Maya Dalla Valle (right) pictured with her mother, world-renowned vintner Naoko Dalla Valle. Photography by: Jimmy Hayes. Observing from the outside, one might assume that it was always my destiny to join the family business. However, to my younger self, spending my life and career in the same vineyards and cellars that I grew up in was not even a consideration. Having parents that both left their respective home countries to build a life in a new one gave me the impression that I needed to go out and explore the world, rather than remain in my Napa Valley bubble. So, I did just that; I left after high school to pursue a career in International Relations at the University of Washington in Seattle, with the idea that this course would lead me to new and faraway places. But something unexpected occurred after moving away to University; I began to long for that life in the vineyards. I began to realise the strong emotional connection that ties me to our land. It was then that I began to understand exactly how special this estate is and what it means to me. So, I returned. Not to Dalla Valle, but to a family friend’s winery in St. Helena that kindly offered me the opportunity to try my hand at working harvest. Well, I fell in love with winemaking that fall of 2009 and decided that this was the career for me. Getting your hands dirty, the transformation of grapes into wine, all the nuances and techniques that you can implement and then taste the results – even cleaning the bins and sanitising the tanks brought me joy. I proudly proclaimed this to my mother, who gently reminded me that while this was wonderful news, if I wanted to be the winemaker at Dalla Valle, I would need the proper training, education and experience. This was not surprising or unexpected. Thanks to the strong foundations that my parents had instilled in me, I knew that if I wanted something, I needed to earn it – through perseverance and hard work. I took those words to heart and embarked on a journey that probably not even my mother could have imagined: a Master’s degree in viticulture and enology at Cornell University, stints at Ornellaia e Masseto, Bodega Rolland, Petrus, Château Latour – and a second degree at Bordeaux Sciences Agro in vineyard and winery management for good measure. By the time I was nearing the end of my time at Château Canon La Gaffelière as a cellar hand, my mother suggested to me that now would probably be a suitable time to return, on account of approaching the point of being ‘overqualified’ to work at Dalla Valle.  I returned at the beginning of 2017, and spent the following years observing, working alongside our winemaker and viticulturists, and connecting what I had learned in my time abroad – contemplating what might be applicable and notable for implementation at Dalla Valle. I learned the intricacies of each block, each varietal, and the variable soil types within our own small 20 acre vineyard. I brought in different consultants that I had met on my travels, who each brought their own expertise and wisdoms to impart. All the while, I was thinking deeply about how to carry on the vision of my parents while also creating my own legacy. At the end of 2020, after persisting through the challenges of a pandemic and multiple wildfires, unbeknownst to me my long-held ambition had become a reality. After a long day of winery work, my mother asked me if I felt ready to transition to the position of winemaker. An 11-year journey towards this goal was at an end, and a new challenge lay ahead. I was elated and, frankly, a bit stunned. Of course, I wholeheartedly accepted my mother’s offer. It was in that moment that I knew that my focus would shift, from observing and learning to action and planning. Slowly, since moving back to Napa Valley in 2017, I had been planting the seeds of some of my ideas for the vineyard and the winery. In a family business, you have to ease and massage a new idea into everyone’s heads rather than pound it in. This was a strategy that I developed after observing many styles of management. After one year, I introduced the use of amphora into our ageing program. I had admired tasting other producers’ wines out of amphora and loved the mineral purity it imparted to the wine with the absence of oak. This was the first time at the estate that we utilised an ageing vessel that was not a barrel. After two years, I was able to get everyone on board to begin farming our vineyard biodynamically. Working at Château Latour was my first foray into biodynamic farming, and I was instantly intrigued by the methods and the deeper connection to the land it provided. I was also lucky to be able to spend a weekend in Cahors at a seminar hosted by the Bourguignon family, who are one of the key proponents for biodynamic farming in France. Last year, we began to work with a company called BIOcépage who are assisting us in cultivating our own native yeasts so we can begin to work with our own materials and bring pure terroir expression to the wines. This year, having taken the winemaking reins, I feel a renewed sense of excitement about the possibilities of what is to come in 2021. One of the few positive sides of Covid-19 has been staying at home and really participating in the growing season and all the movements that come with it. Winter is normally a time I spend travelling to promote our wines, but this year I was in the vineyard, pruning with the team. I can see the efforts and payoffs from working with Uvasapiens, a consulting group from Italy that has taught us the idea of pruning to respect the sap flow – which promotes the longevity of the vine. I have actually put into practice the principles that I have observed and learned but never had time to execute. I have been able to spend more time in the cellar with our cellarmaster tasting wines, closely following the evolution and having deep discussions about the nuances of each barrel cooper we work with. Overall, I have never felt more deeply connected to our vineyards. I feel the responsibility to do everything in my power to preserve the health of the soil, health of the vines, and the health of the surrounding environment. Having witnessed my mother in distress having to replant the vineyards during the early 2000s, I now bear the weight of preventing history from repeating itself. But I can see more clearly than ever, how all the tools and methods I have already introduced into the estate will be important for our future.  In many ways, I am a student again. Not of a prestigious institution or domaine, but of nature and our land. Once again, I am humbled by nature’s power to create and destroy, and by an increasing knowledge of how to work in harmony with her. After a tumultuous fall of wildfires and extreme weather, we are now facing the return of a potential drought period. Having had just a third of the normal amount of rainfall, we are preparing ourselves to be stewards of the vineyard and take care of the vines through an unknown spring, summer and fall. After admiring the lush cover crop of legumes, vetch, peas, oats and triticale, we decided (in anticipation of an incoming rain) to mow this vegetation to allow the earth to capture the nitrogen developed by the plants and reduce the competition for water needed for the vines. We have observed the rich layer of greens accumulating into the ground, and hope that the vines will gain maximum benefit from the nutrients it provides.  I have been reading up on the sciences of plants and the intelligence that we often overlook; how adaptable they are in nature, and what lessons we can learn from them. Indigenous people have such a deep connection to and understanding of nature and they have a lot of wisdom to impart. Maintaining a deep respect for the land you farm is an important lesson we can learn from them. Their beliefs tie in strongly with the principles of biodynamics, so I have seen a lot of ideologies come together and everything has started to make a lot of sense. I see my responsibility going forward transcend beyond winemaker and evolve into that of farmer and steward of our land. It was a role my mother always held closely, and it is now that I begin to fully understand the passion and meaning as I settle into my calling. This article was originally published in FONDATA, Issue One

Maya Dalla Valle was recently appointed winemaker at her family’s hugely respected Napa Valley vineyard. As she collaborates with her team, tending Dalla Valle’s 20 acres of vines in readiness to produce her first vintage, she reflects on her 11-year journey to reach her destiny.

