this stylistic link is the very recent emergence of South Africa as a modern player in the world of wine. One very big reason for this is the brutal apartheid regime it inflicted upon the majority of its population. During most of the 20th century, the largest player in South Africa was the giant cooperative known as the KWV; quality was not the order of the day and the local monopolization of the wine market did little to create a name for South Africa. Yet even if it had, the world would not have heard about it until the mid-1990s. It wasn’t until then, of course, that the international community once again opened up to the country, when, after decades of struggle and bloodshed, the era of apartheid finally ended in 1994. 

Along with all the myriad (and frankly far more important) developments that came with the end of apartheid, it opened possibilities for wine. For one thing, aspiring Black winemakers could now gain admission to agricultural programs and study winemaking; previously, they’d been barred from doing so. 

Before that, though, during the years and decades that preceded the end of apartheid, many white South African winemakers left the country to make wine elsewhere. Many found their feet in Europe or working as flying winemakers around the world. The end of apartheid was the signal for a new age in South Africa and many winemakers were glad to return home, buoyed by the opportunity to purchase affordable land in winemaking regions, which often came with old vines. Young talents, like Niels and Penny Verburg of Luddite Wines, returned home with real international experience behind them and the money saved to put their ideas into action. Importantly, it also meant that the modern South African wine industry missed a big part of what made New World wines so distinctively different: the early influence of Robert Parker and the subsequent chasing of a bolder, softer style of wine to achieve the increasingly important scores. 

The end of the country’s isolation also created a real hunger for knowledge. For winemakers who stayed in South Africa, international business was suddenly an option once again. Many took advantage, working two harvests a year; one in the Northern Hemisphere and one at home in South Africa. Europe became the destination of choice; not only to learn from the great winemakers of the benchmark regions, but also because the two share similar time zones. Travel from South Africa to Europe and back involves a great deal less jetlag than it does to go east or west, and it’s very convenient to share the same business hours. The great winemakers of France, in particular, become the source of much attention and learning. How does Jamet create such nuanced, elegant Syrah in a region so famed for its summer sunshine, that its name translates as “roasted slope”? What makes Rayas’ Grenache so different from that of its neighbors? Is Coche-Dury a product of terroir or winemaking? 

Modern South African winemakers are forward thinking, progressive, and very well traveled. Christian Eedes of winemag.co.za, the editor of this leading publication on South African wine, tells me that “without four to five international harvests on their CVs, young winemakers in South Africa don’t feel like they’ve met a professional threshold of sorts.” 

Today’s great names of South African wine, such as Eben Sadie, made some of their biggest discoveries in Europe: after several years in Priorat, Sadie left the project he co-owned with Dominik Huber, winemaker at NWR favorite Terroir al Límit, to revitalize similarly old vineyards in the Swartland, often in areas that were left abandoned and destitute, with only the oldest vines surviving years of neglect—a parallel story with an equally successful conclusion. Rosa Kruger, the leading South African viticulturist, established the Old Vine Project, which celebrates South African vines that are at least 35 years old—though many vineyards are often far older than this, particularly across the Swartland. 

It's no accident that so many of the famous names of the South African wine renaissance made their names in the dry, dusty regions of the Swartland, Olifants River, and Citrusdal, which are all north of Cape Town. One of the leading lights of the region, Samantha Suddons of Vine Venom, explains that “there wasn't a lot of choice, historically,” when it came to breaking into the country’s established vineyards and wineries in Stellenbosch, Constantia, and Paarl. “You were either an established family farm or worked with the cooperative model, usually with long contracts to sell your grapes.” 

After apartheid, though, “independent winemakers seized the opportunity to resurrect older vineyards in previously neglected regions,” says Suddons. “Combined with the desire to replicate the sustainable viticultural methods that had inspired them in Europe, this led many toward the Swartland.” Eben Sadie was one of the first to realize the potential in that region—he first started making wine there in 1998. Other key South African winemakers of today, such as Adi Badenhorst and Chris and Andrea Mullineux of their namesake wineries, also built their reputation on these once-abandoned vineyards.  

