Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

What makes a wine truly singular? Tamlyn Currin explores the rare bottles that defy convention and challenge the rules of the wine world.

Searching for Singularity in wine

Searching for Singularity

There are interviews, and there are conversations. And this meeting with Italian cashmere tycoon, Brunello Cucinelli, definitely falls into the category of the latter. Cucinelli has conquered the world with his products, his perception of style and beauty, and has published a book outlining his particular approach to doing business which he defines as “humanistic capitalism”.   This distinction between interview and conversation is a necessary contemplation; understanding the meaning behind the words, selecting them carefully, tasting each of them in a silent meditation. This is, in fact, the first step to allowing you into Cucinelli’s world, where external quality is just as important as inner quality. To him, as to late 18th century German philosopher Kant, beauty is a moral interest.   The word “interview” is composed of two parts: “inter”, which implies reciprocity, and “view”, which refers to sight; each looking at the other, trying to truly see. It is not a given that this is always successful.   A conversation, however, is different. The word derives from the Latin “conversari”, composed of “con” meaning “with” or “together”, and “versari”: to reside, to find oneself. It is a meeting – a graceful way of getting to know each other, or getting to know each other better. It is a way to agree upon certain behaviours and visions in order to truly share a physical place, as well as a state of being. In this conversation, we meet Brunello Cucinelli in Solomeo, Umbria, Italy. He reminisces that, The New York Times once published a map of must-see places in Italy – in which Solomeo was included along with Venice, Florence, Rome and Naples. Cucinelli states this with no small amount of pride.  Despite the lockdown, and an obligation to talk through a screen, encouraged by both the pandemic and by a sense of caution, Solomeo is truly the location of our meeting – and not just because Il Sogno di Solomeo (The Dream of Solomeo) is the title of his book, in which he recounts his life story, the roots of his success, and his vision as an “entrepreneurial custodian”. Solomeo enters through the window, breathing audibly in the background of the words and thoughts which define our conversation. It speaks through Cucinelli’s expressions, bringing to light a kind of organised peace within his sense of time, its horizons are centuries-old, and reside in diligent silence. It speaks of a knowledge acquired through generations passed, to be shared with generations to come.  We are in Umbria, just 15 minutes from Perugia and only one hour from Florence. Only 800 people live in Solomeo – a stunning, almost-abandoned medieval village brought back to life by skilful restoration work led by Cucinelli over the last 25 years. The village of Solomeo was revitalised as an allusion to Rome, the city of Emperor Hadrian’s soul, according to French novelist and essayist Marguerite Yourcenar. Creativity needs a “genius loci”, a safe space. Cucinelli restored a village that was “robust, useful, and beautiful”, as instructed by Vitruvius. Onora tutti gliuomini (“honour all men”) is the inscription displayed in Solomeo’s Piazza delleArti, and is also the motto which inspired Cucinelli’s humanistic capitalism. He believes gift-giving to be one of the kindest forms of the soul, and he loves to give presents of homemade oils and wines; believing that, in every gift, there is also a piece of Solomeo.   Cucinelli’s love of philosophy, and his habit of allowing the great minds of history to dictate his approach to beauty, is also a lesson Cucinelli learned in youth as a farmer, when he used to pull the ox plough and till the fields. In the evenings, his father would encourage him to admire the beauty of those ploughed fields, the neat ridges stretching over the hills.   His sensitivity to the idea of living in harmony with nature was born from this, as was his ability to recognise that there is greater value in that which is carried out with beauty in mind. His more practical attention to the selection of raw materials also stemmed from these roots – his respect for producers and collaborators, and his ability to think in terms of centuries, not years. All this has rendered Brunello Cucinelli one of the world’s most famous luxury brands.   Beauty is also a form of truth. As three Buddhist monks remarked to him, upon visiting him in Solomeo, there are three things which cannot remain hidden: the sun, the moon and truth. In order to live well, beauty requires you to take care of your soul, your mind and your body. This is why, at Cucinelli’s company, at half past five in the evening, the computers are switched off, the working day completed. The body, mind and soul need a life outside work, to be able to look themselves in the eye and overcome the “soul-ache” that creativity can also help to alleviate.  To him, beauty is also a business method; his humanistic capitalism was not cast aside even during the crisis sparked by Covid, during which time Cucinelli did not let a single employee go, or ask for any discounts from producers or suppliers. This is part of an ethical business vision which considers humanity as an end, and never as a means; it is defined by considering the businessman as a “custodian of creation”. Developing this idea of being a custodian, Cucinelli sees that luxe can be interpreted as an orchestrator of sustainable development.   Brunello Cucinelli smiles. He likes the words of 15th century Florentine Republic ruler, Lorenzo the Magnificent – “How beautiful is youth, / though quickly it does flee! / be happy if you want to: / for tomorrow may not come” – which recall an Italian sense of national pride. Although home to only 0.7% of the globe’s population, Italy boasts one of the the world’s top 10 economies; it excels at quality manufacturing and craftsmanship; it offers a welfare state which leaves no one trailing behind. He sees a great country and a golden era, in spite of the crisis. He does so with a pinch of the “Italiote”, as Plato called the people of Syracuse when he reached Sicily from Greece, “a population which feasts twice a day and never goes to bed alone”.  We are also like this, he says, before returning to consider the ideas of creativity and responsibility. “It really is possible to live in harmony with creation. And this makes us custodians, not consumers. I also think of my product as something to be desired, something to be inherited. That is why I chose cashmere. I wanted something that was already precious. I’ve learnt to transform it over time. I’ve made mistakes, had teachers and guardian angels that have helped me and taught me. But the principle was already clear to me, right from the beginning: to create beauty, you need to begin with something beautiful, from an exceptional raw material. And you also need to believe that it will last for centuries, not for years. Before it became fashionable, we had already opened a restyling and reusing department for our garments. Because, for a jumper to be beautiful and precious, it must also stand the test of time.”   “Verum factum”, as stated by 17th century Italian political philosopher Giambattista Vico: nothing is true unless it has been done. The humanistic capitalism in Solomeo is evident: an art of Renaissance-style trading which has taken over the world, yes. But it has done so with honour. It possesses a beauty which is markedly exclusive, moving against the crisis of civilisation. It is something that manages to make itself be considered as rare, something precious, only for you. It requires time, artisanal hard work and precision, fighting against the culture of impatience. In fact, Solomeo’s theatre is crafted from hand-cut stones, with walls built to endure. The company itself is located within a restored factory which opens out onto gardens and spaces where it is impossible not to inhale the surrounding beauty.  Most of the employees and managers within Cucinelli are young: this is because they are hard workers. It is also because beauty and fairness produce brilliance. Cucinelli is the one to engender this genius. “Oh, myesteemed men!” (O miei stimati uomini!) Cucinelli quotes Marcus Aurelius. It is from this statement that he has learnt to recognise value, to respect and admire, and to never rise above dignity. He applies the concept of remote working only when strictly necessary, because creativity dwindles and becomes degraded by a lack of human contact.   The story of humanistic capitalism is so long to recount (and so wonderful to hear) that Cucinelli has summarised it within his book, Il Sogno di Solomeo. These ideas, typically influenced by previous generations, took inspiration from the manual The Book of the Art of Trade by Benedetto Cotrugli – an Italian merchant during the Renaissance era – which speaks about “getting rich honourably”. One can choose whether to be “a seeker of work or a creator of work”: therefore, an entrepreneur is someone who creates development for themselves and for others. On one hand, there is the revaluation of the role of whoever decides to take this risk; on the other, there is the idea that they are doing so by enforcing a strong sense of ethic. A sort of return to business. An important lesson.  Cucinelli notes that, in Cotrugli’s story, this is fulfilled out of duty rather than pleasure. The death of his father in 1438 forced him to abandon his studies and take the reins of the family business. This was during a time when Italy was bestowing the Renaissance upon the world; and Cotrugli, who originated from Ragusa (currently known as Dubrovnik – which, at the time, was considered the fifth Italian Maritime Republic), was catapulted to Naples, in an environment where ethics and morals evidently left a lot to be desired. The family business, and by extension, he as the owner, “bought wool in Barcelona; turned it into cloth and thread in Florence and Prato, to then sell it on again in Constantinople and Venice”. Cotrugli travelled, visiting cities which formed the heart of that golden era. He breathed in the air of Florence, which was, at the time, Europe’s most powerful guild, and produced figures such as Donatello, Masaccio and Brunelleschi.   Among the 15 golden rules for “getting rich honourably” outlined within The Book of the Art of Trade, Cucinelli feels a “deep resonance” not only because of its modernity and its entrepreneurial insight, “but mostly for the system of values it imposes and passes on”, to “get rich honourably” by creating work and development with consistency. And he thinks back to the crisis, echoing the words of Roman statesman Marcus Tullius Cicero, as quoted by Cotrugli: we must not waver in the face of adversity or lose ourselves in our own prosperity. “Let’s talk about what this year has brought us, not what it has taken from us,” he states.   And this is the truest representation of a dedicated and kind businessman, who has spent half his time gazing up at the stars and loves to watch a fire flicker because it makes him “drunk on pleasant thoughts”. Life is blessed. We eat only what we must, so that there is enough for everyone. There was Seneca, there was Epicurus, and now there is the wonderful dream of Brunello Cucinelli and his beloved Solomeo. He spends his years contemplating centuries past and considering those to come. This, in itself, is a rare form of immortality.  In 2011, Cucinelli planted vines in the valley below Solomeo, and the first vintage of the wine made from this special site – 2018 Castello di Solomeo – is available from FINE+RARE. Read more about the project. This article was originally published in FONDATA, Issue One