Maya Dalla Valle was appointed winemaker at her family’s hugely respected Napa Valley vineyard.  She reflects on her 11-year journey to reach her destiny.

FONDATA: Letter from California

Letter from California

Think of the Golden State and you imagine sunshine, orange trees and top-tier surf. But this past week, I’ve seen crazy winds, dramatic (and welcome) rainstorms, below-zero temperatures and more snow than anyone in Napa has seen for 50 years. In a similar way, it’s all too easy to shoehorn the region’s wines. Big Cabernet. Buttery Chardonnay. Those, like the sunshine and surf, are the clichés. But there’s much more than cliché to California, an area as large as many countries, and the wines made here. Over 1,000 miles from north to south, with vineyards sitting at altitudes of 50 to over 2,000 feet, cooling influences from the Pacific and San Pablo Bay, complex ancient soils (up to 140 million years old)… California is far from simple. And you’ll find everything from Arneis to Pinot, Grüner Veltliner to Schioppettino. This week, we’ve been on the road, exploring Napa and Sonoma, talking to just a handful of the producers that have made California such a special place for wine-lovers. The scale of this landscape is grander, with a sense of space to breathe, the parcels of vines tucked in amongst hills and mountains, with the expanse of coastline just a short drive away. You can see why it was – and is – a land of promise.
 While Napa and Sonoma are firmly established as fine wine regions today, their history is comparatively short. George Yount (who gives his name to Yountville) is thought to be the first person to plant grapes for wine in Napa in the 19th century, while Charles Krug was the valley’s first commercial winery, founded in 1861 – closely followed by names such as Schramsberg, Beringer and Inglenook. By 1889 there were over 140 wineries in the area. But phylloxera struck, then Prohibition, and the thriving industry’s expansion was sharply curbed. Producers that survived that difficult period found loopholes in the law, such as unofficial home-winemaking kits and sacramental wine. After Prohibition’s repeal in 1933, it took time for the industry to find its feet. The Mondavi family – who bought Charles Krug – was integral to its development, but the focus wasn’t immediately on fine wine. Figures such as Georges de Latour, Louis M. Martini and André Tschelischeff started changing the story, but it was arguably Robert Mondavi – who struck out on his own to found the eponymous winery – who led Napa into a new era, championing it as a region that could compete with the Old World. Of course, the now legendary 1976 Judgement of Paris was the turning point. When California came out on top in Steven Spurrier’s blind tasting, the world took note. Soon the cult of Napa Cabernet was born, and as Parker’s scores swayed palates, prices soared. 
But it’s unfair to think of that as the region’s story – for there is much more to uncover beyond the sheen of those 100-pointers. While of course some producers come with the polish you might associate with Napa, almost every winery we’ve visited has been fast to focus on the vineyard, whisking us out to walk or drive through the vines. As an agricultural state (grapes – both wine and table – are only the second biggest crop here, following the dairy industry, and with almonds only just behind), farming is at the heart of its culture.
 And it’s ever more relevant, with the region at the forefront of climate change – as this week’s extraordinary weather conditions show. Drought is an ongoing challenge (although recent rains have replenished groundwater), and wildfires have stolen headlines – especially in the 2017 and 2020 vintages (expect much more from us on this soon) – ravaging vast swathes of land, the flames and the associated smoke taking both lives and livelihoods. Despite these challenges, there’s such excitement here – with an electric vitality to the industry. Land prices in Napa are enormous – over half a million dollars per acre for the best sites, and planting any additional land is almost impossible. But that isn’t stopping its evolution, with shifting farming, winemaking, varieties and styles as producers look to redefine modern Napa. Head west towards the Sonoma Coast, where the ocean breezes and fog are bone-chilling, and new frontiers are being forged. The skies here are moody, thick fog cloaking the view of this exposed area, but fields of sheep and cows are being replaced with vineyards as people push limits to create restrained styles, especially of Pinot and Chardonnay. 
We can’t thank producers who have swung open their doors to us enough. We’ve already had so many fascinating conversations about the trends and challenges in the region, about what people are doing in the vineyard and winery and why, and tasted some remarkable wines. Hundreds of thousands of people headed west in the 19th century, drawn to this corner of the land of opportunity. Many didn’t find their fortune in the Gold Rush, but this is still a place that holds such promise.  Reinvention and revolution is the Californian way, powered by a uniquely American entrepreneurship. Forget the scramble for treasure, today the bold and the brave are creating their own destiny – and it’s filled with hope.
 Read more Editorial


After a week spent touring some of Napa and Sonoma’s best wineries, exploring the Golden State and what makes it so special. Sophie Thorpe considers why – three centuries after the Gold Rush – California remains a land of opportunity

After a week of touring Napa and Sonoma, we consider how California wine producers are creating their own destiny – and exceptional wines

