All’inizio di questo mese sono tornato ad Auxey-Duresses per trascorrere del tempo al Domaine e degustare integralmente l’uscita 2026 della Maison Leroy. È stata una visita significativa. Abbiamo degustato più di 25 vini tra annate, denominazioni e stili, il che ha consentito un livello di profondità e di comprensione comparativa raramente possibile con Maison Leroy. È un modo di degustare che elimina la gerarchia e si concentra interamente su espressione, tempistica e intenzione. Avendo visitato con costanza per oltre 12 anni, e più volte ogni anno, ho visto molte uscite in forme diverse. Posso dire con sicurezza che questa è la selezione Maison Leroy più completa e convincente che abbia mai incontrato. Si tratta di un’uscita eccezionale. La collezione Maison Leroy 2026 si è presentata come una collezione moderna nel senso più pieno del termine. Ciò che le conferisce forma ogni anno sono vini provenienti da annate diverse, ora riuniti in un momento in cui Madame ritiene che abbiano qualcosa di straordinario da esprimere. Tuttavia, questa è sembrata la prima collezione Maison a iniziare a rispecchiare, con autentica convinzione, il carattere superlativo del Domaine Leroy. C’è certamente ampiezza qui, tra denominazioni, livelli e annate. Ognuno sembra essere stato rilasciato esattamente nel punto in cui l’evoluzione ha rafforzato, piuttosto che attenuato, la sua definizione. È questo che conferisce alla selezione la sua immediata bevibilità — un’espressione poco lusinghiera per molti, e forse non preferita alla Maison, ma si tratta di vini di grande gioia ed equilibrio. Ciò che rende l’uscita 2026 particolarmente significativa è che presenta Maison Leroy in una forma pienamente contemporanea, pur mantenendo la stessa gravitas, raffinatezza e controllo interiore che sono arrivati a definire il Domaine ai suoi livelli più alti. Il risultato è una collezione Maison di statura insolita: capace di reggersi pienamente da sola, ma anche più vicina di qualsiasi uscita precedente a riflettere l’autorità e la brillantezza associate al periodo dominante del Domaine. Processo ed Élevage Per comprendere Maison Leroy, bisogna prima comprendere il processo. Ogni vino viene degustato alla cieca da Madame Lalou Bize-Leroy prima che venga presa qualsiasi decisione. Centinaia di vini vengono valutati ogni anno, mettendo da parte produttore, denominazione e reputazione. Raramente nuovi vini superano la selezione. Solo quando un vino soddisfa i suoi standard porta il nome Leroy. Questa responsabilità rimane direttamente nelle sue mani. Ed è solo l’inizio. Una volta selezionati, i vini vengono trasferiti nelle cantine, dove entrano in un lungo e attentamente controllato élevage. Per i rossi, con la sola eccezione del Bourgogne Rouge, ogni vino completa il proprio élevage in botti usate del Domaine Leroy, indipendentemente dalla denominazione. Village o premier cru, la classificazione lascia spazio alla qualità. Ogni vino è trattato secondo il suo potenziale, consentendo un livello di raffinatezza e integrazione che supera la gerarchia. La stessa filosofia si applica ai bianchi. Con l’eccezione del Bourgogne Blanc, i vini completano il loro élevage in botti di rovere usate del Domaine d’Auvenay. Le fondamenta della Maison Leroy Maison Leroy è la pietra angolare originale di una delle famiglie più influenti e durature della Borgogna. Fondata nel 1868 da François Leroy ad Auxey-Duresses, l’azienda iniziò come attività di négociant con accesso a vigneti in tutta la Côte d'Or, tra cui Auxey-Duresses, Meursault, Pommard, Chambertin, Musigny, Clos Vougeot e Richebourg. All’epoca, i vini non venivano imbottigliati sotto il nome Leroy, ma venduti tramite il Comptoir des Propriétaires de la Côte d'Or. Sotto la guida di Joseph Leroy, la Maison si espanse commercialmente, prima che Henri Leroy ne ridefinisse profondamente la traiettoria. Nel 1942, durante un periodo di incertezza in Borgogna, Henri acquisì una quota del 50% del Domaine de la Romanée-Conti. La sua gestione fu determinante nel restaurare e portare la tenuta al suo attuale status, al vertice assoluto dei grandi vini. Sebbene l’attività di négociant proseguisse, fu con Lalou Bize-Leroy che Maison Leroy assunse la sua identità moderna. Entrata nell’azienda di famiglia nel 1955 e alla guida dal 1971, Lalou trasformò la Maison in qualcosa di molto più rigoroso: una realtà definita da indipendenza, selezione assoluta e visione a lungo termine. Maison Leroy si colloca al centro di un più ampio ecosistema Leroy, insieme a Domaine Leroy e Domaine d'Auvenay, ciascuno espressione distinta ma complementare della stessa filosofia senza compromessi — vini che superano costantemente le convenzioni delle denominazioni AOC. La prossima uscita di Domaine Leroy offrirà una prospettiva contrastante — radicata nella proprietà e produzione dei vigneti, ma del tutto equivalente in termini di rarità, prestigio e qualità finale. La collezione Maison Leroy 2026 sarà presto disponibile. Scopri di più su Maison Leroy e consulta tutte le offerte attualmente disponibili.

L'amministratore delegato Craig Norton torna ad Auxey-Duresses per una degustazione diversa da tutte le altre: l'intera collezione 2026 di Maison Leroy e ciò che essa rivela su una delle case vinicole più singolari della Borgogna.

The 2026 Maison Leroy collection in full — selected by Madame Lalou Bize-Leroy, released only when ready. 


The 2026 Maison Leroy Collection

La collezione Maison Leroy 2026

The official Hermitage appellation was established in 1936 but its global reputation dates back to at least the 17th century, when it became the official wine of the French Royal household, under Louis XIII. Despite its historical roots, just a handful of producers remain who act as guardians of its reputation today.   The largest landowner in Hermitage is Chapoutier, with Jean-Louis Chave, Delas and Jaboulet-Ainé along with the local Tain-l’Hermitage co-operative overseeing the vast majority of production today. In the last 20 years, an increasing number of smaller growers are also now starting to bottle their wine. Today, Chave and Chapoutier lead the way regarding the wine’s collectability, with Chave’s wines being the most difficult to source after their initial release.  Red wines are made from 100% Syrah and represent about 70% of the appellation’s production, with the white Hermitage made predominantly from Marsanne with a small percentage of Roussanne. A tiny production of Vin de Paille (a sweet wine made from air-dried white grapes) is also produced in the appellation when the climatic conditions are right.  The Hermitage hill is a patchwork of individual terroirs with a total of 20 separate climats or lieux-dits. Most notably, Chapoutier bottles a number of his top wines from these single specific sites, whereas Chave prefers to make a blend of the different lieux-dits. The hill is mainly made up of granite rock and this is where the best Syrah is grown, while the white grapes tend to be grown on the flatter eastern part of the appellation where there is more clay and chalk.   This granite rock towering over the village of Tain has long been the Northern Rhône’s most consistent appellation. With its steep gradient and south-facing position, the grapes regularly reach good levels of ripeness. As the climate has warmed, its granite rock, diurnal inference and moderate exposure help retain freshness in the wine, as well as power and intensity. The shape and structure of the hill also protects the appellation from the full force of La Bise wind (known as the “baby Mistral”). The wind tends to follow wet weather, improving the sanitary conditions of the vineyard by reducing the risk of fungal diseases, compared to neighbouring appellations.  The wines of Hermitage have fantastic ageing potential and are the longest-lived in the Rhône Valley, typically entering their drinking window at 10 years of age and holding for another 15 years comfortably and in top vintages much longer. Our own recent tasting of Chave’s Hermitage back to the 1940s proved the incredible staying power of these wines.  Here is a run-down of the last 20 years in Hermitage – looking at which are the best, the good and the not-so-good.  Best Hermitage vintages: 2018, 2017, 2016, 2015, 2012, 2010, 2009, 2006, 2005, 2003, 2001, 1999   Hermitage has been fortunate over the last 20 years when it comes to stellar vintages, with ideal ripening conditions and low outbreaks of disease being the norm for the majority of the last two decades. The 2017, 2016, 2015 vintages were three years in a row that saw the whole Rhône Valley blessed with ideal conditions; with 2015 arguably the pick of the three for Hermitage, with both the white and reds excelling. In 2016, Hermitage was hit by a hailstorm greatly reducing yields, though the quality of what was produced is superb. Hermitage fared better than most other major appellations in the Rhône in 2017, when excessive heat was an issue for others. The 2018 vintage has also proven fantastically successful in Hermitage, performing much better than others in the Rhône. It is a very ripe vintage (akin to 2003), but with better freshness.   While many of the top vintages of the last 20 years in Hermitage seem to mirror the top vintages of Bordeaux, Hermitage has proven to be more consistent with fantastic results in the often underrated 2012 and 2006, two vintages where Bordeaux struggled. The 2012 vintage wasn’t universally loved by the critics, but top examples have great tension and concentration, and it is another strong vintage for the whites.  In 2006 Chapoutier’s single vineyards in both white and red excelled, with both his Les Greffieux red and L’Ermité white receiving 100 points from Parker.   Good-not-great Hermitage vintages: 2000, 2004, 2007, 2011, 2013, 2014  These middling vintages produced some stunning individual wines, but as vintages more generally were affected by less-than-ideal weather. The 2014 vintage brought a cool, wet summer, which opened up the potential for greener-edged fruit and tannins. The best examples, however, have amazing freshness and vigour.  The white wines excelled in these slightly cooler conditions and are excellent. The 2013s lack a little intensity and concentration, as do the 2007s – which outlines perhaps the largest contrast in terms of climate conditions between north and south. The Southern Rhône baked in sun all summer and produced superb wines in 2007, while the Northern Rhône and the rest of the northern half of France sat under cloud and cool conditions. In 2011 there were some exceptional singular examples of Hermitage but generally the growing conditions were less than perfect.   Difficult Hermitage vintages: 2002, 2008  In 20 years, it is incredible that just two vintages really underperformed in the appellation. The 2002 vintage was plagued by a poor summer and heavy rainfall during harvest, which badly affected the quality of the finished wines. The 2008s are of much higher quality than the disastrous 2002s, however.  While the year suffered from a cool, wet summer, the whites – as in 2014 – performed very well, even if the reds did not. There are a handful of exceptional white wines from the single vineyards of Chapoutier in 2008. The reds tend to be a little green, although Chapoutier’s single-vineyard reds also performed very well. Considering the weather conditions, the team wisely reduced the amount of new oak during élevage to balance the lighter fruit concentration.  Read more Editorial

Despite being only 136 hectares in size, the hill of Hermitage is one of the most globally reputed, historical and iconic appellations of the fine wine world. We examine 20 vintages of the red and white wines of Hermitage.