As Brunello Cucinelli launches his new wine project – Castello di Solomeo – we dig into the philosophy of the designer behind Italy’s cashmere empire. Educator and business guru Germana di Falco sits down with the fashion icon to discuss his philosophy on business and life itself 

Italian cashmere tycoon and fashion designer Brunello Cucinelli on his new wine project Castello di Solomeo and his business philosophy 

Brunello Cucinelli – the fashion philosopher

Brunello Cucinelli: the fashion philosopher 

Transitioning from the world of fine cashmere to viticulture might not seem an obvious move – and yet, for Brunello Cucinelli, wine is another arena to which he can bring new “dignity”.  Cucinelli is a man of humble origins, born in a small Umbrian village in 1953. His family were share-croppers but moved to the city in search of better employment, with his father taking a job at a cement factory. Cucinelli saw his father struggle to make a living, and do so with little respect from those around him – a battle which has defined his work and philosophy.  Despite training as a building surveyor, then studying engineering, Cucinelli ended up working as a showroom model for Ellesse in his early 20s while his girlfriend (and future wife) ran a small boutique. Inspired by this window into the fashion world and the brightly coloured clothes of Benetton, he decided to make a line of similarly vivid cashmere jumpers, launching in 1978, aged 25. Since then, the business has evolved – with muted, neutral tones replacing the lively colours that gave him his break. His clothes are defined by their understatement, the epitome of “quiet luxury”.  Today, the Brunello Cucinelli business is worth €6.3 billion. There is more to Brunello Cucinelli than fine fashion, however, with 20% of the personal profits channelled back into Cucinelli’s charitable foundation. He operates under a philosophy he defines as “humanistic capitalism”, wanting to offer his employees the respect his father didn’t receive and reclaim the value of crafts that might once have been deemed “blue collar”.  A huge part of this is his work in Solomeo, the village that he calls home (and where his wife, Federica, was born). The couple got married there in 1982, making it the company’s headquarters in 1985. Since then, Cucinelli has invested significantly in the tiny, hilltop hamlet, gradually restoring it, and adding his own cultural flourishes – a School of Arts & Crafts, Forum of the Arts, Aurelian Neohumanistic Academy, theatre, amphitheatre, library and more. Over the last 30 years, he has – working with architect Massimo de Vico – transformed the village.  Castello di Solomeo, the winery and vineyard, is the latest addition – but one that has been over a decade in the making. Michele Baiocco – who has been leading the project’s team since 2010 – met Cucinelli playing football. He’d been making wine in Perugia, and the two men met for dinner. Cucinelli asked him if he’d help him “give the agriculture world a new dignity”, and they decided to create a Bordeaux-inspired wine. Together they found the right site for a vineyard in Solomeo, and planted the first vines in 2011.  Cucinelli had always loved Bordeaux, but with Montalcino not too far away, and a wish to make something “typical” for the region, Sangiovese was an obvious addition. Extensive studies were undertaken to create a vineyard with the right soils and exposition. But – take a look at a picture of the vineyard, with its softly curving rows of vines that flow across the property – and it’s clear that this isn’t a standard vineyard.  “The vineyard is like a painting,” says superstar winemaking consultant Riccardo Cotarella, who has been working with the team, especially on the blending process, since the 2018 vintage (the first commercial release). It is “an artist’s way to plant vines”, he explains – one that doesn’t make it any easier to work. Cucinelli’s inspiration, however, was a renaissance garden, and the fact that it forces everything to be done by hand is key to the project, emphasising the craftsmanship of making wine, as well as making a beautiful place for the team to work.   The philosophy in the vineyard is driven by “reason and good sense”, with no chemical pesticides or fertilizer, using grass cover and cover crops. It’s a complex site – with five hectares, spread across four different soil types (more clay rich, more marl, sandier and more calcareous) and divided between four varieties (Cabernet Sauvignon, Cabernet Franc, Merlot and Sangiovese).  Each of the 12 different blocks is vinified separately, something which they feel is key to terroir expression. They only make one wine from the site, and – as Cotarella says – “Working with Brunello [Cucinelli] always means the best quality.” Careful vineyard work is key, and the team has been reducing the production per plant, to focus the vines, encouraging complexity and concentration. Just like Cucinelli’s clothes, this is a wine intended to last.  While Cotarella consults, Pietro Grelloni is the full-time winemaker dedicated to Castello di Solomeo, working alongside Baiocco. Grelloni was born locally and worked with Baiocco, but had travelled the world making wine before returning to Perugia, when Baiocco asked if he’d like to join the Cucinelli project in 2017, just in time for the vintage. It’s clearly a special project to be involved in, but – for Grelloni – it’s the long-term view that sets it apart. “We take care about the year, but we also have to take care of the future,” he says – explaining how it is not just about the vintage that will be harvested this year, but in 100 years’ time. As Cotarella says, “It’s a very special wine, with a very special philosophy.”  Castello di Solomeo is exclusively available from FINE+RARE. The second vintage, 2019, is set to be released this week.

