Jintaro Yura, Alsace: Seek Balance and Avoid Extremes

I've been thinking about Jintaro Yura's wine all the way back from London, where I tasted it first. I asked the sommelier for something from Alsace because I love this region and often prefer it to wines from Jura and Burgundy. The sommelier, in turn, asked me which kind of Alsace, to which I replied, 'classic.' Then came the question, 'Which kind of classic?' We concluded on the 'new Alsatian classic,' and in the end, a bottle of Yura L' Abeille et le Papillon Pinot Blanc landed on our table. The wine fascinated me; right away, I wanted to interview its creator, learn more about him and how he thinks about wine.

Words by Milan Nestarec & Lucie Kohoutová, photos courtesy of Jintaro Yura

Let's start with your fascinating Pinot Blanc – I nicknamed it 'silent wine' in the best sense of the term. I really appreciate that it says everything it has to, without being too loud or verbose. In my opinion, it is much harder to produce wines like that, wines that speak for themselves and are eloquent without being overwhelming. Would you say that this is an essential personality trait of yours, that is naturally reflected in your wines?

First, I respect the character of the vineyard plots in my winemaking, then I blend to find a taste balance that pleases me. As a general rule, I seek balance and avoid extremes.

Please tell me more about your beginnings, about Tokyo, about the family that runs French restaurants. How do you remember that period? Do you remember any wines you served there that changed your view of the world and made you realise that you wanted to make wine too? Did it originate there, or was it a completely different moment or impulse?

I started working as a sommelier in one of my father's restaurants in Tokyo. I quickly became interested in winemaking and its theories. I wanted to learn and understand how to make wine. There, I came across many fine bottles, but I immediately preferred the northern regions: Burgundy, Alsace and Champagne.

I’d like to learn more about your travels and internships around the world, from New Zealand to Burgundy – do you remember any moments, places or people that were key for your future direction?

I started working in the Mâconnais when I was 18, but at the time I didn't speak French very well. It was difficult to understand everything. Then, in New Zealand, I worked for a Japanese winemaker called Koyama Wine. I learned a lot about biology and winemaking.

Then I worked at Yamanashi Diamond Winery in Japan, where I learned several methods to improve efficiency in both vineyard and cellar work. I worked for 3 years at Josmeyer in Alsace, and that's when I really learned French. I really enjoyed working with the biodynamic philosophy.

Why did you choose Alsace? The region is fascinating for a lot of reasons, for example because it's geologically very diverse, probably more interesting than Burgundy and other regions – but what was the reason for you? The people? The grape varieties?

At Josmeyer, I discovered Alsatian grape varieties and terroirs. I think it's thanks to these years in this region that I really understood all the crafts and tasks involved in winemaking.

I'm interested in your work for Josmeyer, Hurst, and other Alsatian domaines. What did you learn about wine, biodynamics, etc., during that time?

I've learned about biodynamic philosophy and its spirit in the vineyard and cellar. This philosophy accompanies my decision-making, but is not decisive.

The friendship with the Gross family of Domaine Gross was probably crucial, right? Was Vincent the one who helped you with your first wine?

I was lucky enough to meet Vincent, and Domaine Gross indeed helped me a great deal in making my first cuvée and setting up my winegrowing business.

Pinot Blanc was the very first wine you made and is still important for you – why this grape in particular?

At my father's restaurant, we always offered Pinot Blanc by the glass. It's a fairly neutral grape variety, but it's much appreciated in fine dining, and goes well with a multitude of cuisines. I naturally chose Pinot Blanc to be in tune with the restaurant world.

Your cuvées have beautiful evocative names, can you share more about the story behind them?

I use many metaphors to awaken my customers' imagination. I'm happy when customers are interested in the meaning of words to find it in wine.

You now work with grapes from your friends; what’s the terroir of these vineyards and why and how do you choose these particular people, places or grapes?

I love limestone terroirs. So I buy my grapes exclusively from such soils. I choose the growers according to their personalities; people who are passionate about viticulture.

If I understand well, you're planning to move to your own premises – or has that already happened? Are you planning to cultivate your own vineyards as well, at some point in the future? (I know it’s not an easy shift.)

I've actually had my own winery since 2024, in Ingersheim. At last, I can work more comfortably. And yes, of course, I'd like to acquire vines to vinify my own grapes, it follows the quality logic.

I have to ask about the state of Alsatian wine today, in 2025. How do growers perceive climate change? I often come across wines from beautiful and prized Alsace terroirs that are heavy, often with residual sugar. Yet your wine was different, why is that?

I think that now in 2025, we see a lot more dry wines in Alsace, thanks to the younger generation. I try to make dry wines at the right maturity, with beautiful aromas, but it's always complicated to choose a harvest date, particularly because of global warming.

Do you think that it is an advantage that you don't come from the region, and therefore you see things with different eyes, you're not bound by tradition? I personally see this liberty as an advantage, but at the same time think that there probably are some negatives as well, so I’m really curious about your opinion and experience.

I think I bring a fresh perspective to the Alsatian tradition. I love wine from all over the world. I have a more global vision of wine. I don't have any family ties in this region, so it's easy for me to experiment with a lot of things. On the other hand, I didn't inherit an estate, so I have to build everything from scratch. It also allows me to share know-how and skills with my group of winemaker friends.

Are you in contact with other winemakers of Japanese origin based in France (or elsewhere in the world)? Do you think there is something that all of you 'Nippon œno-expats' have in common?

Yes, I know other Japanese winemakers in France. We exchange ideas regularly, but we each have our own personality and way of looking at wine.

My classic last question: Do you think wine is art?

I don't claim to be an artist. But I do think, every day, about how to improve the quality of my work.

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