Wine’s land of promise – California

Land of promise: California

Chris Phelps never really meant to start his own winery. But fate had other plans.  Wine had always been part of life, just in the background. Growing up in Livermore, east of San Francisco, Phelps’s parents would buy a ton of grapes from Napa or Sonoma, and make wine each year for themselves. Phelps even dug out a cellar by hand for them as a teenager. Nevertheless, when he set off for UC Davis, it wasn’t to study wine, but medicine. To pay for university, he took a job as a firefighter in Idaho (“kind of scary but super fun,” he tells me). By chance, he met a wine-geek friend, one who eventually convinced him to switch from pre-med to oenology. At Davis, he happened upon Alain Bertrand – one of the first scientists to use gas chromatography to delineate the different aromatic compounds in wine. The Frenchman didn’t speak much English, and Phelps spoke French – so they ended up becoming friends. Bertrand suggested Phelps attend the University of Bordeaux for a year after graduation. There, Phelps tells me, everything “started to fall into place”. Until then, wine had been intellectually interesting – but, during his time in France, it became much more.   There, another professor pushed him to apply for an internship – just in time for the 1982 harvest, a vintage that would turn out to be legendary. He already had offers from both Ch. Simon (Barsac) and Ch. Beauregard, but then was given the opportunity to interview with JP Moueix (of Pétrus). Unusually Christian Moueix insisted on joining the interview himself, alongside winemaker Jean-Claude Berrouet, and promptly gave him the job. The confident young American, however, said he’d think about it – and set off for a holiday in the south of France with his fiancée. Little did he know that Moueix had just bought a swathe of vineyard in Napa – and was planning for the future.  A few weeks later, Phelps was in Nice and bought three postcards from the Chagall museum – ready to make his decision about the three possible roads that lay ahead of him. He decided to take the position at Moueix, posted his rejections and acceptance, and carried on with his holiday. But, as harvest time approached, Phelps hadn’t heard anything back. He called Berrouet – only to find out that the French postal service had let him down, and the job at Pétrus had been given to someone else. It seemed like his luck had run out, but Berrouet said he might have another idea and would call him back in a few days.   While Berrouet couldn’t offer him anything as prestigious as Pétrus, he found Phelps a job at Ch. des Laurets in Puisseguin-Saint-Emilion – but he wouldn’t just be an intern, he’d be running everything. It was, Phelps said, a “trial by fire”, especially given his only hands-on experience to date had been six months at Louis Martini. He worked non-stop with just one cellar hand to help during the day, and managed to make it through the season.   When the wines were safely in barrel, he went to dinner at Christian Moueix’s house – where, sipping Champagne in the library, Moueix told Phelps about his plans for his Napa project, Dominus – and asked if he’d be the winemaker. “Of course, I said no,” Phelps tells me – recalling how the Frenchman opposite visibly sputtered at the American’s cheek (again). Phelps said he needed more money to live in Napa (and support his bride-to-be) – and more experience. Amazingly, Moueix agreed to let him start from 1984, given the 1983 vintage was set to be just a handful of experimental barrels, and to a pay rise. Off Phelps went, working around California and wintering at Pétrus before returning to lead the team at Dominus.   “We figured it out as we went along,” Phelps says, looking back on the early days of what is now one of Napa’s most prestigious estates. Today they might have the iconic Herzog & De Meuron winery, but things were much more rustic at the beginning – with a small team and little infrastructure. Phelps eventually moved on, joining Caymus in 1996 – but it’s what started happening after-hours, around his day job, that is interesting.  In 1990, Phelps met Larry Bettinelli at a Christian men’s retreat, and hit it off. It was only when they met up for lunch later that they realised they were both in the wine business, with Bettinelli a fifth-generation farmer who was growing grapes. Bettinelli wanted his vineyards to be the best in the valley – but he needed feedback on the fruit so that he could adapt his viticulture. He and Phelps hatched a plan: each year, Bettinelli would give Phelps a ton of fruit, trialling different clones, rootstocks, vine spacing and trellising, harvest methods, and Phelps would make a wine with it. The project was purely intellectual, so the two families drunk the wine themselves, and it also started being used as the altar wine at Phelps’s church (a much higher-grade communion offering than most). For two decades, they kept making tiny batches of their first-class “homebrew”, and Bettinelli became one of the valley’s best growers, working with an increasing number of sites around Napa.  Destiny seemed to abandon all subtlety in 2005. Phelps was hiking through the Sierra Nevada, leading a Scouts expedition, when they were struck by lightning. Two of the group died and Phelps was knocked unconscious. Unsurprisingly, it shook Phelps to the core. “Life is our most precious gift,” he says, “and if we use wine appropriately, it can enhance our lives.”  Two years later, Phelps was on top of a tank that had just been filled with crushed fruit from a relatively new Bettinelli site – and the smell was intoxicating. Following pure impulse, Phelps asked if he could – rather unconventionally – buy the tank’s contents, and Bettinelli said yes. Ad Vivum – inspired by the Latin “vinum” for wine and “vivere” to live, combined with “ad” which translates as “to” or “towards” – was born.  The vineyard was Sleeping Lady (previously Reese), the southernmost vineyard in Yountville, at the foot of the Mayacamas and on the southern end of the valley’s famous bench. There’s a flow of underground water that feeds a creek, with sufficient clay under the gravel and sand to retain water during the dry summer – and has, in Phelps’s words, a “beautiful ability” to self-regulate. Various other producers work with the vineyard, but his two blocks (representing a mere 1.5 acres) are right at the top of the vineyard, below a steep slope that aids the flow of cool air through the site at night. For him there was something special about these plots – producing fruit and wine with what Phelps describes as a “grace note”; it’s a whisper of something that takes the wine to the next level.  In a good year, production for Ad Vivum is 450 cases – but Phelps isn’t looking to grow. He makes one wine, from one site – and that’s the way he wants it to be. The wine is undoubtedly informed by his Franco-American roots, with an elegance, freshness and savoury structure that complements the plush Napa style. As he says, “I try to build wines that speak for themselves.”  Phelps’s – and Ad Vivum’s – story is one of happenstance. Or is it? With a man as devout as Phelps, it seems hard for anyone to believe it’s all an accident – and as Phelps himself says, looking back, it feels perhaps like it’s all part of a master plan.  Explore all current listings of Ad Vivum or read more about California 