Read anything about Brunello Cucinelli and “dignity” is a word that comes up time and again, woven into the very fabric of the empire he has built. As the fashion icon releases the second vintage of Castello di Solomeo, we explore the philosophy behind the project 

Exploring the cashmere king Brunello Cucinelli’s Umbrian wine project, Castello di Solomeo, and the philosophy that defines it

Made in Solomeo

Made in Solomeo: the stamp of dignity

What is Ornellaia?  Tenuta dell' Ornellaia is one of Italy’s most respected wineries, based in the Tuscan foothills of Bolgheri. Its top wine – simply titled Ornellaia – is a Bordeaux blend of Cabernet Sauvignon, Cabernet Franc, Merlot and Petit Verdot, first produced in 1985.  Is Ornellaia a Super Tuscan? Yes. Bordeaux varieties grown in Tuscany qualify it as a Super Tuscan. It is in fact situated next door to the pioneering Tenuta San Guido property – the first estate to start producing a Bordeaux blend in Italy, with its famous Sassicaia. Ornellaia was founded by Lodovico Antinori – who was actually the nephew of Sassicaia’s Mario Incisa della Rocchetta.   Is Ornellaia owned by the Antinori family?  Not anymore. In 2002, Lodovico Antinori initially sold the property to US winemaker Robert Mondavi, who then sold a 50% share to Frescobaldi – another historic Italian wine-producing family. Following the sale of the Robert Mondavi corporation to Constellation Brands in 2005, Frescobaldi took full ownership of the property. They also own two other iconic Tuscan properties: Ornellaia’s neighbouring property Masseto (arguably Italy’s most famous Merlot, which up until 2019 was also produced at Ornellaia) and the Brunello di Montalcino estate Tenuta Luce.   Does Ornellaia have anything to do with Solaia?  In short, no. Solaia is another Super Tuscan owned by the Antinori family – Ornellaia’s founder Lodovico Antinori’s brother Piero – so you would be forgiven for getting them confused. Solaia is a Cabernet Sauvignon and Sangiovese blend grown on the Tuscan hills within the Chianti Classico region and is situated next to the Tignanello vineyard, another Super Tuscan also owned by Antinori.  What’s so special about Bolgheri?  Bolgheri’s close proximity to the ocean means less cloud and a higher level of reflected light from the sea, magnifying the solar intensity. Secondly these coastal flatlands, in between the mountainous islands of Corsica and the Tuscan hills, are effectively a corridor of wind which creates a high diurnal shift in temperature. This fluctuation between hot days and cool nights locks in the grapes’ acidity, while giving the fruit great concentration and ripeness – enabling the later-ripening Bordeaux grapes Cabernet Sauvignon and Merlot to thrive.   What makes Ornellaia so unique? Neighbouring both Sassicaia and Masseto, Ornellaia is well situated in the foothills of Bolgheri. Being one of the early settlers in the region, they are one of the few producers who own vineyards in the foothills. The surrounding woodlands are protected and therefore more recent arrivals could only plant vines on the valley floor. Here there is a complex mosaic of soils ranging from marine, alluvial and volcanic soils. Intraplot management means every plot is individually assessed, picked and matured in oak for 12 months before the final blending takes place. Within one vineyard alone the four varieties, eight different rootstocks and multiple geological fault-lines provide a complex palette of expressions to choose from.   Who makes Ornellaia? As of 2024, Marco Balsimelli is the Production Director at both Ornellaia and Masseto. He took over from Axel Heinz, who had been at the helm since 2005, taking over from Thomas Duroux (now the winemaker at Ch. Palmer). The estate now produces seven wines in total, one grappa and an olive oil. Le Serre Nuove is Ornellaia's closest sibling (another red Bordeaux blend, very much seen as the second wine to Ornellaia) typically mad with fruit from younger vines.  How is Ornellaia made? Each parcel is vinified separately. While previously the wine would only be blended after 12 months' maturation, Balsimelli has moved to blending it earlier in the process to create greater cohesion in the wine. Fermentation and maceration takes place in stainless steel at maximum 25˚C, staying on skins for around 20-25 days before being moved to barrel. The wine is aged around 18 months in 70% new oak and then a further year in bottle prior to release. What are the great Ornellaia vintages? Speaking with Ornellaia’s Matteo Zanardello, his favourite vintages for drinking now are the 1998 – so elegant, fresh, bright and one of the best vintages in Ornellaia’s history, even if
underplayed by the critics. The 2001 is, he feels, beautiful now, while the 2006 is starting to open up. A notably fresh vintage with great ageing potential, Galloni described the 2006 as “a breathtaking wine of the highest level” (98 points) – and Matteo compares it to the 2018. Monica Larner rated the 2010 97+, describing it as “a truly outstanding wine that leaves a lasting memory for those who are lucky enough to enjoy it”. The 2011 was slightly overlooked, initially considered to be a little austere, however today it shows all the great traits of Ornellaia and is another great vintage in Matteo’s view. Antonio Galloni's (Vinous) top-rated vintage is the 2021, earning 98 points, a wine that "captures all the magic of this sensational vintage on the Tuscan Coast". The 2021 is also the highest-rated according to James Suckling and Lisa Perrotti-Brown MW, for whom it ties the 2019 – "a beautiful, luxurious, and vivacious wine". Kerin O'Keefe's top-rated vintage is the 2010, which marked the estate's 25th anniversary and "could not have been a more spectacular vintage". What is the most recent vintage? The new vintage of Ornellaia is released each spring, three years after the vintage, so the 2022 was released earlier this year. Its sibling estate Masseto is released in September as part of the September releases via La Place.  Explore all current Ornellaia listings and find out more about the property or read more about Italy Editor's note: updated 1st August 2025

Ornellaia is one of Italy's illustrious Super Tuscans. Here is everything you need to know about the estate – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia – and why it’s become such an icon of the Italian fine wine scene 