We examine 20 vintages of the red and white wines of Hermitage from 1999-2018 from Chapoutier, Jean-Louis Chave, Delas, Jaboulet-Ainé, Tain-l’Hermitage 

1999-2018 Hermitage vintage guide 

Hermitage: Vintage guide 1999-2018 

A prince’s kiss rouses the cursed princess from a century-long slumber in Sleeping Beauty
but the man responsible for Bordeaux’s long-overdue reawakening was not a prince (this being the French Republic after all) but Alain Juppé, France’s former Prime Minister.  Bordeaux had been comatose, earning it the nickname la belle endormie, but the indefatigable politician has given the city the kiss of life. Listed as a UNESCO World Heritage site in 2007, it is now the most desirable place to live in France and was voted “European Best Destination 2015’. Bordeaux's renaissance is a real-life fairytale. Bordeaux was a “melancholy, unwelcoming place” just 20 years ago but the arrival of Alan
Juppé as mayor in 1995 has transformed the city’s fortunes, making its centre as elegant as its wines. Blackened buildings and abandoned warehouses are now a thing of the past and, with the arrival of the high-speed rail link, connecting the city to Paris in just two hours, living in Bordeaux is as aspirational as drinking its first growths.” When Juppé was elected as mayor in 1995, Bordeaux was not the modern and vibrant place it is today. Deputy mayor Stephan Delaux, who worked alongside Juppé for more than two decades, admits: “Bordeaux had a reputation as a melancholy, unwelcoming town. The town wasn’t modern – that is to say that in the town centre, cars, trucks, buses, car parks dominated. The building fronts were black, the waterfront was a relic of a once-busy
port; the warehouses [on the waterfront] were empty. The people of the city no longer knew they lived by a river – there was no life there.” He paints a rather depressing picture but throughout its history, Bordeaux’s sons have
portrayed the city in a none-too-flattering light: the novels of Nobel-prize-winning writer François Mauriac (1885-1970) whose bust now stands in the leafy public gardens, depicted Bordeaux and the surrounding areas as a bleak and uptight place to live in the early 20th century. Similarly, one of Alfred Smith’s (1854-1932) best-known works ‘Le Tramway devant les Quinconces par temps de pluie’ depicts a grey, wet day on the banks of the Garonne, umbrellas up and those without hurrying, heads bowed. It’s not a place you would have aspired to live.  Things didn’t get much better during the 20th century: local tour guide Veronique Baggio recalls a ramshackle apartment she lived in in the 1980s. “The building’s bathroom was in the attic so I had to leave my apartment to use it.  At that time the city was trying to push locals to improve the inside of buildings [to improve living conditions].  It wasn’t until the late 1990s that they started to focus on cleaning up the outside of the buildings and the public places.” Today, the buildings are impeccable – a mass sandblasting effort has unveiled the natural caramel and blonde tones of the local limestone, which were long hidden. Here and there, a few reminders of the past can be seen along its narrow streets: a blackened façade, as if smeared with charcoal.  Yet the renaissance of Bordeaux required more than a spit and polish. The length of the city’s riverbank had long been hidden by a line of ugly warehouses designed to cater to the needs of a port city. Since the 19th century, sugar and spices from far-flung places were unloaded to be reloaded by local timber and wine. The commercial port moved away in the 1970s from the city centre but the warehouses remained, as did the businesses that catered for the all-male docking crews.  Charles Sichel, export director of Maison Sichel, a wine merchant in the Chartrons district since 1883, explains:  “20 years ago there were a few seedy bars [on the quais] and where the new bridge is [Pont Chaban-Delmas] there were working girls. It was interesting taking customers out to lunch when there were girls standing in the doorways waiting for business – it was quite something – but I can’t remember them ever saying anything!” How times change. The waterfront is now the playground of the Bordelais, filled with joggers,
cyclists and prams promenading along its length; a place for concerts, festivals and open-air markets.  It is a sunny day and a Viking cruise liner lounges at the edge of the city centre overlooking children skipping in the water mirror, a slick of water that, as its name implies, reflects the classical architecture of the Place de la Bourse (Stock Exchange Square). It has become Bordeaux’s iconic postcard picture (and an unwitting urban water park) and represents the new face of the city – clean, bright and, dare I say it, fun.  The reawakening of the city has been noticed far beyond the city’s ring road; it has become the most desirable place to live in France, according to a survey commissioned by the Observatoire du Bonheur in 2015. Asked in which French city they would most like
to live, nearly one in five respondents answered Bordeaux – ahead of Montpellier, Toulouse and streets ahead of Paris.  Just an hour’s drive from the beaches of the Atlantic and three hours to the ski slopes of the Pyrenees, Bordeaux is now within commuting distance of Paris. A high-speed rail link (TGV) cuts the travel time between the two cities from more than three hours to two hours and five minutes in July 2017.  The spruce-up now continues beyond the city centre. Gliding north along the quai past Sichel’s office in the Chartrons district, the tram has started to deposit an unprecedented number of tourists in the Bacalan district. It’s certainly not the prettiest of suburbs, home to run-down docks, abandoned factories and a huge concrete mass that was once a submarine base, but the Juppé magic dust is now being sprinkled here and the opening of the Cité du Vin in June 2016, a towering sphere of gold and silver in a Frank Gehry meets Zaha Hadid-construction, is a pivotal part of its future. Tourists  - and most locals -  have had no reason to come here but that’s changing with 421,000 visitors walking through its doors in 2018. La belle endormie has woken up but the city continues to dream big. Sichel is rightly proud of his hometown. “Now, every time my customers come here they all comment on how beautiful the area has become. Juppé has turned this city around.” Explore more Editorial

Listed as a UNESCO World Heritage site in 2007, it is now the most desirable place to live in France and was voted “European Best Destination 2015’. We explore the renaissance of Bordeaux 

Exploring the renaissance of Bordeaux, from being named a UNESCO World Heritage site to being crowned the most desirable place to live in France 

Bordeaux revival - the city's transformation

Bordeaux revival: A reinvention of the city

Few names generate as much excitement as Karuizawa in the whisky world. In recent years the lost Japanese distillery – which was only ever in operation for 46 years and was scarcely known outside of its domestic market during that time – has become an icon and collectors’ golden goose.  One of the reasons for Karuizawa’s astonishing collectability is its genuine scarcity. The Japanese distillery will never produce any more whisky. After lying dormant for well over a decade following its closure in 2001, anything that remained was demolished in 2016. This, coupled with the fact Karuizawa was one of Japan’s smallest distilleries, with a miniscule output, means there weren’t huge volumes of stock left when production ceased. But just how did this niche Japanese whisky become so valuable? And which Karuizawa whiskies should be on any serious collectors’ wish list? The history of Karuizawa When the Karuizawa Distillery was built in Miyota in 1955, the owners set out to create a Japanese whisky in the Scottish tradition. In the mid-1950s, that meant Sherry-aged whiskies like The Macallan. As such, the distillery used small stills and Sherry butts that were modified to fit the wine racks that had previously been used on the site when it operated as a winery. Karuizawa also imported 100% Scottish barley (from 1994, exclusively Golden Promise – a richly flavoured spring barley variety). Like Scottish distilleries, Karuizawa initially produced whisky for the sole purpose of blending. It wasn’t until 1976 that Karuizawa produced its first single malt.  The Karuizawa distillery was mothballed in 2001 when its owners Kirin Holdings – who had invested heavily in its wine enterprise – could no longer maintain whisky production. Karuizawa and its sister distillery, Kawaskai, closed for good 10 years later. In 2012, all the Karuizawa distillery equipment, including the stills, were sold, and anything that remained was demolished in 2016.  The distillery is named after the town, Karuizawa, which is just under two hours by train northwest of Tokyo. Until 2022, Karuizawa was the only town to have hosted both the summer and winter Olympic Games events (1964 and 1998 respectively). 