Ad Vivum is a boutique Napa project from Chris Phelps. Sophie Thorpe spoke to him about how twists of fate saw him go from aspiring medic to star winemaker at the likes of Dominus, Caymus – and now his own label

Ad Vivum is a boutique Napa wine label from Chris Phelps. We spoke to the ex Dominus and Caymus winemaker about his journey – and its twists of fate

Discover Chris Phelps’s wine Ad Vivum, Napa

Divine intervention: Ad Vivum

I’ve written this having just finished my second en primeur report for Decanter magazine. Four weeks of intensive tasting, two weeks of intensive writing – Primeurs is both the best and hardest period of the year, exhausting and rewarding. But, where one tasting finishes another one arises: tomorrow, I fly to Canada for a tasting of Bordeaux 1982 wines – with the legendary vintage showcased in 40 top bottles at a charity dinner in Vancouver. Sometimes my life feels like a dream.   Despite not having a background in wine before joining Decanter in 2011, and certainly no family cellar filled with dusty treasures, I became enthralled the moment I was handed my first glass of fine wine – at my desk, no less. “How is this a job?” I thought to myself. Many years of tastings and trips passed, meeting the world’s foremost winemakers and writing about wine in various ways, however the “critic” role (more of an American designation than British, I think) was never one I coveted – and certainly not one I expected to ever have.    The barrier to entry seemed so high, even though I was already working at Decanter, which understandably tended to only use “regional experts” and Masters of Wine, many with decades of experience and often living in their chosen region – something I now fully understand and would encourage any budding wine writer to do.   Skip forward a decade or so and I’m now responsible for Decanter Premium, overseeing the digital strategy for subscriptions and content behind the paywall on decanter.com – and now Bordeaux correspondent too, having taken over from long-time Decanter contributor Jane Anson in July 2021.   When Jane moved on, the question was who would fill the position. A combination of desire on my part and the lure of a challenge (who wouldn’t want this job?), happenstance (in that I had not long moved to live in Bordeaux city, placing me in the perfect location to take up the role), and a shortage of qualified candidates in the region, all seemed to work in my favour.  While Decanter authoritatively covers wines from all around the world (one of its biggest selling points for me), Bordeaux is what we call “heartland content” – and the stats don’t lie. It’s consistently the most-read and paid-for content we produce, by far. From Primeurs to livrable “in-bottle” tastings to estate verticals and incredibly old horizontals, there’s always something to taste, at every price point, in every conceivable style. And with around 7,000 estates, there’s no end of new cellars to see, new vineyards to walk into and new winemakers at the helm.   So there’s pressure, especially writing for the magazine with its expectation of quality and deep understanding. But, there’s also non-stop dynamism, and living here brings the action so much closer, something I never truly understood before. An hour each way from my home, I can be in Saint-Emilion, Sauternes or Saint-Julien.   The Decanter name is hugely respected in Bordeaux and I’m extremely fortunate to have been welcomed so generously and thoroughly. The last 22 months have been spent tasting and visiting estates as much as I can. I’ve done dozens of verticals that have yet to be published, spent weeks with winemakers in vineyards and cellars, talked to consultants about changing styles and négociants about market trends. I took part in my first harvest last year (thank you Cheval Blanc) and my first blending session this year (thank you Nicolas Glumineau, General Manager at Pichon Comtesse).   I've also been inducted into the Commanderie du Bontemps of the Médoc, Graves, Sauternes and Barsac, as well as the Hospitaliers de Pomerol (two historic brotherhoods, now modern-day societies that encourage, support and help promote the wines and winemakers of their respective regions). These are all enriching experiences that are the building blocks of my Bordeaux knowledge.  Somehow I thought having done the 2021 en primeur tastings and report last year (as well as two in-bottle reports since I started – all with around 900 wines sampled each time) the 2022 report would be easier – it wasn’t. Tasting is actually really tough – not only physically demanding and tiring, but mentally exhausting. It goes without saying that experience is helpful, comprehension and context are key for notes and scores, but passion is also a must. I’m building the first two, the latter I still have in abundance.   Despite sometimes pinching myself, looking back there’s a strange sense of destiny attached to my current role. My first ever work trip was to Bordeaux (and I ended up buying an apartment almost round the corner from the hotel I first stayed at). My first fine wine vertical was – amazingly –  of First Growth Ch. Mouton Rothschild with the then brilliant winemaker Philippe Dhalluin at Café Lavinal in Pauillac. My first article was about a Bordeaux panel tasting and I even had maps of Bordeaux vineyards on my bedroom wall in London, something I had forgotten until I came across some old photos recently.   An added bonus, my father only drinks Bordeaux wines so this job definitely earns me favourite child status.  As much as it’s serious and hard work, it’s also huge fun, interesting, glamorous and ever-changing. I think humility and gratitude are important, as well as a genuine enthusiasm to tell the stories of these wonderful wines and the people who make them.  Is the role of “critic” my true calling – above publishing, improvement strategies and brand building? I don’t know. What I do know; I love writing. I love Cabernet (Sauvignon and Franc)! I love mature Bordeaux (and am currently seeking out as much 2001 as possible). I love blind tasting the region’s wines to try and place them in their appellations (despite myriad differences in viticulture and vinification this is somehow still possible – the power of Pauillac, the prettiness of Margaux, the minerality of Saint-Estephe). I love the light in Saint-Emilion at dusk during the summer – is there a more romantic wine region?    But most of all, I love the joy and passion surrounding winemaking – not limited to Bordeaux, but the family histories, long-standing traditions, connection to gastronomy, focus on innovation and investment – they all give the region an extra glint in my eye.   What I don’t love, however, is my dentist telling me off and trying to find a place to store all my bottles... but there are worse problems, admittedly. (Speaking of which, if anyone wants to drive me round the region for next year’s Primeurs, applications open soon!)  For now, I'm excited to see how this year's Primeurs campaign goes. There's no doubt that many producers have created exceptional wines worth buying, but whether the market is sufficiently dynamised by the prices is another question. I'm eagerly awaiting a copy of this year's Bordeaux guide (on sale with the June issue of Decanter) filled with all the wonderful happenings in Bordeaux right now, as well as looking forward to discovering some of the hidden non-classified gems of Margaux. The sun looks set to appear for the first proper time this week, sending temperatures up and kickstarting the 2023 growing season – and, as with any vintage, there’s already so much to look forward to.  Read more about Bordeaux or browse all Bordeaux listings  Photography: Luke Carver