Everything you need to know about Ornellaia

Ornellaia: a cheat sheet

The Glenfarclas distillery is one of Scotland’s most successful. What sets the distillery apart is the family that owns it and has done so for six generations. While most large distilleries in Scotland are nowadays owned and run by large drinks companies and corporations, the Grant family continues to take pride in owning Glenfarclas, seen fully through their timeless slogan: The spirit of independence.  The Glenfarclas Distillery's history The Glenfarclas story began in 1836 when farmer Robert Hay received a license to distill spirit on Rechlerich farm, Ballindaloch. In 1865, after Hay’s passing, John Grant bought the farm and the distillery along with it and it has been owned by Grant’s descendants ever since. Grant was a successful farmer, and while he continued to operate his Blairfindy farm, he
left the new site in the care of his cousin, John Smith, and his son, George Grant. Smith left Glenfarclas and John Grant died in 1889, leaving the site in the hands of his son. Sadly, he also passed soon after leaving the distillery to his widow, Elsie, and his two sons, John and George. The 1890s brought with them a whisky boom which led to an unfortunate partnership with Pattisons Ltd. While expansion was in mind, this partnership led to many hard years for Glenfarclas. Luckily, the Grants retained full ownership of the distillery after the whisky crash, and in 1913 George took full control. John retired due to ill health.  George Scott Grant followed, and led the distillery for 52 great years, until his death in 2002. Under his leadership Glenfarclas built up its name and brand image. Glenfarclas is known to have a large number of very old and rare casks in its warehouses, and this is due to
George S. Grant’s decision to supply less stock to blenders, decades before.  John L.S Grant, the current chairman, has been with the company since 1973 and succeeded his father after his passing in 2002. The sixth generation comes in the form of George S. Grant who joined Glenfarclas in 2000 and works as the global brand ambassador, introducing the world to the amazing story and liquid behind the Glenfarclas brand.  Glenfarclas single malt whisky Glenfarclas has come to be known for its old and rare releases, with huge popularity in unique markets like China and Russia, and a cult-like following across the globe. As a family-owned company, the expansion speed and budget aren’t huge, therefore, they cannot reach the global popularity of The Macallan or Glenlivet. Yet, with an amazing story and even more impressive casks, the team has managed to cement Glenfarclas as both a loved brand for
drinkers and collectors.  Glenfarclas whisky is known for its full-bodied, Sherry matured expressions. The team only releases expressions at natural colour, often at cask strength, aged for long periods. The unique still shapes and sizes, alongside the traditional ingredients and distillation techniques
add to the distinct Glenfarclas character which has led to a very strong and loyal fan base for the brand.  Perhaps, the most famous releases by Glenfarclas come under the Family Cask range, single cask releases from each year between 1952 and 2008. The ongoing series has made Glenfarclas hugely collectable as fans attempt to hunt down each and every bottle. These are bottled at cask strength, natural colour, and retail for thousands of pounds.  Beyond special releases, the core portfolio includes the 10-, 12-, 15-, 17-, 21-, 25- and 30-year-old, and 105 Cask Strength. Most of these are available at very affordable prices for such well-aged whiskies, again showing the team’s amazing warehouse management skills, unlike many brands that have low reserves of well-aged stock.  Glenfarclas's collectability Glenfarclas is becoming increasingly collectable thanks to the Family Cask range, the well-aged Glenfarclas 60 Year Old, 50 Year Old, 40 Year Old, and the famed Glenfarclas Pagoda series.  Beyond this, the distillery has a strict policy about cask trading – almost no Glenfarclas full casks make it onto the market for trading and most do not allow naming of the distillery on the labels. This practice has helped properly control how the distillery’s name is used and given the brand a more “limited” image. Glenfarclas is widely traded in auctions across Asia with strong markets including Taiwan, Hong Kong, and Japan. Some of the brand’s awards include: Distiller of the Year by Whisky Magazine in 2006 Glenfarclas 40 Year-Old: Scotch Whisky Single Malt of the Year in the 17th Annual Malt Advocate Whisky Awards 2011 Glenfarclas 12 Years Old: Best Sherried Whisky in the Single Malt World Cup 2006 Glenfarclas 30 Year-Old: Overall winner at the Australian Malt Whisky Awards in 2004 Glenfarclas LE 1968: Best Imported Whisky in the USA by the Malt Advocate Magazine in 2004 Our Glenfarclas recommendations: Glenfarclas 105  At 60% cask strength this expression brings forth the rich, fruity, spicy character of Glenfarclas at full force. Toffee and apples on the nose, spice and rich sherry on the palate, and a long,
warming finish delivers a well-rounded experience, at a very affordable price.  Glenfarclas 25 Year Old A Glenfarclas fan favourite, at a very reasonable price, the 25-year-old brings dark chocolate, fruit cake, dried fruit, and a delightful hint of nutmeg to the palate.  Glenfarclas Family Casks If aiming to collect Glenfarclas, the Family Casks are a fun and adventurous way to start. With over 40 releases you can slowly work your way up and build up your shelves with the
story of Glenfarclas through decades of struggle and success.  Explore all Glenfarclas listings or browse more Editorial 

Glenfarclas has come to be known for its old and rare releases, with huge popularity in unique markets like China and Russia, and a cult-like following across the globe. We explore the profile of the distillery to find out what makes it so special.

Glenfarclas has come to be known for its old, rare single malt whisky releases. We explore the profile of the distillery to find out what makes it so special.