 What is so unique about the Karuizawa distillery location? The location of the Karuizawa Distillery was unique for a number of reasons: firstly, it was on the side of an active volcano, Mount Asama – which meant the water source was incredibly pure. It was also the highest Japanese distillery, so the temperature remained constant at 10˚C and humidity averaged 80%. The misty surroundings encouraged water evaporation before alcohol, resulting in highly concentrated and high-alcohol older whiskies (30- to 40-year-old whiskies at approximately 60% alcohol). Karuizawa distillery character The Karuizawa distillery’s extraordinary location, on the southern slopes of one of Japan’s most active (category A) volcanoes is credited with creating the unique characteristics of the single malt. The cold, snowy winters and summers with up to 80% humidity, created specific atmospheric conditions that were ideal for whisky maturation. The resulting liquid had the enviable ability to age gracefully for many decades, while retaining an abnormally high alcoholic strength and concentrated, complex flavour.  Karuizawa boasted a twin pair of small 4,000-litre stills and wooden washbacks. When the distillery closed in 2001, Shizuoka Distillery owners Gaia Flow bought both the stills and have only been able to successfully bring one back to life. 
 Karuizawa’s rise in popularity It might be easy to forget given Karuizawa’s current notoriety but very few people had heard of the distillery when it closed its doors in 2001. The distillery’s cult-like status is largely thanks to Englishman and former Whisky Magazine Editor Marcin Miller’s foresight. Via his company, Number One Drinks, Miller and his business partner David Croll became the sole distributor of Karuizawa, Chichibu and Hanyu in the early 2000s after purchasing the last 364 barrels.  When Miller and Croll bought the remaining Karuizawa stock after protracted discussions, the world was only just starting to take notice of Japanese whisky. After a smattering of awards for the likes of Nikka in prestigious tasting competitions, all eyes were on Japan by 2015, when Jim Murray named Suntory’s Yamazaki Sherry Cask 2013 the world’s best.  Smack bang in the middle of this, in 2007, the first single-cask bottlings of Karuizawa started to be released in Europe, opening a floodgate of Karuizawa appreciation and secondary market prices that hadn’t previously been seen.  After tiring of seeing Karuizawa bottles flipped and sold for exorbitant amounts, Miller handed over Number One Drinks’ remaining stock to the influential Taiwanese whisky collector Eric Huang in 2011, making him the largest holder of Karuizawa casks in the world. Huang was reportedly in possession of 20 casks in 2018, with other holders owning five casks between them.  One of these owners, renowned collector Mahesh Patel, chose to bottle The Legend of Asama series from his two casks in 2021. Patel’s casks (#4059 and #6183) were both distilled in 1981 and matured at Karuizawa for 20 years before they were moved to Chichibu Distillery and bottled in 2017. Prices for one two-bottle set of The Legend of Asama were in excess of £100,000. There is still some maturing Karuizawa stock that remains unbottled.  Karuizawa lives on: Komoro distillery Karuizawa is one of the whisky world’s truly lost distilleries, with no hopes of resurrection. But, there has been chatter about a new distillery on or around the site for years.  In 2020, it was announced Karuizawa Distillers, spearheaded by Karuizawa locals Koji and Yoshie Shimaoka, would build Komoro Distillery near the original location. The distillery construction has begun and should be completed by December 2022, with spirit flowing in early 2023. When it comes to the liquid, former Kavalan Distiller and Blender Ian Chang will head up production. Chang wishes to employ a number of the late Dr Jim Swan’s techniques at Komoro, including STR – shaved, toasted and re-charred red wine casks. Mizunara casks are also rumoured to be high on the agenda.   There is also keen interest in Shizuoka Distillery, whose owners Gaia Flow salvaged the stills from the original Karuizawa site.  Record-breaking prices In March 2020, a bottle of 52-year-old Karuizawa became the world’s most expensive Japanese whisky sold at auction, fetching £363,000 at Sotheby’s in London. A private collector paid roughly twice the pre-sale estimate for one of only 41 bottles in existence of Karuizawa 52 Year Old Cask #5627 Zodiac Rat 1960. In 2022, a 250ml bottle of Karuizawa 1960 47-year-old whisky sold for more than triple its estimated sale price at almost $160,000. Some of the most collectable Karuizawa bottlings Every Karuizawa whisky is collectable. While the 1980s is heralded as something of a golden age of whisky production at the lost distillery, due to the scarcity of liquid, anything put up for auction is likely to sell for a record-breaking sum.  The early releases from the Japanese distillery were very minimalist. When Karuizawa 42 Year Old (1967) Cask #6426 was first released, it was sold in a glass bottle complete with a white sticker label encased in a thin cardboard box. Initially released for £250, this bottling would later fetch in excess of £20,000 on the secondary market. Today, the most high-profile releases of Karuizawa are collected and displayed like works of art. Bottlings have become more and more beautiful – and elusive. Most are now sold via a ballot. Some of the most notable Karuizawa collections include the Karuizawa Fight Club Collection, Ghost Series, Thousand Arrows and Samurai collection.  The Karuizawa Geisha whiskies Geisha is one of the most recognisable and coveted series of Karuizawa whiskies. Each release of the two-set Geisha series has been met with unfettered excitement. To date, limited sets containing whiskies aged for 29, 30, 31 and 50 years bottled in the 1970s, ’80s and ’90s have been released.  The Geisha bottlings are iconic and collectable for the intricate nuances inside and outside the bottle. The first pair of Geishas (a Bourbon-matured 30-year-old and a Sherry-matured 31-year-old) were released in 2013. This is the only set to feature more than just the Geisha’s face on the bottle. One year later, a 29-year-old and 30-year-old set, named the Aika Geishas, was released. The Geisha’s mirror image graced these bottlings. The Karuizawa Golden Geishas (31- and 33-year-old) were the next in the series, followed by The Emerald Geishas (33- and 35-year-old). In 2018, The Murasaki Geishas, AKA Imperial Purple, were released. Only 60 bottles of each expression were allocated by ballot for £6,000 each. Two years later, another two Karuizawa Geishas known as The Sapphire Geishas were unveiled: a single-cask 31-year-old and 36-year-old. The Pearl (37- and 38-year-old), Sapphire (31- and 36-year-old), and Ruby (34- and 38-year-old) complete the collection.   Karuizawa Noh collection The NOH collection is one of the largest and most popular series of Karuizawa whiskies. Each one of the single cask expressions is incredibly highly sought-after. It is a rare occasion indeed when an entire collection becomes available. The Noh series, which was first introduced in 2008, is named after the traditional Japanese puppet theatre.  Our team is always sourcing the best-priced Karuizawa whiskies on the market. Browse all current Karuizawa listings, or contact us if you are looking for something in particular.

Karuizawa is a phenomenon. Bottlings from the lost Japanese distillery are some of the most collectable in the world – and they’re only becoming more scarce. We chart the small distillery’s mighty history and look at some of Karuizawa’s most highly sought-after whiskies 

We chart the small distillery’s mighty history and look at some of Karuizawa’s most highly sought-after whiskies as they’re only becoming more scarce.