Georgie Hindle had big shoes to fill when she took over from Jane Anson as Decanter’s Bordeaux correspondent in 2021. Here she talks about how she fell for the region and what it’s really like working as a wine critic

Decanter’s Bordeaux correspondent Georgie Hindle takes us behind the scenes in Bordeaux, talking about life as a wine critic

Behind the scenes with Decanter’s Georgie Hindle

“I can die happy now,” Jon Bonné chuckles to me. The writer spent almost a decade as the wine guy at The San Francisco Chronicle, and is now Managing Editor at Resy, having spent time at Punch, writing for Noble Rot, Decanter and many more in between. His latest book, The New French Wine, was released earlier this year and The New York Times wine critic Eric Asimov dedicated an entire column to singing its praises – something he almost never does.  The hefty, two-part tome has been a long time in the making – almost a decade, in fact. The idea was a frivolous suggestion, casually agreed to over one too many drinks (“unsulphured Gamay in Oakland – as one does”) with his editor in 2014, soon after the publication of his seminal The New California Wine. But what was conceived as part of his quest for “the next thing”, to build on the momentum of his first book, rapidly spiralled.  “It's very hard to see a bigger picture of French wine because it is so overwhelming,” Bonné tells me over Zoom. Initially he’d envisaged a few trips, a project that would take a couple of years – but it “kept growing and growing and growing”.  “There was this much bigger story that I was sort of stumbling into,” the writer says. He gradually realised that there was an “enormous meta transformation” taking place across France – and this is what the book wrestles with. As he writes in the book’s introduction, “I imagined the new French wine would be about the undiscovered country – the cracks between known places.” But as he soon discovered, the new French wine was everywhere – and it took him nine years to piece it all together.   The work is split into two separate books – The Narrative and The Producers, the former the story behind the reference guide that forms the latter. The Narrative is a deep dive into the face of France and its winegrowing today, broken down by region, with break-out essays on topics such as natural wine, farming and the appellation system. It’s a rich tapestry of stories, interjected with the frank and striking photography of Susannah Ireland and occasional illustrated map by Francesco Bongiorni, reminiscent of Art Deco postcards.  For Bonné, the “new France” is about postmodernism, about “wilful rejections of the b******t of the past”. It’s about a (re)focus on site, about producers seizing their destiny and hunting for a more sustainable approach – in the vineyard, winery and beyond – although it’s far from that simple. “To understand French wine and to love it, you simply have to embrace its messy, self-contradictory, and, yes, complicated postmodern reality,” he writes. He points to Muscadet and Beaujolais as two of the most exciting and representative regions of this movement – both having entirely reinvented themselves within a generation. Producers here, he tells me, are “doing the work and focusing on terroir and technique and farming”, while Champagne “has completely transformed its vision of what its wine should be”.  Change is most importantly, however, “an inclusive force” – and looking at who did (and didn’t) make it into The Producers, Bonné’s definitive gazetteer of the nation’s movers and shakers, shines a light on this. It’s not a list of the vignerons he loves, it’s a pain-staking selection of those he deems significant and meaningful in the context of the movement – encompassing both more traditional names and those on the fringes. Take the Bordeaux chapter; you’ll find Pétrus, Lafleur and Pontet-Canet, as well as many less conventional, smaller and often natural-leaning properties such as Clos 19 Bis or Ch. Julia – with “Benchmarks” and the more up-and-coming “Names to Know” highlighted.  It’s fascinating – and fun – to see these two, seemingly opposing strands of France’s wine scene woven together. When I queried the inclusion of these elder statesmen of French wine, he highlighted how, for him, Pontet-Canet perfectly exemplifies the change in France today, with the forward-thinking Tesseron family handing the keys to previous cellar master Jean-Michel Comme to do “radical, radical s**t”.  Bonné deliberately chooses to champion those who have revved the engine of broader revolution – and those who reflect that revolution’s values. When it comes to Domaine de la Romanée-Conti, for example, he describes how they “upheld the moral pillars of Burgundy and winemaking” and “use their power for good”; whereas one top Pauillac estate he vehemently tells me is “perpetuating the worst practices of the Bordeaux trade”. For him, “wine is a consumable” and, as 21st-century consumers, “people have a right to explore the values of producers”.   While Bonné certainly likes natural wine – and many of the movement’s figureheads feature in the book, he is far from an evangelist. When he first started thinking about the book, natural wine was different; “It hadn’t quite catalysed into this very specific cultural beast,” he says, a cultural beast born in Hackney, Bushwick or Paris’s 11th. He talks about the movement’s “sense of tragic fashion” and how, with its clique-y nature, it has “baked in its own expiration date”. There were, he tells me, producers that didn’t make the cut – those who act as a “cautionary tale” for natural wine. “There are wines that can be delicate to being transported. And then there are wines that are just f***ed up at the source,” he says frankly.   His outlook is broadly positive for France, the nation’s ongoing revolution and its vignerons, but the book also acts as a call to arms of sorts, for: “The enforcers of the old ways will be forced to adapt, or they will perish,” he writes.  It’s not a perfect book. With a work of this size (over 860 pages and 600,000 words), it is almost inevitably slightly out of date by the time it is printed – especially with the pace of change today. Lafleur’s entry, for example, talks of Acte but not Les Perrières. I’d also have loved to have captions for each of Susannah Ireland’s images, knowing where – and of whom – they were taken. But these are quibbles.   I can’t pretend to be unbiased. Bonné is one of my favourite wine writers. There’s a lightness to his phrasing, with dry humour and a palate that I tend to identify with – although I’d argue he’s become a little more funk-friendly over the years. His writing is intelligent without being arduous. Perhaps it’s because, like Andrew Jefford, he was and is a journalist first. What really fills his writing is a sense of joy, of almost gluttony – it’s still filled with the excitement that so many wine writers seem to lose, as they tire of bottle after bottle of exceptional wine. He’s still easily absorbed by the stories that make each one different. For me, he doesn’t fit neatly into the critic box, even though it’s a term he uses to describe himself repeatedly in our conversation. “The notion of a critic has devolved to a place where you are simply handing out numbers,” he explains, but to him his work is about “criticism at a deeper level”. It’s about “being able to dive into the culture and come away with the insights and interpretation, and explain why certain wines really do matter”.  And it is this that makes The New French Wine stand apart. It isn’t just a wine book; wine is the lens through which Bonné observes a broader cultural shift. Whether you agree with everything he says or not, it’s a joy to read, hold and look at. It’s a book that will prompt conversation, prompt you to uncork bottles, prompt you to consider quite how complicated – and endlessly fascinating – France’s wine scene is. And is there anything more French than that?  The New French Wine: Redefining the World’s Greatest Wine Culture (Ten Speed Press) is out now.  Read more Editorial 