The Glenfarclas team on putting family first

Glenfarclas Distillery: Family first

En primeur is the system of buying unfinished, young wine, essentially as “futures”. The wines are sold while still maturing in barrel, and shipped once bottled to wine-lovers around the world. Bordeaux pioneered the system, and it remains important in the region, although en primeur has now spread and wines from Burgundy, the Rhône, Italy, the US, Australia and beyond are now all sold in this way. But how did it start? 
While consumers have only been purchasing wine en primeur since the 1980s, wine has been sold “unfinished” to merchants for centuries. Traditionally wine was not bottled or sold by the châteaux; once the wine went into barrel it would be transferred to négociants who would age the wine in their warehouses in the Chartrons district of Bordeaux, and be responsible for their sale and distribution – an unseemly business that didn’t sit well with the noble château-owners. The wine would then either be bottled in Bordeaux or shipped on in barrel to markets like the UK, and bottled for sale to consumers there. 
While Bordeaux might seem glossy and polished today, with its grand châteaux, manicured lawns and immaculate wineries, the region’s wine industry has not always been so prosperous. In the mid-19th century, mildew arrived and devastated much of Europe’s vineyards, followed by the arrival of phylloxera, killing vines and forcing producers to, eventually, replant. When winegrowers had recovered from Mother Nature’s attacks, the First and Second World Wars arrived, bringing further economic challenges. Producers needed ways to finance their operation, while merchants were always on the lookout for a way to secure stock and the best price possible. 
As producers struggled, they resorted to selling grapes while still on the vine, “sur souche”, agreeing a price based on the previous vintage and gambling on the final quality of the crop. Sur souche sales continued into the 1960s – eventually waning after producers were burnt by the low-yielding, excellent and woefully undervalued 1961s. When times were particularly hard, châteaux – even the most fabled addresses – committed to selling their crop for up to 10 years at a fixed price to a merchant, tying themselves into an “abonnement”, guaranteeing a base level of income, but losing out on potential profits if or when prices rose. 
Up to this point, early sales of wine (or grapes) had only been to négociants in Bordeaux, but the 1973 oil crisis prompted a shift. The subsequent crash left producers, négociants and every layer of the wine trade in dire need of funds. Having struggled to sell the 1972 vintage, châteaux didn’t have the money to invest in the production of the challenging ’73 and ’74 vintages. The 1975 growing season arrived with more favourable conditions and the wines showed promise; samples were shipped to London for buyers to sample and sell.  
En primeur really took off, however, with Bordeaux’s 1982 vintage. Robert Parker had started writing his newsletter in 1978, introducing the world to his 100-point rating system for wine. He came out early with a firm endorsement of the 1982s, and urging consumers to buy them; when others were less convinced. Many, especially in the US, took the opportunity to buy up the wines en primeur – and were duly rewarded, with the vintage now considered legendary. 
The early sale of the wines eased cash-flow problems for producers and négociants, while merchants and consumers benefited from being able to secure stock of wines at a favourable price. As en primeur sales grew, properties became much more profitable businesses, able to funnel investment back into their vineyards and wineries. At the same time, ownership of estates was shifting. In 1981, inheritance taxes doubled, making it harder for families to keep châteaux and companies – from insurance to luxury goods and everything in between started buying up properties. While some corporations focused on quantity rather than quality, many arrived with the necessary finances to push quality forward. The 1990s saw many estates introduce second wines, allowing them to further elevate quality of their Grand Vin, and Parker’s influence continued to grow. All of these elements combined to see Bordeaux as a region and its wines evolving at pace – giving even more reason to secure a new vintage up front. 
For consumers, en primeur provided a way to secure the most sought-after wines at the best prices. In top vintages, the wines offered significant returns too – and speculation ensued. The wine market expanded, with new interest from Japanese and Chinese buyers. The market exploded when Hong Kong abolished tax on wine in 2008. The frenzy built and prices rose – with the top-rated 2009 and 2010 vintages hitting new, inflated highs. En primeur no longer offered the safe return it had. The bubble burst. 
Châteaux, merchants and collectors were all stung, and there is now greater awareness of potential inflation in the market. This consciousness and understanding has settled the market and made en primeur relevant once more, although fortunately without the speculation of previous vintages. 
In 2012, Ch. Latour announced it was abandoning the en primeur system – deciding instead to offer wines only when they are ready to drink, with 2011 the last vintage to be offered as futures. It was a significant blow for en primeur to see a First Growth abandon the system, but while there was a fear this step could open the floodgates, no one else has yet followed the First Growth. 
Today, en primeur remains significant for Bordeaux. In April of each year, the world’s wine trade descends on Bordeaux to taste the latest vintage (harvested the previous year). Organised by the Union des Grands Crus de Bordeaux, the “Primeurs” week is an impressive publicity machine, focusing attention on the region – and while the spotlight might be on the very top properties, there’s a clear halo effect for the entire region. 
There has been a move for estates to hold back a little more stock, some of which may be offered ex-château at a later date, but most Classed Growths still sell between 70 and 90% of their entire production en primeur.  
The benefits for Bordeaux and its châteaux are clear, but what is in it for those wanting to buy the wine? Many of the reasons to buy en primeur are unchanged. There are no guarantees that you’ll make a financial return with en primeur, but inevitably wines do become rarer with time; as wines enter their drinking window, they become more desirable (and often increase in value), and over time they become scarcer, as bottles are uncorked and the finite supply of a specific vintage dwindles. As such, en primeur can offer a useful way to secure stock of wines, particularly those from small, sought-after properties which can be near-impossible to obtain after release. 
Buying en primeur also offers flawless provenance. The wine will move from the estate to wherever you store your wine, and then once more when it is withdrawn for consumption, ensuring optimal maturation conditions, and retaining maximum value should you decide to sell rather than drink. An additional luxury of buying en primeur is being able to buy any format; as the wine isn’t yet bottled, you can purchase half-bottles, magnums, jeroboams, imperials or any other size you desire easily. 
While critic scores certainly still influence the sale of wines, no single voice has the power that Robert Parker had in his heyday. Today, there are more critics than ever before – with individual writers breaking away from larger publications like the Wine Advocate to create their own platform, each with their own tastes, offering different perspectives on the vintage – arguably giving consumers more information than ever before. 
It’s little surprise that other regions have adopted the system, with Burgundy in particular embracing en primeur. Opportunities undoubtedly remain – as a vintage like 2019, sold in the midst of 2020 and the Covid-19 pandemic shows. Faced with an uncertain market, producers dropped their prices and consumers flooded to buy Bordeaux’s wines. The vintage turned out to be spectacular, with buyers justly rewarded for investing in the wines. When a vintage is good, and the pricing right, there really is nothing like the palpable buzz and excitement that the Primeurs season brings to the world of wine.  
Find out more about en primeur, including how it works, or browse all wine currently available en primeur

Each year, key fine wine regions offer their wines en primeur, or as “wine futures”, but it hasn’t always worked this way. Sophie Thorpe dives into the origins and history of the system – and what it means for wine-lovers today

En primeur is the system of buying wine futures: we delve into its origins, history and what it means today for chateaux, negociants merchants and wine-lovers