Everything you need to know about Karuizawa

Ch. Cheval Blanc is one of the finest producers in Bordeaux. The Saint-Emilion estate’s Cabernet Franc-dominant blends are consistently among the top wines of any vintage and under the tenure of Pierre-Olivier Clouet, the wines are only getting better. Listening to how Clouet talks about the property, the experiments, the confidence to talk about mistakes as much as successes, goes a long way in understanding why. This is someone who eats, drinks and sleeps Cheval Blanc – obsessively looking to better the wine. Cheval Blanc’s other Saint-Emilion property, Ch. Quinault l’Enclos has become an important test bed for developments at Cheval Blanc, and means the estate has seen a huge amount of investment over the last few years. Clouet accepts it is a “simpler” terroir compared to its sibling, but that challenge has pushed the team to explore the effects of terroir and varieties at a micro level. Since taking over the estate in 2008, Clouet felt that Quinault l’Enclos struggled to reach the standards he expected. Between 2009 and 2011, he admits their results were so-so. By 2012 they felt they had captured more freshness and balance in the wine, but they still didn’t have the density they felt the terroir was capable of producing.  Clouet knows they can’t simply make another Cheval Blanc at Quinault l’Enclos. Cabernet Franc, for instance (the backbone of Cheval Blanc), is a “fussy grape”, says Clouet, and just doesn’t work on the sandy/gravel terroir at Quinault. “The terroir also doesn’t have the clay soils that can help polish the mid-palate, and the tannins can become too rustic if we extract too much,” he explains. It is a fine balancing act and, while Merlot dominates in this terroir, they are finding success planting more Cabernet Sauvignon. Tasting the 2018 Quinault l’Enclos, the wine has the restrained touch synonymous with Cheval Blanc – something that is even more notable given the hot vintage. The fruit is firmly in the purple and blue spectrum and lovely violet, floral aromatic notes add complexity. The tannins are compact and impressively refined, and Clouet is clearly happy that in their 10th vintage at the estate, they have found the elegance and mid-palate density they have long been searching for. Alongside Quinault and the Grand Vin at Cheval Blanc, there is also the estate’s little-seen second wine, Le Petit Cheval. Clouet is keen to emphasise that Le Petit Cheval is purely a second wine: “It is made simply to make Cheval Blanc better.” It is the vintage that dictates how much Petit Cheval is made. In 2015 and 2022, for example, there was no Petit Cheval as the quality was so consistent it all went in the Grand Vin. Typically, Le Petit Cheval represents just 10% of the estate’s production, while 15% is typically sold off in bulk – mainly press wine, none of which is ever used in the Grand Vin. The Grand Vin, therefore, typically represents around 75% of production. In 2020 the blend for Petit Cheval was, unusually, 59% Cabernet Franc. It was a challenging vintage for the variety and less therefore went into the Grand Vin. For Clouet, 2020 was not as good as 2018 or 2019, and the growing season was not as conducive to good Cabernet Franc. Despite Clouet’s criticism of the vintage (“over maturity on the nose and underripe on the palate”), the 2020 Petit Cheval is a great wine. Notable power combines with big tannins and just a tiny hint of rusticity, but it has the refined touch of Cheval, a lovely, earthy, savoury quality and a long finish. Located in northwest Saint-Emilion, on the border with Pomerol, Ch. Cheval Blanc neighbours a number of high-profile estates, including Ch. Figeac to the south, and Pétrus and Vieux Château Certan in Pomerol. Its position between Pomerol and Saint-Emilion (while not on its limestone plateau) makes it a unique site in the appellation. Of the estate’s 39 hectares there is also tremendous variation in terroir. It is divided into 53 plots across 10 different soil types – clay, sand and gravel in varying proportions. For Clouet, it is this diversity that defines it. Many of the key components of the winemaking process have not changed since 1832, insists Clouet, however technology has allowed the team to increase the precision and purity of each bottle. “It’s the same picture, but with more pixels; we’re simply increasing the resolution of the wine,” Clouet explains. These days there is meticulous care and attention to detail at every stage of production, from the vineyard to picking each plot when the grapes are precisely “al dente”, right through to bottling.  Tasting through benchmark vintages underlines the success of this fine-tuning and the underlying style of the property. The 2018 is one of the great wines of the estate. Even in its infancy, the wine has incredible depth and a breath-taking density of tannins that are already seamlessly integrated – quickly followed by a surge of energy and an overriding freshness on the finish that gets the blood pulsing. Clouet describes Cheval Blanc as being shy at first, accelerating on the mid-palate – and that certainly comes through in the 2018, with a lovely lift on the finish. There is so much detail to the fruit with plenty of rich, concentrated black and red fruit flavours along with liquorice and menthol notes from the Cabernet Franc. The purity is outstanding and is hard to fault. Now with eight years in bottle, the 2015 is starting to reveal its quality, with the first hint of development beginning to show with lightly medicinal notes, beautifully delicately smoked oak tones and lifted floral violet aromas. The tannins again are seamless, yet dense. There is an unctuosity and fatness to the 2015 on the mid-palate, yet it is so fresh for the vintage. This is juicy and rich but with graphite mineral notes too. The density and detail is extraordinary. And the signature rush of energy and overriding freshness on the long finish is there. Although the 2012 Cheval Blanc doesn’t have the power or the intensity of the 2015, it is no less arresting. It is full of energy and has developed fresh tobacco notes and leather tones. The mid-palate remains really juicy, rich and pure. The tannins are again totally integrated with a mineral, minty note on the finish that has the Cheval Blanc lift. Finally, the 2009 – a wine that has legendary status among collectors: it is an incredible wine to taste, but noticeably different to the 2012, 2015 and 2018. The oak treatment and extraction is different and quite clear when tasted side by side. There is a touch more chalkiness to the tannins – not as seamless as the modern vintages – and they are more drying on the finish. Clouet notes that they certainly extracted more back then and the oak tannins are also more present, as is the toasting of the oak which has also been reduced in recent years. The power, freshness and energy is classic Cheval Blanc, but the refinement of the modern vintages shows that even at this level of quality there is room for improvement. There are few vignerons with such a meticulous approach to winemaking as Pierre-Olivier Clouet, whose fearless experimentation with one of Bordeaux’s most iconic wines has taken Cheval Blanc to new heights. It is only by tasting the wines side by side that you can really experience how this wine has developed over the last 15 years or so. It is a trend that mirrors much of what is happening in Bordeaux, with less extraction and more subtle oak, but few vignerons have discovered their magic recipe quite so astutely as Clouet at Cheval Blanc. Read more about Bordeaux, find out more about our events or browse all listings from Cheval Blanc

Under the direction of Technical Director Pierre-Olivier Clouet, Ch. Cheval Blanc has reached new levels of precision. Tasting through a selection of benchmark vintages with the man himself, we explore how the top Saint-Emilion estate is managing to further refine its impressive wines

Exploring the evolution of Chateau Cheval Blanc – the top Saint-Emilion wine estate – under the direction of Pierre-Olivier Clouet via a vertical tasting

Fine-tuning perfection at Cheval Blanc

Cheval Blanc: fine-tuning perfection

No matter how many times you visit, a trip to Maison Leroy never loses its allure. Driving through the quiet streets of Auxey-Duresses, following the soft, chalky blue signs for Leroy that point the way, is always incongruous with the fame of this address. As we’ve written before, you won’t find the grandeur you’d expect from such an illustrious producer – Lalou Bize-Leroy, and her entire team, embodies a rare charm and down-to-earth character that you don’t expect.  I was there to taste the new collection – an occasion which is always remarkable, winding your way through an array of vintages and cuvées of both colours. Bize-Leroy only releases her négociant wines when she feels they are ready to drink, meaning the collection often includes both recent vintages and older wines stretching back 40 or even 50 years. No matter the age, each one has been selected by “Madame” herself, the matriarch with one of Burgundy’s best noses.  This year’s collection is notable for its youth – in all the right ways. Recent collections have included venerable bottles drawn from the property’s extensive cellars – offering a rare chance to taste flawlessly aged fine Burgundy, direct from the producer. This year’s line-up – of course – includes special vintages that will set cellar-hunters’ hearts aflutter, stunning Chardonnay from 1985 and ’79, as well as two reds from 1972, Vosne-Romanée Premier Cru Les Petits Monts and Echezeaux Grand Cru, which Gilles Desprez (Bize-Leroy’s right-hand man) highlighted as some of his personal stand-outs, showing amazing refinement and delicacy, despite their age.  Beyond these historied bottlings, however, you’ll find a selection of wines from the best recent vintages. For the reds, 2018 offers a rich and generous profile, approachable now yet with the depth of fruit to age; 2017 is a vintage of the moment, fully of juicy charm and bright acidity that is irresistible; while there are elegant 2015s and a concentrated 2016.  