Ten years after The New California Wine was published, Jon Bonné has published a new book – an epic tale of France’s revolution. Sophie Thorpe caught up with the author to talk about his ambitious project to capture The New French Wine

We sit down with Jon Bonne, the wine writer and author of The New French Wine, to find out more about his second book

Writer Jon Bonne on The New French Wine

Facing up to The New French Wine: Jon Bonné

There’s little Graham Eunson hasn’t seen in his 30 years in the Scotch whisky industry. From pushing barrels at Scapa straight out of school to managing one of the biggest names, the Orcadian has worked in almost every production role at five Highland distilleries. Over the course of his career, the Tomatin Distillery Operations Director has been at the painful end of two consolidations and led the revival of a distillery lost for 22 years. For the past decade, he has had to pool all this knowledge and experience to bring a distillery that was once famed for mass production to single malt prominence. “I always say it’s the most fun I’ve had in the whisky industry,” he declares with a chuckle, “and I’ve loved every single one of the distilleries I’ve worked at.” Eunson talks with such fondness about the industry and all his colleagues that it’s easy to see why both his children have followed him into the profession. He refers to his route into the industry and progression through the ranks from mashman to stillman to brewer as the “old-fashioned way”. When Allied Distillers closed his first distillery during the 1990s whisky loch, Eunson faced a tough decision: leave his beloved Orkney or wave goodbye to a fledgling career he absolutely adored. His homeland lost that tug of war and Eunson moved his wife and one-year-old son to Aberdeenshire and Glendronach Distillery until that also closed its doors. Glenmorangie became Eunson’s third Highland distillery where he worked as Assistant Manager to Dr Bill Lumsden for two years before Head Office beckoned and he took over as Distillery Manager. After a decade in the role, the chance to reopen a ghosted distillery lured Eunson away. “My wife would argue I don’t have a romantic side to me at all, which is probably true, but when it comes to whisky I do – and the opportunity to re-open the distillery after such a length of closure was too much to resist.” On April Fool’s Day 2008, Eunson stood on the balcony in the Glenglassaugh still house looking at the rusted pipework where sections had been pilfered by thieves and seriously questioned if he’d made the right decision to leave the breathtakingly beautiful, not to mention functioning, Glenmorangie. “But I have to say, the sense of achievement on the day we first mashed in again, after about eight months of struggling to try and design everything to get it to work better… the sense of achievement was fantastic,” he says with real pride all these years later. The next call, to take on a newly created General Manager role at a distillery that was once the largest in Scotland and had fallen out of favour, came in 2011. If he accepted, Eunson would look after everything from the malt coming in, to the distillation, maturation and recipes for all the whiskies. “They sold it well to me,” he says with a wry smile. “Basically, the buck stops for everything with me.” Two years ago, Eunson was asked to choose his new title. After some thought, he suggested General Operations Director – “So GOD,” he laughs; in the end he had to settle for “DOD” – Distillery Operations Director. The beauty of working at Tomatin, according to Eunson, is that he and the 62-strong team are masters of their own destiny. “We have gone from being a distillery which made lots and lots of spirit to go into other peoples’ whiskies. To the complete opposite way round percentage wise,” Eunson says. In the 1970s, Tomatin produced 12.5 million litres of pure alcohol a year making it the largest in Scotland. Today, the Highland distillery produces less than two million litres a year. Of this number, 1.1 million goes into Tomatin in its various forms, roughly 400,000 litres are swapped with other distilleries in exchange for whiskies for their Antiquary, Talisman, Big T, Ancient Clan and other blends, and 100,000 litres is sold for cash. Apart from malting and bottling, every stage of the traditional production – milling, mashing, fermenting, distilling, ageing and blending – takes place on the 140-acre site. “It’s great to be in control of all that ourselves,” Eunson says. “In the last 12 to 15 years, we have had a complete change of tact. We’ve reduced the volumes we’re making and it’s all about quality over quantity.” The gear shift is clearly working. Since its rebrand in 2015, sales have soared by 83% and visitor numbers to the distillery are topping 50,000 a year (in non-pandemic times). Tomatin produces a range of unpeated single malts from the entry-level (£30 a bottle) to the 50-year-old-plus (£10k+ per bottle). In their vast warehouses, the team is sitting on almost 200,000 casks and Eunson oversees it all. “It is one of the few jobs I would have thought in the world that you can do for 30 years and still look forward to going into work,” he says. “My job is wide and varied and never the same two days running.” In his latest project, and the first “serious launch” since the rebrand, Eunson has sourced rare Monbazillac, Sauternes and Rivesaltes barrels to finish three parcels of nine-year-old single malt. In typically self-deprecating fashion, Eunson says: “The stars aligned basically. We had released our Sherry-cask finished Cuatro and were looking at alternatives and these wine casks became available. When the cooperage told me about them, I asked them to hold the casks and got straight on Google.” The cask finishing trend has been one of the biggest changes Eunson has witnessed in his career. He says: “It used to be, ‘Well if it was a tree at some point in its life then you can use it for maturing whisky’, whereas now there is so much more care and attention put into it. “Some of the companies I have worked for… Allied, no longer exist, so I can say what I want about them. They had codes on their stock system for seven-fill and eight-fill casks. By the time you’ve filled it seven or eight times, there’s not a lot of flavour going to come from the wood.” While Eunson says he’d never say the cask is the most important part of the process, he is not shy in professing it is the most influential. “What a lot of companies are doing now, ourselves included, is look at the raw materials – different barley varieties, different types of malt, different yeasts, different lengths of fermentation times, different cut points in the stills – you can play around with all of that but it is still only going to arguably contribute 25 to 35% of the final flavours. Seventy to 75%, even 80%, will come from the time spent in the cask during maturation. “So that is where we have to put the attention to detail because it’s going to have such an impact going forward onto the final character of the whisky we produce.” Computerisation is another huge change in the industry. And not one Eunson thinks is strictly positive. “It’s a good thing in that if you’ve got a computer and sensors running the pumps, setting the temperatures and suchlike, there is less room for human error and you get more consistency of spirit. So you know what your new-make spirit is going to be like but at the same time, that human error can sometimes lead to exceptionally unusual whiskies. You become almost a generic whisky, so we need to be careful to keep the individual characteristics there.” The Tomatin Distillery is semi-automated. It is still up to the Stillmen to decide when to make the cut and how fast to run the stills by controlling the steam valves. Whether it’s technology or trends, Eunson says the one constant in the Scotch whisky industry is change. “We are always changing and trying to be innovative and look at different ways of doing things while still trying to stick to the traditions that have been there and the rules and regulations as well." The industry might constantly be evolving but Eunson says the people within it are far more permanent. “We have a Head Warehouseman who’s been working with us since he was 18 and he’s now 67. He has more or less done the same job in the same distillery for 50 years. He is showing absolutely no intention of retiring and he’s probably the fittest guy we have on site in reality.” And how about Eunson? “I can’t see myself retiring at 60,” he says. “There is way too much that I want to do in the industry to even consider that. I’d probably think about retiring at 65… or maybe 66,” he quickly adds. We’ll believe it when we see it. Browse all Tomatin listings or read more Editorial 