What is en primeur? Explaining wine futures

What is en primeur: the origins of wine futures

Serge Valentin has been one of the few truly independent voices in the Scotch whisky world since the early 2000s. For two decades and counting, the Alsace-native has published his tasting notes and scores to an astoundingly large and loyal audience with his characteristically good humour and impartiality in what can be a deafening echo chamber.   Despite being one of the most well-respected authorities in the industry, Valentin has always written about whisky in his spare time, very much considering it a pastime that he dabbles in for fun. This is somewhat of a surprise, given the many people who part with thousands of pounds based on his views alone.  “Contrary to what many believe, I’ve never been a pro and have never actually worked in whisky,” the jaunty Valentin is quick to tell me. “It is all a kind of super-hobby to me and if you ever see me doing gigs, for example at whisky festivals, it is always for free, for fun and for friends.”   Valentin’s “proper work”, as he calls it, is in advertising and marketing, where he owns two agencies which employ around 2,000 people. These agencies, he says glibly, are “supposed to pay for my whiskies…luckily, they do”. It was a very different landscape when Valentin started writing about Scotch in 2002. Single malts had been marketed for 30-plus years but there wasn’t the seemingly insatiable demand and record-breaking prices that are commonplace today. It all began when Valentin, armed with bottles of his favourite Old Clynelish and Brora, sat down and shared his musings on his aptly named website WhiskyFun. This wasn’t a vanity project or a vehicle for freebies, this was a man writing about the whiskies he loved, just because he wanted to. From humble beginnings, WhiskyFun has become one of the most well-respected hubs for commentary on Scotch. Valentin follows a 100-point scoring system, like some of the great critics in the world of wine. For Valentin, however, 80/100 is a good score. His methodology is largely unchanged. He will spend an average of 30 minutes tasting a whisky (he does, on occasion, score rums and other spirits) – this can increase up to an hour if it’s a “good one” and take nearer 10 minutes if it is a “bad one”. He always compares several similar spirits, almost always from the same distillery, and never scores “out of the blue”. He tastes “alone, using the same parameters” (place, time of day, glassware, water etc.) and always writes as he tries, and then publishes once a day.  His write-ups are always short, honest, and unmistakably him. After all these years, it’s dumbfounding that he has the time or inclination to produce the near-constant stream of reviews that appear on his website.    It’s fascinating to see which liquids he scores – and, sometimes more intriguingly, the ones he doesn’t. “The choices rather depend on what I get and what I source, but my sample library is much larger than my tasting capacity,” he explains.   This all started as a passion project for Valentin and it’s abundantly clear that that fire burns just as bright today. He never takes himself too seriously and is evidently ill at ease with any comparison between himself and the greatly respected critics in the world of wine.    This is, in part, because the role of a critic in spirits is nowhere near as established as it is in wine. There are leading voices in the Scotch whisky world who undoubtedly carry considerable clout, but they aren’t critics in the traditional sense. While they might be prolific in their output and have seemingly healthy book retainers, they rarely score spirits and if they do, their tasting notes will be almost entirely positive (often because they are in a producer’s employ). The closest the spirits world has to a Robert Parker or Jancis Robinson MW is probably Valentin – although, he wouldn’t agree.   “I would say the roles are more and more the same in wine and spirits,” Valentin says, “even if there are fewer actual ‘critics’ in spirits. But it is coming in whisky.”  Valentin does feel there is a need for scores in collectable spirits, as – like wine – there isn’t always the opportunity for people to try before they buy. But the issue is not black and white, as is true of many things Valentin and I discuss.   “I see that scores [in whisky] become more like stock market recommendations these days,” he says.“I’m not too happy about that but that wouldn’t be the case if spirits, especially whisky, had remained a reasonably priced commodity,” he says, before adding: “But the cardinal sins are what they are.” It’s clear whisky drinkers respect Valentin’s voice, as they flock to his site in droves. What’s less clear, however – as an outsider looking in – is how producers feel about Valentin’s refusal to kowtow and sugar-coat his reviews.  “Producers have never quite known how to deal with independent voices,” he explains. “In general, they prefer influencers that they can pay and control, even if their audiences are smaller and less ‘on target’,” he adds, “for which I can’t blame them. Fortunately,” he continues, “not all distillers are the same. Some corporations are smarter than others and that often depends on the people within.”   When asked why he thinks people return to his site, which doesn’t have any of the bells and whistles you might expect from an ad man and is as no-frills today as it was two decades ago, Valentin says, as self-deprecatingly as ever: “I’m not really aware of everything that’s happening in the reviewing landscape, I have to say. If indeed people keep coming back to my assessment, that’s partly, I believe, because I started early and simply because they trust me. Trust is number one.”   In many ways, Valentin’s website is a collection. It’s a receptacle for his innermost thoughts and feelings about the things that matter most to him. Valentin has always been collector at heart. With an interest in stamps from childhood, he then graduated onto watches, wine and then whisky. The father of three has a broad and eclectic range of interests, including music (“all kinds”), advertising, motorcycling, wine, watches, food and travel which he has nurtured and indulged. Throughout the years, Valentin has had a front-row seat to the evolutions within these industries and the so-called art of collecting.   “Old-school collectors used to buy what they liked, never what was meant to see its value rise,” he says. “In the old days, you had to travel, to make phone calls, to go to festivals etc. Today,” he says somewhat ruefully, “you can buy anything, as long as you’ve got the money.” Valentin was ahead of the curve when he made the choice many years ago to buy as many different Old Clynelish and Brora single malts as he could, simply because they were his favourites. At the time, and up until 2005 to 2010, all whiskies – even the rarest – remained relatively cheap. After 2010, it was silly season and whiskies you could previously source were nigh on impossible to find or prohibitively expensive for some.  Valentin’s favourite whiskies have become some of the most desirable on the secondary market. Old Clynelish, produced before the distillery was rechristened Brora, have gained a huge following globally as people were charmed by the story and the characterful liquid the two distilleries produced. Now Brora is set to be re-opened, these single malts will only become more valuable. While his collection is no-doubt impressive – exact bottlings are not disclosed – there are some unicorns which still elude Valentin.   “Rather bizarrely and inexplicably, I prefer fatter spirits and fresher wines,” Valentin says, “in both cases with as little straight oak influence as possible. So, fat distillates, such as some coastal malts, some Jamaican rums etc. In wine, that would be the bright whites, Jura, Savoie, Rueda, Pacherenc, Irouleguy, Alsace, Wachau and Andalusia.”    “I know oak is crucial,” he adds, “you just shouldn’t feel it as such, according to my personal taste. But I insist, that’s personal.” Oak is a topic Valentin returns to several times. He feels it is the low-hanging fruit when it comes to innovation in the Scotch whisky industry.   “Sure, there are a few innovations around the casks,” he says, “but all makers use more or less the same.” The woods used are usually more active, which allows producers to sell much younger whisky for a good price while widening the ranges at the same time, he says.   “I’m not saying that’s bad,” he quickly adds, “but not many people are talking about the distilling regimes, the stills and so on, which was the number one topic 20 years ago.” He continues: “It is now all about wood. But, when we talk about wood that includes their flavouring with other spirits, wines, or even whiskies from other distilleries such as some peated ones, which is the latest trend, to peat single malts by doing some in-cask blending rather than bother with brewing and distilling some peated malt. “So, cutting corners for sure but on the other hand, I believe the average quality has risen pretty sharply. So, all remains good and well…”  This seems to be Valentin’s baseline. The whisky world might have changed but he believes it is the same at its core. There is an increase in branding and marketing (which is likely a source of joy and consternation for an ad man), there are more malts, and for the past five or six years, more distilleries from almost all countries.   “I’m not bored yet,” he says in his frank way, “and in general, whisky has got better on average, even if there are fewer utter glories and fewer total duds.”  If a man with Valentin’s reputation of no-holds-barred honesty is broadly happy, then we probably all should be too.   Browse all Scotch whisky  or  read more Editorial 

Serge Valentin is one of the most well-respected people in the fine spirits world. For decades, whisky enthusiasts have parted with thousands of pounds based on his reviews alone. Holly Motion asks him how it all began – and how the industry has evolved since he started writing about whisky for fun

Serge Valentin on the art of collecting, the role of the critic, and the changes he’s witnessed in the Scotch whisky industry over the past 20 years