As for the whites, the 2018s are soft, round and welcoming Chardonnays that nevertheless have everything needed to age, while the thrilling, taut 2014s are just edging into their long drinking window. A similar year, 2010, with high acidity and beautiful balance shines in the line-up – and the vintage is among my favourites for whites.   Desprez notes what a pleasure it is to show these wines, offering a slightly different side to Burgundy for them. Of course, it’s perhaps reflective of current tastes – with a larger range of whites full of vibrant fruit and flinty minerality. For a man fortunate enough to taste more than his fair share of aged Burgundy, these wines are refreshing. While each release is ready for you to pull the cork on, these more youthful releases can also be aged (an excellent excuse to purchase more than one case, if you can, in our view). The line-up this year is really exciting, offering a real range of wines to appeal to all sorts of fine Burgundy drinkers.   We won’t pretend that wines of this level come cheap, but a visit to taste at Maison Leroy reinforces exactly why their name commands such demand. These wines provide a masterclass in fine Burgundy – each one so reflective of its terroir and vintage, archetypal expressions of Burgundian Chardonnay and Pinot Noir. Take the 1979 Puligny-Montrachet Premier Cru Pucelles in this year’s collection, one of the handful of carefully chosen mature wines that feature. Tasting it in the morning, the nose was gorgeously expressive – pristine and mesmerising, yet took a full hour to open up on the palate. Tasting it later in the day, it was still gorgeous – exactly what aged Chardonnay should be – showing how good white Burgundy can be, and a bottle that I won’t be forgetting any time soon.  Highlights from the 2024 Maison Leroy collection 2017 Bourgogne Rouge, Maison Leroy: Offering all the freshness and juiciness that one can find in 2017 red Burgundies at present, this Bourgogne Rouge offers everything you’d want from regional Pinot Noir. It’s very expressive and youthful on the nose, driven by red berries and sour cherries. The palate is lively and offers immediate pleasure, with a nice, savoury, peppery finish that makes it dangerously enjoyable now. Lovely now, this should drink nicely for the next five to seven years. 1999 Bourgogne Rouge, Maison Leroy: It’s been a few years since we last had a chance to taste Maison Leroy’s 1999 Bourgogne Rouge, and it was very interesting to compare this cuvée with the Hommage à l’An 2000 that was re-released last year. By comparison, the 1999 feels like it is still in its teen-years, with a powerful and concentrated profile compared to its millennial cousin. On the nose, it takes a few minutes to open up, but it is understated, elegant Pinot showing some evolution, with wild berries paired with dried petals. On the palate, it is at first interestingly youthful, led by dark fruit. The tannins are powerful, and the concentration impressive. This is drinking beautifully now and should enter its prime drinking window in two to three years. A fantastic showing for a regional appellation! 2018 Chorey-lès-Beaune, Maison Leroy: The 2018 Chorey-lès-Beaune is very perfumed, exuberant with florals and redcurrants. Always livelier and more fruit-forward than Monthélie (especially in warmer vintages), this often-overlooked terroir offers a beautiful level of complexity. On the palate, crunchy red berry fruit and juicy tannins lead on to a beautiful saltiness towards the finish. Its acidity and freshness beautifully balance the richness of the vintage. This is lovely to drink now and should evolve nicely for the next five to seven years. 2016 Santenay, Maison Leroy: Deep purple in colour, the 2016 Santenay is beautifully restrained when compared to its 2017 and 2018 siblings in this line-up. The discreet nose is lovely, driven by red fruit. The tannins are silky, coating the mouth pleasingly. There’s almost a creaminess to the mid-palate. Concentrated and with superb density, this is drinking well now but will benefit from another few years’ cellaring to show its full potential, it should then evolve beautifully for another eight to 10 years given its concentration. 2015 Côte de Nuits Villages, Maison Leroy: Made with fruit from around Nuits-Saint-Georges and Corgoloin, this offers a more austere nose – but it’s a very elegant and subtle Pinot. On the palate, it’s beautifully concentrated, with polished tannins. It starts with rich dark fruit, and there’s lovely acidity on the mid-palate that leads to a long, savoury finish. This is beautifully approachable now and will age nicely for another seven to 10 years. 2015 Gevrey-Chambertin, Maison Leroy: Tasted just after its Côte de Nuits Villages cousin, the 2015 Gevrey-Chambertin offers a beautifully layered nose, aromatic yet serious. Its palate mirrors the profound nose, dense and concentrated with layer after layer of complexity – much more than one would expect for a village wine. Dark fruit evolves into more earthy and spicy notes, finishing on an almost floral finish. This is so subtle and delicate, a brilliant showing for a wine that can be drunk now but would be even more impressive after three to five extra years in the cellar. 2018 Bourgogne Blanc, Maison Leroy: This is aromatic and very expressive on the nose. The palate offers creamy lactic notes, and it’s got a beautiful texture and depth. It shows the ripness of the warm vintage, yet this is complemented by a backbone of minerality – balancing the rich weight of orchard fruit. Profound and lovely for a mere Bourgogne Blanc. 1998 Bourgogne Blanc, Maison Leroy: On the nose this is driven by citrus fruit. There is the slightest hint of pleasing oxidative tones, with richer fruit, yet not overly so – with the wine in pristine condition. It shows beautiful evolution on the palate, with honeysuckle notes and more exotic fruit – yet acidity that avoids risking any overly ripe or jammy character. A very delicate wine, this food to complement its evolved complexity. Drink in the next three years. 2019 Saint-Aubin, Maison Leroy: This is so fresh on the nose – full of white flowers and juicy white peach, it’s mineral, lovely and expressive. On the palate, however, there’s unexpected density and texture. This is super concentrated and youthful, yet also very enjoyable now – and one of those wines that will keep showing different facets with air, and long after you’ve swallowed a mouthful. This will need time to show its full potential, but is already glorious. 2019 Auxey-Duresses, Maison Leroy: This was our favourite in the line-up of 2019 and 2018s this year. Auxey-Duresses is a village that is often overlooked but that Madame Lalou Bize-Leroy masters. The nose is multilayered, showing riper notes than the Saint-Aubin, but more acidity too, and with a mouthcoating texture that almost feels weightier than the Meursault. This is very 2019, in the sense that it combines great richness and freshness. This is lovely and long, with a finish marked by creamy, lactic notes. Drink it now and over the next five to seven years. 2018 Meursault, Maison Leroy: This offers a dense nose packed with layers of complexity, yet it’s also very subtle and discreet. This will need a bit of time to fully show its character, as the layers peel back in bottle. With aeration, the wine unfurls with richer, riper stone-fruit notes. On the palate, there are hints of creamy, brioche-like notes, along with real density of fruit on the mid-palate – a rich and weighty wine. There’s a lovely long finish. If you can, give it another five to seven years in the cellar, as the wine is so tightly packed and concentrated that you may miss out (although it’s hard to resist now!). 2014 Chassagne-Montrachet, Premier Cru, Les Chenevottes, Maison Leroy: This is very expressive and fragrant on the nose. Still fresh and intense on both the nose and palate, this lively wine speaks of this brilliant white Burgundy vintage – and is only just entering its drinking window. It offers such a complete set of aromas from the rich, ripe notes of fresh fruit to more herbal, citrus notes, all driven by brilliant acidity and a hint of bitterness. Lovely – and one of our favourite whites in the collection this year. 2010 Chassagne-Montrachet, Premier Cru, Morgeot, Maison Leroy: This Morgeot has such a lovely nose, offering a mix of sweet apple and honey-flavoured candies. It is concentrated and powerful on the nose, mature yet still has a lot to say. On the palate, the acidity is striking from the moment the wine touches your tongue. It opens with fresh, mineral, crystalline notes, but this is immediately followed by a wave of ripe yellow fruit, and then some sweet spice which lifts the wine on towards its persistent finish. This is beautiful now and should stay in this zone for another five to seven years. 1979 Puligny-Montrachet, Premier Cru, Les Pucelles, Maison Leroy: With a beautiful golden colour, this is so impressive on the nose, with so much going on: honey, beeswax, frangipane, creamy and lactic notes, candied orange peel, crystallised fruit, it just keeps delivering on the nose. The palate seems a bit muted by comparison, when tasted just after opening – but after an hour or so you’ll find the same level of density and richness here too. All those aromas mingle together and melt into each other, yet there is a sense of harmony, with beautiful acidity throughout. The wine feels like there are so many layers and strands to it, but it is also so complete. Towards the finish, there is a certain salinity that drives the length of the wine, alongside those honeysuckle notes. A real delight that is approaching its prime though still has a lot to say! Drink now through to 2035. The 2024 Maison Leroy collection will be released soon, sign up to find out more, or read more about Maison Leroy and browse all current listings 