After three decades in the whisky industry Tomatin’s Graham Eunson is more energised than ever. He tells Holly Motion why his latest role is the best yet

Tomatin’s Distillery Operations Director on the pace, and people, that keep him in the industry after more than 30 years working at the coalface.

Tomatin’s Graham Eunson on a life in whisky

Graham Eunson: a life in whisky

Ian Chang is one of the most well-respected and accomplished whisky makers in the modern era. After 16 incredible years at Kavalan, in which he and the distillery went from unknowns to untouchables, Chang is embarking on a new adventure. This time he is turning his sights to one of the most exciting whisky-producing regions in the world: Japan. You’d forgive Chang for being egotistic. Over the past decade and a half, the Taiwan-native has received countless awards and accolades for his Kavalan single malts and is fawned over by whisky lovers and the press. And yet, even through his medical mask – there are still Coronavirus restrictions in Japan when we speak via Zoom – on a slightly pixelated screen, you can feel a genuine warmth and kindness emanating from the Master Blender. He is fiercely intelligent, good-humoured and modest. When it was announced in 2020 that Chang would be leaving Kavalan, the news was met with surprise and intrigue. Why was he leaving? Where might he work next? Would he stay in Taiwan? “The reason why I left Kavalan is because I wanted to change to a different environment,” Chang tells me from his new office in Japan. “Before this project, I only had experience in Taiwan,” Chang explains. “Producing whisky in a hot climate, which means that age statement whisky can virtually not be produced due to very high angel share.” Chang says he immediately signed onto the new distillery project spearheaded by Karuizawa locals Koji and Yoshie Shimaoka. While some details are already in the public domain about Komoro, located near the fabled original Karuizawa distillery site, this is the first time Chang has spoken at such length about his intentions for the new Japanese whisky distillery. “In Japan, in Karuizawa, they have a very similar climate to Scotland, so our plan is to produce whisky with age statement,” he tells me with glee. The first Komoro age statement will be a 12-year-old, followed by a 16- and 20-year-old. Thereafter, the age statements will increase in five-year increments, Chang says. There will be some non-age statement bottlings before the whisky reaches the 12-year mark. “So hopefully I can see my very first 40-year-old whisky,” he says with a soft chuckle, “If I’m still alive – fingers crossed.” Chang joined the whisky industry as a novice (or “from zero” as he calls it) in 2005. After graduating with a degree in food technology, he applied on a whim to a role at Kavalan’s parent company. Despite his lack of experience, Chang passed the interview stage, which required him to identify flavour notes in whisky, with flying colours. For the first year, while the distillery was being built, Chang voraciously read everything he could on whisky. Then, in 2006, the young whisky-maker-to-be met a man who would change his and the distillery’s destiny: Dr Jim Swan. “That was when the official learning started,” Chang tells me. Dr Swan – who was dubbed the “Einstein of whisky” for his pioneering scientific research and ability to help new distilleries with his unparalleled whisky production and maturation know-how – began by teaching Chang the fundamentals. This education took the best part of three years and covered everything from malting, milling, mashing, fermentation and double distillation. By the time the very first Kavalan Classic Single Malt was released in year three, the team knew they had produced something exceptional, and it didn’t take long for the wider whisky world to start taking a keen interest in Taiwan, Chang and Kavalan’s ground-breaking techniques. Not that Chang would say as much. Ever humble, he continues: “That’s when my focus with Jim Swan switched to blending.” The duo travelled extensively, visiting cask suppliers across Europe and the USA, while Dr Swan taught his protégé everything he knew about whisky from his 40-year career, and, you sense, his learnings from the school of life. When Dr Swan suddenly passed away in 2017 at the age of 75, he left a gaping chasm in the industry and many people’s lives, Chang included. Five years after his mentor’s sudden passing, Chang occasionally uses the present tense when talking about Dr Swan and takes a nano second to compose himself before he continues with his train of thought. The reverence and respect is clear to see. Of all the people Dr Swan taught, directly and indirectly, Chang spent the longest time under his tutelage, and he continually credits him for every success that he has had. For his latest project at Komoro, Chang said he wants to “bring Japanese whisky to the next level” by applying the many techniques he learned from Dr Swan. It’s a brave move in more ways than one. Chang has relocated to the country and doesn’t speak the local dialect, yet – but he is very grateful that his local colleagues are willing to learn and speak English to him. He is also joining a whisky-producing region that is at a very interesting crossroads in its history. It was announced last year that new regulations will come into force in 2024 which stipulate all liquid labelled as “Japanese whisky” must be produced (from fermentation to bottling) in Japan. This undoubtedly wouldn’t have been a problem for Komoro but it does mean several very high-profile competitors are scrambling to change their practices accordingly. Chang doesn’t comment on this but he does say: “To be honest, so far, I think all the major producers, such