Many of this younger generation—keen to replicate their European experiences of natural wine and sustainable viticulture learned in Beaujolais, Spain, and the south of France—were able to purchase grapes at a far lower cost than in the more established regions. It meant using grapes that were far removed from the norm of Cabernet Sauvignon, Merlot, and Chardonnay that historically dominated South African vineyards. The ignored vineyards of old-vine Cinsaut, Chenin Blanc, Tinta Barocca, Carignan, and more made a perfect proving ground for the younger talent of South Africa. Affordable grape prices and the lack of expectation proved to be an ideal combination to get new and exciting projects off the ground. Without this, pioneers such as Craig and Carla Hawkins might have never had the opportunity to create projects such as Testalonga, which produces an enviable lineup and are the standard-bearers for orange wine in South Africa. 

This stylistic link is also felt in Europe, with winemakers now traveling to South Africa to work harvests there. “South Africa is not looking to emulate the trophy wines of the world,” explains Eedes. “It’s important to us to be the best at what we do and globally relevant, but we define excellence in a different way.” South Africa’s Tom Lubbe achieved phenomenal success in starting Matassa in the Roussillon, which only reinforces that connection further. 

 At a macro level, South African wine sales are declining, with struggles to sell entry-level wine an increasingly difficult problem. (To be fair, this is a familiar lament in many other wine regions, too.) Yet at the top end, the wines of South Africa are arguably the most distinctive and successful of any New World country. Demand frequently outstrips supply across the world, and this draws increasing attention to regions previously not on many wine lovers minds. South Africa’s brutal history continues to cast a long shadow, but there’s an incredible energy in the wine sector as the best winemakers continue to explore what South African wine can really be. They’ve more than proven their wines are world-class, and they’ve done so in ways that transcend the old New World/Old World distinctions. 

World-Class South African Wines

2022 Badenhorst Wines "Secateurs" Chenin Blanc ($20)

Consistently one of the best value white wines in South Africa, this Chenin Blanc-led blend is a great ambassador for the dry, dusty vineyards of the baking hot Swartland. Honeydew melon, peach, with touches of popcorn and honey—this is the sort of wine that makes friends everywhere it goes. 

2021 David and Nadia Grenache  ($38)

One of the lesser-known gems of South African winemaking, David and Nadia Sadie are making some of the most evocative wines in the Cape. This Grenache is a great example, leaning more towards the ethereal, red-fruited, delicately spicy and deliciously herbal side of the grape. Firm, fresh, and powdery—there’s a lot to love here. 

2022 Alheit Vineyards "Nautical Dawn" Chenin Blanc ($65)

Chenin Blanc from a single vineyard atop Sinai Hill in Stellenbosch. Tightly wound and practically vibrating with energy, this is what new-wave South African Chenin Blanc is all about.  Well-defined flavors of orchard fruits, chamomile, and sea spray gently overlap, carried on a wave of acidity that has an almost electric quality to it. Chiseled! 

2022 Sadie Family Wines “Pofadder” Cinsaut ($75)

100 percent Cinsaut from the most famous project in South Africa, made from old, recovered vineyards in the Swartland. Evocatively dusty and savory on the nose, with a gorgeous medley of berry fruits, dried violets, and dried earth. Powdery fresh and so very moreish. The sort of wine that absolutely glides across your tongue; there’s a rare, weightless quality to this that is incredibly endearing.  

2018 Mullineux “Granite” Chenin Blanc ($85)

Well, this is gorgeous. Ripe, almost sweet orchard fruits, honeydew melon, beeswax, and nutty oak. Creamy and concentrated, but with persistent freshness that lifts and matches the obvious power of the wine. A big, beautiful Chenin Blanc. 

2021 Porseleinberg Syrah ($100) 

Is this the best Syrah in South Africa? I believe so. It’s easy to see the inspiration from Côte-Rôtie here: savory, spicy, and packed full of nuance, this is all about the crystalline raspberry and blackberry fruits, the crunchy, herbal characters, the pungent black pepper, and the wildflower aromatics. Powdery, driven, and so deliciously sappy. World class.