Ahead of the annual release from the fabled Maison Leroy, Buying + Partner Director Corentin Margier reports on his pilgrimage to this iconic address in Auxey-Duresses

Tasting the wines in the 2024 Maison Leroy collection – the latest releases from Lalou Bize-Leroy (of Domaine Leroy and Domaine d’Auvenay)

Tasting the 2024 Maison Leroy collection

A masterclass in fine Burgundy: Maison Leroy

Getting to taste a vertical of any one wine is undoubtedly the best way to understand it. It provides that rare opportunity to see how well each wine has evolved, how each vintage was shaped by its growing season and whether the wine’s character and personality remains a constant throughout. But these 14 vintages of Colore – spanning the first 20 years of its existence – are as much about Bibi Graetz’s own evolution as that of the wines.  Over the last two decades there has been a dramatic change in the production of Colore – one that mirrors Bibi Graetz’s journey of discovery in winemaking and viticulture, having started as a complete amateur. From 2000 to the most recent vintage (2018), the wine has completely transformed in both where it is grown and how it is made.   As Graetz says, the concept behind Colore never changed. “I wanted to make the best wine possible. All that changed was how! In the past I thought the best grapes had to be the most powerful. We were green harvesting in the vineyard – getting the production as low as possible, we were bleeding off juice in the winery to increase the concentration, we were using new oak to bring more body, intensity, power.”  In complete contrast, today there is no green harvest in the vineyards: Graetz doesn’t even hedge the vines, preferring them to find their own balance. There is no more bleeding off, with Graetz believing a natural balance is more important than a higher level of tannins. There is no new oak anymore – just old barrels, large foudres of various sizes and cement tanks for maturing the wine. At the beginning, Graetz worked with a consultant, but as he took on more of the winemaking himself (from 2004 onwards), each experiment saw the wine style and production change, based on his own experiments and intuition.  One thing has remained consistent throughout: the unusual method of fermenting the wine in barrel. With Graetz’s commitment that Colore should be made with only the very best grapes, quantities were so small, a normal fermenting vat would not work. “My winemaker at the time came up with the idea – he said simply open up a barrique and ferment the grapes in them. Winemakers in California and South Africa were already doing these micro cuvées very successfully and I thought why not?” Graetz feels this is key to Colore’s style – exposing the must to lots of oxygen, integrating the oak with the tannins better, and with the smaller size leading to a different temperature range during fermentation.   While most of these changes were gradual, perhaps the biggest turning point for Colore came in 2008 with the discovery of the Lamole vineyard. Graetz’s focus has always been on sourcing grapes from Tuscany’s oldest vines and this vineyard – sitting at some of the highest altitudes in Chianti Classico – was to have a profound effect on the wine. The fruit from this special site rapidly started to dominate the blend. Prior to 2008, Colore sat alongside Bibi Graetz’s other prestige cuvée Testamatta – two wines of equal status exploring two different concepts, with Testamatta pure Sangiovese and Colore, a blend of the three red Tuscan grapes (Sangiovese, Colorino and Canaiolo). Graetz knew there was something special about the 2008 vintage, particularly with the introduction of the Lamole vineyard. Graetz decided to choose only the very best barrels for Colore, making production very limited and pitching it above Testamatta. The first vintage of the new Colore, 2008, sent the critics wild – and the price too.  For Graetz personally, the 2009 vintage marks another significant change, with a shift from power to elegance. The 2009 vintage was very difficult in Tuscany – making it difficult to get any concentration, something that Graetz was originally worried about. “But when I made the wine, the response was one of universal approval. It was lighter, more elegant and I saw the value in that.”   Tasting through vintages back to 2000, the 2008 remains the stand-out wine of the line-up and, whatever changes happened in the winery, you feel the 2009 difficult vintage conditions didn’t capture the magic and personality that the 2008 exudes. This is just one pair in the line-up that proves that vintage remains at the heart of a wine, no matter the changes in the wine cellar. The 2010 for example tells of its low yields, needing time to fully unfurl. Similarly, the more difficult 2011 and ’12 vintages show much more maturity than the ’10, ’08 or ’06.   The modern vintages become much more consistent – and, although still very youthful, you feel Graetz found his feet in terms of what he wants Colore to be. There is both elegance and natural power in these beautiful renditions of Sangiovese. The switch in style from the early vintages is remarkable. The 2005, 2004 and 2003 in particular are much more “international” in style. They are perfectly well-made monoliths, but don’t exude the personality of more recent vintages.   While today the 2008 remains the finest expression to date, you can’t help feel that many of the younger vintages could – with maturity – match it. As the vintages progress, Colore becomes ever more elegant, reflecting Graetz’s changing philosophy. Graetz’s evolution as a winemaker shines through in these wines, but the transparency that comes with that evolution – allowing the fruit to speak more clearly of a time and a place – that is the narrative. The resulting wines have as much personality as their maker.  Tasting through two decades of Bibi Graetz’s Colore  2018 Colore: The 2018 has a translucent ruby colour and a light floral perfume with pure, very compacted aromas of pot-pourri and red aniseed. Medium bodied, the tannins are fully ripe, resolved and beautifully silky for Sangiovese, bringing an effortless structure to the wine. Warming, ripe black cherry fruit fills the palate and sustains a long finish. Drink 2028-2045.  2016 Colore: With two years more in bottle, the 2016 is much more expressive than the 2018. Dried tobacco, rose talc, geranium, even a touch of cumin brings lovely floral complexity to the aromas. The tannins are that much more integrated and meld around a good core of fruit – with solid black cherry fruit flavours and dark chocolate notes. There is an overriding florality to the wine, adding further complexity to this beautifully balanced rendition. Drink 2026-2041.  2015 Colore: The 2015 is less expressive today than the 2016, which is somewhat surprising since you would expect the 2015 to be more open. There are darker elements to this wine, dominated for now by fragrant aniseed and dark chocolate aromas. The palate is silky soft with lovely, resolved tannins. It has compacted, concentrated fruit with an impressive density to the mid palate. Again, a solid core of fruit at its centre, melded with layered, detailed tannins. This will blossom but needs time. Drink 2025-2040.  2012 Colore: There is a huge difference contrasting 2012 and 2015, with three more years in bottle, heightened no doubt by the cooler vintage conditions. The wine in itself is in a lovely stage of evolution, with tertiary, savoury, maturing elements intertwined with more primary, floral and black plum fruit. The tannins are noticeably softer on the palate, less overtly present in dictating the wine’s character. This is both fresh and funky and with a touch of tertiary leather too. This is drinking beautifully now. Drink 2021-2028.  2011 Colore: Similar to the 2012 there are some noticeable maturing elements to the wine, providing a lovely complexity both to its aromas and palate. While the fruit character is less plush, the wine has a fantastic vibrancy and firmer acidity. Earthy, savoury tones and a touch of bloody iodine gives good typicity to the region, the variety and the vintage. Drink 2021-2030.  2010 Colore: The 2010 is incredibly youthful compared to the 2011 and 2012, showing how arguably vintage conditions play a significant role in the wine’s ageing ability. Yields were significantly down in 2010 and this shows in this dense rendition. The wine, similarly to 2015 is a little closed right now offering hints of iodine and earthy, black cherry fruit. Tasting the next day, the wine is much more open, the tannins are incredibly concentrated and there is amazing acidity too. The fruit on the palate is very pure. This is powerful and will no doubt mellow beautifully with age. Drink 2025-2035.  2009 Colore: Very developed on the nose, so much so that this bottle may not have been in perfect condition. The wine comes across a little oxidised with black liquorice aromas and light acetate notes. Fruit is ripe and slightly raisined, it seems almost later picked than other vintages and certainly more developed than older vintages.  2008 Colore: The wine of the line-up. This is an exceptional wine, firmly in its drinking window but with bracing acidity that offers plenty of life ahead. There are lovely tertiary notes, while also remaining fragrant and clean on the nose. The palate is very fresh with fine, silk-coated tannins providing a lovely breadth to the palate. This is so elegant and yet so rich; very Italian in style with dried floral lift, liquorice spice and bountiful black cherry fruit. Drink 2021-2030.  2007 Colore: The 2007 has a very complex nose with dry spice, aniseed, cured meats and a touch of blue cheese. This funkiness dissipates with air becoming more integrated and all the better for it. The palate remains very silky with maturing cherry fruit, pickling juices and figs. The acidity and tannins are totally melded to the fruit, providing an excellent textural quality to the wine, with a spicy chili finish. Drink 2021-2025.  2006 Colore: This wine shows very little sign of age, maturing at a snail’s pace. It retains a lovely Italian identity with vibrant acidity, cherry fruit and liquorice notes. There is almost no tertiary character to this wine, possibly another nod to the exceptional vintage conditions? The fruit is very concentrated, clean, and surprisingly youthful in character. I would love to explore this again with more maturity. Drink 2022-2030.  2005 Colore: Still quite youthful but lacks the perfumed fruit of younger vintages. Very ripe fruit with additional dry oak spices on the nose. The wine has a fine texture, layered tannins and more oak influence on the palate. Not so obviously Italian and more “international” in its style. Drink 2021-2026.  2004 Colore: Similar to the 2005, the wine has a lot of ripeness and intensity as well as spicy notes. More expressive than the 2005, there is a floral lift too. Tannins are a little less pleasing – slightly blocky in character and the fruit is quite ripe, bordering on raisined in character. The dried fruits developing possibly from age, although lacks the personality of some of the younger vintages. Drink 2021-2025.  2003 Colore: The 2003 was perhaps the most disappointing wine in the line-up and quite closed down. Graetz thought the wine was slightly oxidized. There was bitter chocolate on the nose, but the tannins were silky and beautifully melded and the acidity is well balanced. Despite this, the 2003 falls into a monolithic character similar to the 2004 and 2005, lacking a bit of personality. Drink 2021-2025.  2000 Colore: Certainly less monolithic than the ‘03, ‘04 and ‘05 and much more developed. This is fully mature, with pure tertiary characters on the nose – smoky, undergrowth and touch of funky Brett notes. This has lost much of its primary fruit and is on the decline. Drink now.  Find out more about Bibi Graetz and browse all listings or read more Editorial 

It’s 20 years since Bibi Graetz created Colore, one of Italy’s top wines. To mark the occasion, Gavin Smith tasted through 14 vintages – exploring the evolution of this rare Tuscan red, and its maker 

Tasting through 20 years of Bibi Graetz's Colore, one of Italy’s top wines – and exploring how the Tuscan red has evolved over the past two decades 