as Suntory and Nikka don’t really use STR [Shaved, Toasted and Re-Charred casks] at the moment. “So, by introducing Jim’s technologies and also his way of new-make production we are going to enrich the spirit produced in Japan and make a whisky which will be very much more enjoyable for consumers to enjoy globally – this is our aim for the future.” One of Dr Swan’s most famous contributions to the whisky world, and Kavalan specifically, was STR (Shaved, Toasted and Re-Charred casks). The invention was born out of necessity in 2010 when shortages of refill casks began to cripple the industry. Chang says Kavalan was in “serious trouble” because the distillery was a mere four years into production and couldn’t secure any re-fill casks for their new-make spirit. It was then that Dr Swan suggested the team used ex-wine casks instead of the in-demand refill Bourbon. This was highly irregular; ex-wine casks were undesirable because of wine’s organic acids, which would spoil the whisky and make it astringent. Simply, the process of shaving, toasting and re-charring casks removes the unwanted acids, breaks down the lignin structure of the wood to release wood-related compounds (including the desirable vanillin and caramel notes), and imparts a nice, sweet character to the spirit.  When asked what the secret is to producing an exceptional whisky, unsurprisingly Chang’s answer has been heavily influenced by his mentor. For Dr Swan, it was always about layering flavours and textures. “We want to make sure that it’s a rich and complex whisky but at the same time, very balanced without any off notes. To Jim, off notes were a big minus in terms of quality and that is why distillation and fermentation is also very critical in addition to wood policy,” Chang explains. “Because off notes can come from three places: fermentation, from the wood and also from fast distillation, these are the three areas that Jim always paid attention to.” This attention would include visiting cask suppliers regularly and ensuring distillation is slow to promote interaction between the new-make and copper. He would also keep a close eye on fermentation so the temperature increases from the beginning until the end. For Chang, and Dr Swan, there is a science and an art to whisky making and blending. “When it comes to marketing, especially during masterclasses, sometimes you’ve got to tell a little bit of stories so that’s when parts of the art and romance come in,” he says, laughing gently – making him even more endearing. “But to be honest, to be a blender, sometimes you have to use your imagination as well. You have to imagine how a Sherry cask will blend with a peated new-make, for example. “Jim always said, whisky making is a combination of art and science. And I think it’s maybe half, half. I think if you don’t have good imagination, you cannot really be a good blender but if you don’t know the science and just know the romantic side you cannot produce good new-make to begin with, so you have got to combine the two to make sure that the new-make and the wood go very nicely together.” During his 18 years in the industry, Chang has seen a lot of change. With new distilleries opening at a staggering rate and lost icons being brought back to life, there has arguably never been a more exciting time to work in single malt whisky production. Chang agrees and says things are looking “very bright”. So, what does a man like Chang do in his spare time, when he’s not producing remarkable whiskies consumers want to buy? “I watch Netflix,” he says before I can finish asking the question, and then lets out that laugh again. It’s a typically frank and relatable response that comes as a slight shock to us both. Most would – truth or not – say something that made them sound high-brow but not Chang. He continues to say that he’s recently finished the entire box set of 24 (a recommendation by a friend who presumably thought he had a lot of time to kill or difficulty sleeping), a Taiwanese drama, the latest Karate Kid (Cobra Kai) and a series about Japanese history. It’s an eclectic mix and refreshingly honest. As the Komoro project enters its next stage and whisky starts to run from the stills, there will be a lot of pressure on Chang to produce another award-winning single malt but those who know him won’t be concerned. With his formidable knowledge, calm confidence and unwavering integrity, you sense he’s going to do himself – and Dr Jim Swan – proud. Browse all whisky listings or read more Editorial

Ian Chang is the man behind Taiwan’s first and most decorated distillery, Kavalan. For 16 years, this young whisky maker defied expectations and redefined world-class single malts. Holly Motion discovers how he became the best of the very best

The ex-Kavalan Master Blender Ian Chang on how his mentor, the late Dr Jim Swan, taught him how to become one of the world's most well-respected whisky makers

How Kavalan’s Ian Chang became a whisky icon

Ian Chang: the humble student

Alcune regioni vinicole seguono il proprio ritmo. Dai rossi dolci della Rift Valley etiope alle bollicine delicate degli Altos de Pinto Bandeira, Arnica Rowan esplora terre remote con approcci unici alla viticoltura e al vino, pensati quasi esclusivamente per la propria gente.

Arnica Rowan explores wines that don’t make it to the international market – with distinctive styles from Ethiopia, Brazil, Thailand and beyond

Discover the wines of Ethiopia, Brazil and beyond

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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

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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).

Destino

Filtro

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