Serge Valentin – the Joker in the pack

Serge Valentin: the Joker in the pack

Inside Burgundy – Jasper Morris MW  Jasper Morris MW’s upbeat report assures the reader not to panic about the treacherous growing season that Burgundy endured in 2021: “The wines taste much better than the weather conditions might have suggested.” While wary of generalisations, he feels the whites (what little was made) were good to very good and readers should have no qualms in following them. While the natural comparison might be to 2016 – another vintage badly affected by frosts which produced two generations of grapes – those that survived the frost and the secondary buds – the 2021s avoid the sweet-and-sour profile of that year. He also particularly highlights the wines of Puligny-Montrachet, which has rediscovered a “beguiling and refined floral bouquet” in the year.   
Quality among the reds, he feels, is less consistent, with the Pinot Noirs from the Côte de Nuits better than those from the Côte de Beaune. He highlights Chambolle-Musigny and Volnay as appellations that “show the elegance and fragrance… that has perhaps been missing for the last few years”. While far from classical, he believes many of the reds are “rather lovely in a style which we have not seen in the last few years”, thanks to the vintage’s cooler conditions.   
He compares the reds to 2014, but less “raw” than some of the wines made in that vintage, while the whites remind him of 2013. He also suggests the vintage for both red and whites has many similarities to 2010 – a vintage that received modest reviews on release, but has, with maturity, turned out to be “rather fine”.   
For him, both colours, although especially the whites “are very clear reflections of their individual sites”, and “show the hierarchical order from generic up to Grand Cru very clearly”. While he doesn’t feel they will “develop into legendary long-lived wines”, nor will they “fall over quickly”. Generally it is a vintage that is “what the French call digeste” – “accessible, easy to drink”, but he urges readers to “take the time to search out the gems which have successfully avoided any pitfalls in their path and will emerge as truly beautiful wines”.  
Read Jasper Morris MW’s full report on Inside Burgundy (subscribers only) 


Vinous – Neal Martin 
Neal Martin offers, as ever, a long report, with his trademark satirical opening. His verdict is that 2021 is “indisputably one of the most fiendishly complex, byzantine seasons I can recall” and the wines are “shockingly good in the context of an appalling growing season that pushed many to the brink, physically and mentally”.  He runs through the growing season in detail, noting the various challenges producers faced and how they responded – something which he highlights varied significantly, making it “a season without consensus”. Despite these difficulties, he finds many of the wines “blooming delicious” – noting that “the causal relationship between the vagaries of a growing season and wine quality is not as strict. Seemingly awful vintages can be studded with vinous gems and walk-in-the-park seasons can disappoint.”  Given the lack of consensus, he emphasises the variability of the year, and the need to drill down into the specifics of how each estate, and vineyard, fared – and he has offered a profile on almost each producer he visited to provide his insight. He points to the fact, for example, that the Grands Crus aren’t necessarily the best wines from each estate – and this is reflected in his scores. As for the style of the wines, he finds that the whites “sometimes convey traits of warmer vintages with traces of tropical fruit that counterpoint the acidity”, and points to Chassagne-Montrachet as a stand-out village – in his view, “the most dynamic appellation in the Côte de Beaune”. The reds he declares “a sharp return to the vivid red fruit of cooler growing seasons” – with most “far removed from the black/blue-fruited 2019s and 2020s”. “There is greater underlying mineralité, tension, and vibrancy on the palate compared to recent vintages. Tannins, at best, are finely chiselled, and the finishes often contain plenty of sapidity.”  
Overall, however, he feels that “the 2021s will offer abundant short to mid-term drinking pleasure” and are “delicious early-drinking fare”, but “only a small number will age long-term”, some wines not having “the substance to last the course”. Despite that, he’s overall positive, although notes that the tiny volumes and rising prices pose challenges: “There are gems to find. It’s just that you might not be able to buy them, and if you can, you might have to remortgage the house.”  
Read Neal Martin’s full report, tasting notes and scores on Vinous  
 Burghound – Allen Meadows 
So far Allen Meadows has published his reports on the Chablis, Mâconnais and Chalonnaise, and reds from the Côte de Nuits. His in-depth report runs through the varying meteorological considerations across the entire length of Burgundy, including for example a catastrophic hailstorm in Pouilly-Fuissé. For the whites from the outer reaches of Burgundy, he says that, “despite all of the growing season trials and tribulations, surprisingly good, sometimes even excellent, whites were made”. There are, in his view, some “cool, pure and wonderfully transparent whites that are intense, overtly saline and well-balanced” – but he emphasises that this is not a consistent vintage and selection is important, with quality varying. He feels “it’s not an easy vintage to pigeonhole” – and compares some wines to 2001 or 2013 for their exoticism, some to 2014 or 2017 for their restraint and freshness. From the Chalonnaise, he particularly highlights the wines from Joblot and François Lumpp for reds that are “lovely: fresh, energetic, reasonably concentrated, transparent and balanced”. When it comes to the Côte de Nuits, “quality is highly, even frustratingly, variable”, but “2021 is the kind of vintage that I absolutely love”. It is, in Meadows’ view, “a burg geek’s vintage par excellence" – with terroir transparency at its heart, with wines that are “strikingly refreshing and tension filled”. Many will make for “delicious drinking early on, yet be capable of amply rewarding mid-term cellaring and in a few cases, they should be as long-lived as most collectors would reasonably want” – with the caveat that some, unfortunately, are not. He highlights how work in the vineyard was key, tactics in the winery varied and picking dates too – noting that generally those who picked later fared better, but (in a running theme for the vintage) that is “far from a hard and fast conclusion”. Although most are medium-bodied, he feels that some producers shied away from extraction – with the result that some wines don’t quite have sufficient mid-palate density. With the quality varying, it’s a year to focus on “producer first, second and third rather than the commune”, although the classification hierarchy is clearly reflected in the quality of the wine. This is, most importantly, a vintage that is the opposite to 2018, ’19 and ’20, and he feels the closest comparison for the reds is 2001, with a similar 10- to 20-year arc of ageing ahead of them.  There are some wines that are underripe or herbaceous, but: “The best wines are classic Burgundies in the best sense of that term. They have something of everything in terms of a tantalizing freshness as they are decidedly very pinot in character followed by a dazzling transparency on the palate. As I noted above, the sense of terroir is at the core of each wine, and when a palpable sense of energy is added, the wines are a joy to drink.” Read Allen Meadows’ full report, notes and scores on the Burghound site Decanter – Charles Curtis MW The headline of Charles Curtis MW’s report is that there are “some excellent wines, if you choose carefully”. The “antithesis of recent years”, he anticipates that those who are selective will “be delighted by the classic style of this vintage”, which has produced “crisp, concentrated” whites and – at their best – reds that are “perfumed, elegant and structured”. He emphasises how important the harvest date was, as well as sorting once the fruit was picked. Although he found significant variability in quality – “with liltingly charming wines alternating with less successful examples” – he is clear that “the best wines are definitely worth buying”. His wines of the vintage are Domaine des Comtes Lafon’s Montrachet and Armand Rousseau’s Chambertin-Clos de Bèze – wines that, sadly, few will be able to get their hands on.  Read Decanter’s full report, notes and scores Jancis Robinson MW Jancis Robinson MW’s site offers extensive coverage of the vintage mainly by Burgundy-based Matthew Hayes and herself, with extensive tasting notes. Jancis’s own report – based on tastings mainly in London and published in early January 2023 – vouched for the quality of the fruit at harvest, and how despite “a gruelling growing season”, with the results that she had so far tasted “delicious”.   Matthew Hayes doesn’t shy away from this being a “difficult” vintage, but “quality has been unexpectedly higher than received wisdom suggested”. Beyond the challenges of the growing season, Hayes highlights how the winemaking was handled differently almost everywhere, although generally people reduced extraction. He’s wary of giving the year “the kiss of death” by declaring the vintage “merely good”, but considers how there’s more to greatness than ageability. For him it is a vintage that “will appeal to real cognoscenti of Burgundian Pinot Noir, to the absolute devotees of fragrance, limpidity and soft, ethereal tannins – that gossamer touch that normally speaking should take decades to evolve”. The wines are earlier-drinking given how open they are – a relief in some senses that you needn’t feel too guilty of “infanticide”.   Read all Burgundy 2021 coverage on jancisrobinson.com Wine Advocate – William Kelley William Kelley’s greatly anticipated report is his longest to date. He feels that the complexities of 2021 and what he sees as a pivotal moment for the region deserved the extra word-count. He runs through the year’s conditions in detail, which we won’t regurgitate, although – contrary to our findings – he suggests the Premiers and Grands Crus were harder hit by the frost. Like us and others, he highlights that strategies in the winery varied significantly and generalisations are almost impossible. He considers what “a great red wine vintage” is in the era of modern Burgundy and climate change – and whether the 2021s’ openness will work against them. They are, he says, “supple, fleshy and perfumed, at their best uniting the concentration of low yields and surprisingly good phenolic maturity with the vibrant, perfumed profiles of a cooler vintage”, “broad, open and charming” and, in his view, “unlikely to shut down”. He compares the wines to 2017 or 2000, and expects they will at least age as long as the latter.  As for the whites, he finds them “classically proportioned, pure and fine-boned, albeit sometimes a little lean out of the gates”. The closest comparison for him is 2013, although without the exoticism sometimes found in that vintage. He highlights that the wines are developing texture and flesh during élevage and will show better from bottle than barrel. Of course, he cautions readers that they will need to “buy wisely”, but highlights that, even tasting over 1,000 wines, there were “very few failures” – with the year’s results far more positive than he expected from the difficult year. Indeed, he even declares them “some of the most charming young Burgundies [he has] tasted from barrel over the last 15 years” – but, he asks, “Are they too tasty to be great?” As for the market, he notes that “the 2021s will be expensive”, but this is tied to not just demand, but land prices in the region, as well as its archaic inheritance laws and significant taxes. The inevitable result of these factors is consolidation, and while once the nobility and Church held the keys to the land, now it’s billionaires and corporations – with the future of small, family-owned domaines in doubt. His final line is one filled with a sense of urgency: “Enjoy it while it lasts”. Read Kelley’s full report, notes and scores on the Wine Advocate 