Tracing the rare Colore Tuscan red's evolution

A story in Sangiovese: two decades of Colore

Rome’s Baths of Caracalla fell into ruin in the 6th century. This illustrated reconstruction appeared in Hutchinson’s History of the Nations, published in 1915. Credit: Classic Images (Alamy Stock Photo). It took a shock to the system on the scale of the Covid-19 pandemic to demonstrate how much our lives can be reshaped by the humblest of objects. When restaurants, hotels, cafés and night clubs have all been closed for months on end – and when we are excluded even from each other’s homes – then park benches and patio heaters become stand-ins for the more elaborate architecture of everyday life that usually enable the interactions we depend on to function as social beings. For much of 2020, only the most rudimentary tools for conviviality were left to us. This works better at some times, than others. On a warm sunny day, all it takes to create an instant convivial space is a bench. This simple structure is the means for people to meet, share a view, a conversation, and perhaps a picnic. Add a back, arms, and a USB charger plus a Wi-Fi connection to the bench, and the proposition grows layers of complexity. It has become a people-attractor and a conversation starter too. This last year has helped us to understand better how to appreciate, through their absence, the things that make us the most human: being together, sharing food, drink and conversation, and marking the key moments in life. While we were forced into isolation, our attempts to replicate some of these experiences, with the use of a screen and a fitful broadband connection, showed us how inadequate they inevitably are. The experience suggests that social change, when it comes, is about an acceleration of what already exists – more than it is about a complete reinvention. Buying more online than we ever did in department stores is going to be a permanent shift. Some of us are less likely to fly to Australia for 24 hours for a business meeting than we were in 2019. But there are other things that will not change. We will still want to celebrate birthdays and weddings in the company of others. We will always want to meet our friends and look for chances to make new ones. And we enjoy doing all those things in the kind of spaces and places that make the most of the moment, which can make the seemingly routine into an occasion. Even at the basic level of the park bench, there are nuances to deal with. Chatting side by side is not the same experience as a face-to-face conversation. However, for some people, direct eye contact is as aggressive as an all-caps text message. It is why a walk in the park can be the best way to share a secret, and why Sigmund Freud conducted his consultations from behind the back of his couch. What we sit on is as significant as how we sit. In the average western living room in the 1960s, the armchair was the seat of power, occupied by family patriarchs. The matriarch, if she was lucky, got a slightly smaller version to herself. The sofa was designed in the same style, just large enough for two, and was for the use of supplicant sons-in-law. As the domestic world has expanded, so the sofa has taken on the dominant role over every other piece of domestic furniture. Sofas have been getting bigger for some time and are now reaching the size of lifeboats. They’re expected to cope with everything from conversation to work, assuming multiple roles as stand-in dining table, desk and bed. Social spaces, from the most intimate scale to the grandest, form an essential part of both our personal domestic worlds – in which we share our privacy with a selected group of friends and family – and the public one that we all share. It is a scaled sequence that runs all the way from a candlelit interior with a couple of chairs, a plain wooden table with two wine glasses, to the Galleria Vittorio Emanuele II in Milan, which, with its heroic iron-roofed arcade, has a strong claim to be regarded as the mother of all shopping malls. When it opened in 1877, the newly empowered bourgeoisie (in their straw boaters and stiff detachable collars) took to it as the setting for their daily promenades on the way to and from the Duomo, Milan’s cathedral, where they celebrated Mass, or en route to a performance of a Verdi opera at La Scala. Stopping to take coffee and pastries, they would meet each other for an aperitif at Biffi or dinner at Savini, and explore the exotic wares that the shops in the Galleria had to offer. As futurist artist Umberto Boccioni demonstrated in his painting from 1910, Riot in the Galleria, there was a darker side to such spaces. He portrayed the agitated response of a turbulent crowd of well-dressed spectators to the sudden violence of a fight between two women – sex workers perhaps. The disturbing scene, depicted in pointilliste style (and based on an incident that actually took place), is bathed in lurid electric light, evoking the frenzied atmosphere of this giant outdoor room and its extraordinary impact on the behaviour of a mass society. An unintended consequence of the lockdown has been the enforcement of the monogamy-based model of the nuclear family. It made the year particularly difficult for all those who don’t subscribe to it. We will need places we can dress up for again, places we can show off in, even places in which we can behave badly. The painting is, in some senses, a reminder that urban life is essentially about tolerance. Complex spaces have always been a vital part of urban life. Almost 2,000 years ago, the Romans built the Baths of Caracalla on a lavish scale, with three separate pools, libraries and gymnasia – and gardens large enough to accommodate 1,600 people at a time in comfort. Its mosaic and marble floors, its frescoes and sculptures made it one of Rome’s essential landmarks, not only as a monument to the glory of the emperor who built it – though it certainly was that – but also as a place to be used by people, day and night. Its magnificence, and the sense of the joy of a great shared civic space, inspired the American architect Charles McKim when he designed New York’s Pennsylvania Station, one the most sublime railway stations ever built. The central waiting room, barbarously destroyed 50 years after it opened, was a convincing recreation of the baths of Caracalla that lifted the spirits of anyone who passed through it. The months of isolation have taught us how important shared spaces of all kinds are to the way that we live. They are the places in which we meet each other to celebrate the important rituals of life, as well as to pursue the seemingly trivial (actually essential) compulsion to gossip about one another. As an essentially self-conscious species, we need alibis to give ourselves permission to be convivial. We construct reasons to meet each other, like the 19th century clubs of Pall Mall, or their democratic paraphrase – with its provision of gender segregation, and games room, and its mix of intimacy and ceremony – the Victorian pub full of mirrors and cut glass. Or in today’s context, a bowling alley configured to allow players and their friends to sit at a table, order food and drinks, and watch each other play, and to hear each other converse. Some public spaces do better at conviviality than others. The Las Vegas casino, for example, is designed to be the opposite of convivial. Slot machines on an industrial scale obviate the need for any form of human interaction. With its glass dome, and 25 miles of bookshelves, the old round reading room at the British Museum is certainly a very special space, although it has now lost its intellectual raison d’être and has become a dead monument. In its day, a reader’s ticket conferred membership of an exclusive club that included Oscar Wilde, Vladimir Ilyich Lenin, and George Orwell. But as the museum’s insistence on silence suggests – beyond unspoken flirtation over the book stacks – it was not a place that was fundamentally about conviviality. The Berghain Club, the raw, concrete world capital of techno music based in a redundant power station in Friedrichshain, in what was once East Berlin, is another very different kind of public space, and – in its own way – an equally spectacular social space. It has a pickier door policy than the British Museum but a similarly committed membership. In this case, the limit on conviviality is not silence, but the sheer volume of sound that makes the 18-metre-high main spaces vibrate, and which makes conversation inconceivable. A truly convivial space needs to work on multiple levels, to offer a variety of zones, some of which can encourage concentration, and others that can be distracting. Some may be more intimate than others. It’s a drive that is leading to an interesting range of cross-fertilisation. Cinemas that serve food more ambitious than popcorn and hot dogs are being equipped with sofas instead of tip-up seats. Health spas come with restaurants. However, not all convivial spaces encourage multiple uses. Orchestration and control are part of the experience at those English clubs that frown on members showing any signs of working, to the extent of asking them to put away notebook and pencil – never mind laptops – over lunch. Some aspects of what we have learned from the last year will colour life well into the future. The private dining room is a long-standing restaurant tradition, which has been given a new lease of life. We can also expect to see signs of change in the workplace. The Silicon Valley model has aspired to look as domestic as possible, furnished with sofas and kitchen tables, surrounded by vintage and deliberately non-matching chairs. A year of working at home is likely to encourage a more formal environment. But while we continually try to find new tools to make conviviality possible, the objectives remain the same. In a year in which all our assumptions about how we live together have been turned upside down, the world’s designers and architects have had to face the challenge of how to deal with the impact of the pandemic on our homes and our cities. As city centres empty out, and people avoid crowds, how can we find ways to socialise? 
Deyan Sudjic asked four leading designers and architects to explore the future directions that conviviality can take for FONDATA. John Pawson Architect John Pawson has always focused on the idea of designing the architecture of conviviality. In his recently released Home Farm Cooking book, produced with his wife Catherine and published by Phaidon, we see what matters most. Every Pawson interior is designed with how it will feel to use it in mind – is it to be enjoyed by somebody on their own, or with others? He takes away the distractions and lets us focus on how we use and feel in a room. He makes some spaces in which to read and to concentrate, others in which to share the preparation of a meal, and yet another to enjoy the result in company. Intrinsic in his philosophy is the importance of creating a setting where one can appreciate light at different times of the day – whether it is the shades of white as revealed by degrees of sunlight or the warming effect of firelight by night. johnpawson.com AB Rogers Ab Rogers was inspired by the spontaneous street life of the neighbourhood in 
East London in which he lives and works to come up with a range of furniturelike structures to give social spontaneity a helping hand. “Whether it’s planned 
or serendipitous, we wanted to design a set of colourful pieces that could help 
to turn a momentary catch-up on the street into an impromptu drinks party, 
anchored by a tuned-up bollard. Or make a surprise anniversary dinner possible 
under a street lamp … or make a breath of fresh air turn into a long lunch with 
new friends at a long table under the trees.”  abrogers.com Paloma Strelitz Paloma Strelitz, an architect, and co-founder of the Turner Prize winning 
collective Assemble, took an overview of how shopping streets might recover 
from lockdown, to generate new life: “convivial, accessible, sustainable and 
enjoyable for all”. The experience of negotiating streets in which precautions 
against the pandemic had caused restaurants and food shops to migrate to 
the pavement, made her think about ways to make this a permanent quality.
“It’s an opportunity to empower local business. Shops could open their 
facades to the street, creating an expanded space of public interaction, and 
daily theatre.” She would keep the car in its place, with priority for pedestrians and bikes, 
and banned altogether at weekends. What were once parking places would 
become green borders, combining play space, raised planters, flower beds 
and trees, allowing the street to become a promenade. Meanwhile the street 
would be animated not just by cafés, but studios and workshops putting the 
making process on show. Oh, and a mobile bar too.  assemblestudio.co.uk Jon Marshall  Jon Marshall, an industrial design partner at Pentagram in London, found himself 
thinking about ways to bring together two very different kinds of object: a hamper, 
designed to carry utensils food and drink securely, and a shooting stick. “They 
aren’t really about shooting,” he explains. “The shooting stick is actually a very 
convenient way of carrying the means to sit anywhere with you.”  The hamper allows for the sense of anticipation that comes from preparing for 
a pleasurable occasion. The two objects have very different aesthetics – one is 
vaguely mechanical, the other has a kind and rustic quality. For Marshall, the idea 
of the shared walk – with the chance of stopping for a picnic – is the very essence 
of conviviality. pentagram.com/about/jon-marshall This article was originally published in FONDATA, Issue One

The past year has seen a huge change in our ability to interact, and opportunities to be social. Deyan Sudjic considers the importance of conviviality for human beings – and the public spaces we design.

Deyan Sudjic considers the importance of conviviality for human beings – and the public spaces we design.

FONDATA: The Importance of Being Convivial

The Importance of Being Convivial  

Mirror

United States

Account

Il Suo accesso è limitato a causa della Sua età.

Accesso vietato

Deve avere l'età legale per visualizzare questa pagina. Verifichi la sua età per accedere.

Ha l'età legale per acquistare alcolici?

A causa della quantità richiesta per la consegna, consigliamo di utilizzare una spedizione tramite terzi. Se procedi con la nostra spedizione, potrebbe esserci un ritardo rispetto alla data di spedizione selezionata.

A causa della quantità richiesta per la consegna, consigliamo di utilizzare una spedizione tramite terzi. Se procedi con la nostra spedizione, non potrai definire una data di spedizione e ti contatteremo per organizzare la consegna.

La tua richiesta dordine verrà annullata. Sei sicuro di voler procedere?

A causa della quantità richiesta per il ritiro, potrebbe esserci un ritardo nel soddisfare la data di ritiro richiesta.

A causa della quantità richiesta per il ritiro, non è possibile definire una data di ritiro in questa fase. Il nostro team si coordinerà con il magazzino e ti contatterà direttamente per confermare una data di ritiro adeguata.

Questo articolo è stato messo in vendita da un collezionista ed è disponibile per lo stoccaggio o per la consegna immediata

Per ordini di alto valore consigliamo la spedizione con un corriere terzo. Gli articoli spediti tramite terzi rimarranno in OWC fascettate.

A causa della quantità richiesta, non potrai selezionare una data di ritiro. Ti preghiamo di inviare la richiesta e ci coordineremo con il nostro magazzino per confermare direttamente con te la data di ritiro.

A causa della quantità richiesta, non è possibile procedere con l'acquisto. Ti preghiamo di selezionare un servizio di terze parti oppure di modificare la quantità (è consentito un massimo di 48 pezzi).

A causa della quantità richiesta, non sarà possibile selezionare una data di spedizione al checkout. Ti preghiamo di inviare la richiesta e ci coordineremo con il nostro magazzino per confermare direttamente con te la data di consegna.

Fino a 499 bottiglie in deposito, la tariffa è di 39¢/bottiglia al mese oppure un addebito mensile minimo di 50 $ (copre fino a 142 bottiglie). Per oltre 500 bottiglie, la tariffa di stoccaggio è di 35¢/bottiglia al mese.

Lo stoccaggio viene addebitato a 40 HKD per cassa da 12 bottiglie al mese. Si applica una tariffa minima mensile di stoccaggio di 80 HKD, che copre fino a 24 bottiglie.

Tariffa di stoccaggio standard

Selezionando la spedizione tramite terzi, ti assumi la piena responsabilità del rispetto di tutte le normative e autorizzi Vinfolio a trasferire gli articoli alla parte indicata nelle tue istruzioni. Gli articoli spediti tramite terzi rimarranno nel loro imballaggio originale.

Gli orari di ritiro sono tra le 8:30 e le 12:00 e tra le 13:30 e le 16:30, dal lunedì al venerdì. I vini al Will Call che non vengono ritirati entro 10 giorni lavorativi saranno trasferiti in deposito e soggetti a una tariffa di stoccaggio di 1,50 $ per bottiglia.

Gli articoli verranno reperiti e spediti al nostro deposito di vini all'avanguardia per la migliore conservazione possibile, dove potrai organizzare il ritiro presso il nostro indirizzo di magazzino a Napa.

Ritiro in sede (Napa)

Hai inserito la password errata troppe volte. Il tuo account è stato temporaneamente bloccato. Attendi cinque minuti prima di riprovare.

Sembra che tu stia visitando da {country}, ti invitiamo a scoprire il nostro sito {nationality}.

Stai navigando da {country}?

Non siamo in grado di elaborare il tuo ordine se contiene sia biglietti per eventi sia un prodotto vinicolo o un distillato nella stessa transazione. Per procedere, rimuovi dal carrello i biglietti dell’evento oppure il prodotto. Potrai quindi completare l’acquisto.

Controlla il tuo carrello

Password dimenticata

Siamo nelle fasi finali dellaggiornamento alla nostra nuova piattaforma di trading. Come parte di questa transizione, stiamo attualmente migrando tutti gli inventari di proprietà dei clienti per garantire unesperienza fluida e senza interruzioni.

La nostra nuova e migliorata piattaforma sarà pronta per te venerdì 4 aprile.

Grazie per la tua pazienza — non vediamo lora di mostrarti cosa arriverà.

Ops, qualcosa è andato storto

Non abbiamo trovato nulla da mostrare qui.

Non abbiamo trovato alcun risultato da mostrare qui.

Si prega di notare: potrebbero essere applicati costi di consegna, dazi e IVA

Il nostro sito è temporaneamente in manutenzione.

Modalità manutenzione

La pre-autorizzazione di un metodo di pagamento consente al tuo Account Manager di effettuare pagamenti per tuo conto, senza verifica del pagamento.

Pre-autorizza

Questa transazione è stata bloccata per un errore di autenticazione.

Errore di autenticazione

La tua carta di pagamento è scaduta. Controlla i dati e riprova.

Carta scaduta

Fondi insufficienti per saldare l'importo. Controlla i dati e riprova.

Fondi insufficienti

Questa transazione è stata bloccata dal fornitore di pagamenti per possibile attività fraudolenta.

Transazione bloccata

Scegli un metodo di pagamento diverso e riprova.

Errore sconosciuto

mostra tutti gli articoli che attualmente conservi con noi. Questi articoli possono essere venduti, consegnati o trasferiti.

Presso {shortName}

La tua allocazione verrà annullata. Sei sicuro di voler continuare?

Il tuo articolo pre-ordinato verrà eliminato. Sei sicuro di voler continuare?

La tua richiesta di consegna verrà annullata. Sei sicuro di voler procedere?

rappresenta tutti i vini che sono in tuo possesso e che sono stati consumati.

Questo è il prezzo che hai pagato per questo articolo.

Prezzo di costo

Dopo aver aggiunto il nuovo indirizzo, verrai reindirizzato a questa pagina.

Crea un nuovo indirizzo

La tua notifica verrà eliminata. Sei sicuro di voler continuare?

Il prezzo minimo al quale sei disposto a vendere. Se il prezzo di listino scende al di sotto di questo valore, la tua inserzione verrà rimossa.

mostra tutti gli articoli che hai pre-ordinato, inclusi i vini en primeur, e tutti gli articoli nella tua watchlist.

Futures

È possibile impostare un prezzo minimo per gli articoli in vendita basato su una percentuale del valore netto unitario attuale.

Puoi impostare un prezzo di mercato per gli articoli che stai vendendo basato su una percentuale del valore netto unitario corrente.

mostra tutte le azioni che hai effettuato sugli articoli nel tuo Portafoglio.

raggruppa ogni azione per tipo - Acquisto, Vendita, Consegna e Trasferimento in entrata - così è chiaro a colpo d'occhio cosa è successo a ciascun articolo.

Storico

mostra tutti gli articoli attualmente in transito da o verso {shortName}.

In transito

La consegna locale è gratuita per ordini superiori a 1.800 HK$ (in un'unica destinazione). Per ordini inferiori a questo importo, la consegna costa 150 HK$ fino a quattro casse e 50 HK$ per ogni cassa aggiuntiva.

Le spedizioni partono da €15 in Italia e da €45 verso la Svizzera e il resto d’Europa per un massimo di 48 bottiglie (75 cl). I costi variano in base alla destinazione. Per spedizioni più grandi è possibile richiedere un preventivo.

La data indicata di seguito è quella in cui il tuo ordine verrà spedito dal nostro magazzino locale. La data di consegna finale, insieme ai dettagli completi di tracciamento, ti verrà fornita una volta che il nostro team avrà elaborato la tua richiesta.

Puoi organizzare il ritiro presso il nostro negozio al 22° piano, 8 Wyndham Street, Central Hong Kong.
Gli orari di ritiro sono dalle 9:30 alle 18:00, da lunedì a venerdì.

Puoi organizzare il ritiro presso il nostro magazzino STI INTERNAZIONALE SPA, in Viale del Lavoro 57, 37051 Bovolone, Verona.
Gli orari di ritiro sono dalle 8:30 alle 12:30 e dalle 13:30 alle 17:30, dal lunedì al venerdì. Siamo chiusi nei giorni festivi.

Questo è il valore di mercato stimato attuale per questo articolo.

I prezzi impostati manualmente verranno sovrascritti. I vini già inseriti non sono interessati.

Aggiorna tutti i vini non inseriti al prezzo di mercato corrente.

Imposta tutto al prezzo di mercato

rappresenta tutti i vini attualmente presenti nel tuo Portafoglio che non sono conservati con noi. Premi l'icona

La mia cantina

Nome

Prezzo netto

Nuovo portafoglio disponibile

Nuovo portafoglio

Non hai alcuna fattura in questo momento.

mostra tutti gli articoli del tuo Portafoglio che sono attualmente sul mercato.

In vendita

mostra tutti gli articoli attualmente presenti nel tuo Portafoglio. Da questa pagina puoi eseguire azioni individuali su di essi.

Panoramica

mostra tutti gli articoli attualmente in attesa di un'azione da parte dell'utente.

In sospeso

Questo è il prezzo di mercato dinamico dell'articolo al netto del margine di negoziazione.

Questo è l'importo del profitto che riceverai se la tua inserzione verrà venduta.

I pagamenti pre-autorizzati consentono transazioni automatiche per tuo conto, garantendo pagamenti fluidi e senza complicazioni. Questo permette di elaborare addebiti ricorrenti, abbonamenti o pagamenti programmati senza approvazione manuale ogni volta.

Il numero di casse che desideri mettere in vendita

Il tuo articolo del catalogo verrà archiviato. Sei sicuro di voler continuare?

I tuoi articoli del catalogo verranno archiviati. Sei sicuro di voler continuare?

Prima di richiedere la consegna, puoi modificare la quantità per ciascun articolo nella tua selezione qui sotto.

*Il prezzo di mercato è dinamico e può variare. Al momento della vendita, dal prezzo finale sarà detratta una commissione di negoziazione del 10%.

Prezzo di mercato totale*

Il prezzo fisso personalizzato al quale desideri vendere ciascun articolo.

Dividi in {caseSize} singole bottiglie da {bottleSize}cl.

Titolo

mostra tutti gli articoli che attualmente conservi con noi. Questi articoli possono essere venduti.

Disponibili per la vendita — gli articoli conservati con {name} sono idonei per essere inseriti nel marketplace.

Profilo

Questo articolo si trova presso FINE+RARE.

Questo articolo si trova presso FINE+RARE HOME Hong Kong, ed è disponibile per la consegna o il ritiro in sede. La maggior parte delle consegne a Hong Kong può essere effettuata entro 3 giorni lavorativi; la data esatta sarà comunicata al momento dell'organizzazione della consegna. Le consegne internazionali richiedono tempi più lunghi, ti preghiamo di contattarci per maggiori dettagli.

I vini venduti en primeur saranno rilasciati dal produttore dopo limbottigliamento, tipicamente 18 mesi dopo la fine della cosiddetta campagna. Il tuo vino sarà poi conservato da FINE+RARE in un deposito doganale fino a quando deciderai di richiederne la consegna.

Ci riforniremo di questo articolo al prezzo garantito dalla nostra rete di fornitori e organizzeremo una spedizione rapida a FINE+RARE.
 I tempi di consegna dipendono da molte variabili, ma in genere per un approvvigionamento rapido sono 2-4 settimane.
 Una volta confermato l'ordine, ti terremo aggiornato sulla data di arrivo prevista.
 Ogni articolo viene controllato all'arrivo dal nostro team di esperti e le fotografie sono disponibili su richiesta (si prega di notare che potrebbero essere applicati dei costi).

Reperiremo questo articolo attraverso la nostra rete di fornitori e ne organizzeremo la spedizione a FINE+RARE.
 I tempi di consegna dipendono da molte variabili, ma una stima media è di 6-12 settimane.
 Una volta confermato lordine, ti terremo aggiornato sulla data di arrivo prevista.
 Ogni articolo viene controllato al momento della ricezione dal nostro team di esperti, con fotografie disponibili su richiesta (si prega di notare che potrebbero essere applicati dei costi).

Mirror

Filtro

Attendere prego

Articoli correlati