Read more about Burgundy 2021, including our full report in the vintage 

The leading critics are offering their verdict on Burgundy’s 2021 vintage – a challenging but surprising season. Here we offer a crib-sheet to what they’re saying about the year so far

The leading Burgundy critics’ views on 2021– with a summary of what Neal Martin, Jasper Morris, Allen Meadows and William Kelley’s are saying

Burgundy 2021 – what the critics are saying

Burgundy 2021: the critcs’ verdict

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groups every action by type - Purchase, Sale, Delivery, and Inbound Transfer - so it's clear at a glance what happened to each item.

History

shows all the items that are currently in transit to or from {shortName}.

In transit

Local delivery is free for orders over HK$1,800 (to a single location). For orders below this value, delivery is HK$150 for up to four cases and HK$50 per case thereafter.

Shipping starts from €15 within Italy and €45 to Switzerland and the rest of Europe for up to 48 bottles (75cl). Costs vary by destination. Larger shipments can be quoted on request.

The date shown below is when your order will ship from our local warehouse. Your final delivery date, along with full tracking details, will be provided once our team has processed your request.

You can arrange collection from our Retail store on 22nd Floor, 8 Wyndham Street, Central Hong Kong.
Collection times are between 9:30am-13:00 and 14:00-18:00pm, Monday to Friday. We are closed on public holidays.

You can arranged collection from our warehouse STI INTERNAZIONALE SPA, on Viale del Lavoro, 57, 37051 Bovolone, Verona.
Pick-up hours are between 8:30 AM to 12:30 PM and 1:30 PM to 5:30 PM, Monday to Friday. We are closed on public holidays.

This is the current estimated market value for this item.

Manually set prices will be overwritten. Already listed wines are not affected.

Updates all unlisted wines to current market price.

Set all at market

represents all the wines you currently have in your Portfolio that aren't stored with us. Press the

My cellar

Name

Net price

New portfolio available

New portfolio

You do not have any invoices at this time.

shows all the items from your Portfolio that are currently on the market.

On sale

shows all the items you currently have in your Portfolio. You can perform individual actions on them from this page.

Overview

shows any items that are currently awaiting user action.

Pending

This is the dynamic market price of the item with trading margin removed.

This is the amount of profit you will receive if your listing sells.

Pre-authorised payments enable automatic transactions on your behalf, ensuring seamless and hassle-free payments. This allows recurring charges, subscriptions, or scheduled payments to be processed without manual approval each time.

The number of cases you wish to place on sale

Your catalogue item will be archived. Are you sure you want to continue?

Your catalogue items will be archived. Are you sure you want to continue?

Before you request delivery, you can adjust the quantity for each item in your selection below.

*Market price is dynamic and may change. At time of sale a 10% trading fee will be deducted from the final sale price.

Total market price*

The fixed custom price you wish to sell each item for.

Split into {caseSize} individual {bottleSize}cl bottles.

Title

shows all the items you currently store with us. These items can be sold.

Available for sale — items stored with {name} eligible to be listed on the marketplace.

Profile

This item is at FINE+RARE, available for storage, transfer or delivery.
 Most UK deliveries can be made within 3-5 working days, with next day delivery for London;
 an exact date will be available when arranging delivery.
 International deliveries have longer lead-times, please contact us for details.

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Your wine will then be stored by FINE+RARE in a bonded warehouse until you decide to take delivery.

We will source this item at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

We will source this item at the guaranteed price from our network of suppliers and arrange shipment to FINE+RARE.
 The lead-time depends on many variables, but 6-12 weeks is an average estimate.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

Cashmere Corporation

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