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

It’s difficult to make broad statements about a year like 2023 in Bordeaux. Following on from our vintage overview, we delve further into the year, breaking it down by commune to offer insight on how each subregion fared in this singular vintage     

Bordeaux 2023: a breakdown of the vintage by region, with top picks from Saint-Estephe, Pauillac, Margaux, Saint-Julien, Saint-Emilion and Pomerol 

Bordeaux 2023 – breaking the year down by commune

Bordeaux 2023: the vintage by commune

The 2021 vintage in Bordeaux is not another 2018, 2019 or 2020. Indeed, this is a year that is seemingly without precedent. It was a year first and foremost of the wine-grower. Forget the idea that the best wines are made with minimal intervention, naturally conjured from fine terroir and effortlessly evolving in the cellar: that’s an illusion at the best of times. To succeed in 2021, producers had to put in serious graft. They needed to be out amongst the vines day in, day out. And then they needed to follow that through in the winery. Several had already written off the year after hearing about the frost and mildew that plagued the growing season (about which you can read much more in our detailed report). In our view, that’s a mistake. It’s not the vintage of the century, and anyone would be foolish to pretend it is – but there are some brilliant wines, especially for those who are partial to more elegant styles, lower alcohol levels and freshness. It’s important to caveat that when we discuss a vintage en primeur, we are talking about the very crème de la crème of Bordeaux – the finest estates who have not only the region’s best-sited vineyards, but the necessary resources – the manpower, money and equipment – to be able to succeed. Our 10 days in the region revealed the full complexities of the year, one where it is nigh-on impossible to generalise. As Omri Ram at Ch. Lafleur told us, “There are hundreds and thousands of 2021s.” The key was being able to analyse what was happening in the vineyards – and then be able to act on it. Quickly. For Ram, with 24 people working 21 hectares, that was fortunately possible. At Ch. Lafite Rothschild, Technical Director Eric Kohler told us that the cost of production in 2021 was an almost incredible 45% higher than normal. Christian Moueix estimates his team spent 30% more hours in the vineyard than normal. At Ch. Ducru-Beaucaillou, they hired an additional 35 people to manage mildew amongst the vines in June and July (surplus to the normal 40), while at both Ch. Rauzan-Ségla and Les Carmes Haut-Brion they had enormous teams for the harvest – 150 each, harvesting and sorting at Rauzan-Ségla, and doing three or four passes through each plot at Carmes. At Smith Haut-Lafitte, they bought five additional tractors to ensure they could spray the entire property in one day. “All the challenges we could dream of happened,” said Jean-Basile Roland of Ch. Rauzan-Ségla. Because of these challenges, it’s a vintage that producers are justifiably proud of – for it was a hard-won battle, and Covid-19 was still a consideration. Yields across the region varied significantly. In total, the region produced 14% less than in 2020, but some estates reported a full crop. At others, they had the lowest yields since 1991 – largely due to mildew, although frost was a factor as well. Inevitably, estates working organically and biodynamically had more of a battle when it came to mildew so were more significantly impacted. Both elements had less of an impact than might be expected, however, as producers have learnt – and invested – after the severe frosts of 2017 and mildew of 2018. As already highlighted, this was a year of the grower; where the human hand was everything. There were key decisions to be made at every stage of the season and these influenced the style of wine produced. Again, from what we tasted there wasn’t a right or wrong decision to be made – but it’s important to emphasise the various elements that have defined the wines this year. First up was picking. In general, harvest dates were much later than we’ve seen in recent years – producers having to wait for ripeness to arrive in the year’s cooler conditions. Merlot started coming in at the end of September, and most finished picking their Cabernet by 18th October. The key decision was around the first weekend in October, when heavy rain was forecast, yet most Cabernet wasn’t yet ripe. Some rushed to pick their fruit, while others took the risk and waited. Those who held their nerve were rewarded; the storms were replaced by sunny days for key ripening. While recent years have seen producers waiting for phenolic ripeness, with sugar levels soaring in warm conditions, 2021 saw something different. At some estates, phenolic maturity arrived first, with the sugar never quite following; at others the phenolic, flavour and sugar ripeness all seemed to arrive at once. For the former, chaptalisation was necessary. This practice – the addition of sugar prior to fermentation to increase alcohol levels – was once the norm in marginal climates like Bordeaux, Burgundy, Champagne, the Loire and many more. Opinions on the topic are rife, with some winemakers extremely anti; from what we tasted, where well-judged and expertly managed, you can’t tell. There were a handful of wines with warming alcohol that doesn’t feel fully integrated, but where done well, chaptalisation has rounded the wine out – fleshing out the body with half a degree of alcohol or so. It’s also important to emphasise that chaptalisation is something we simply haven’t spoken about previously – at Ch. Margaux, Aurélien Valence highlighted that they even chaptalised a few parcels in 2019 and 2020, while some estates haven’t done so for decades. Some châteaux opted for reverse osmosis as an alternative way to concentrate the wines, generally on lower-tier wines. Given the year’s challenging conditions, producers didn’t face a crop of flawlessly clean fruit. It was a cool and damp year and sorting was essential. Optical sorters are now the norm at many addresses, but this year saw the addition of density baths at several estates (Chx Léoville and Langoa Barton, Angélus and Smith Haut-Lafitte, to name a few, following in the footsteps of the likes of Ausone). Indeed, just at Smith Haut-Lafitte, there were six stages of sorting across the vineyard and winery to ensure that they kept only the finest fruit. One point of discussion at almost every estate was how producers managed extraction. With the year’s wet conditions, berries were generally plump and dilution was a risk. The cooler weather also meant that tannins weren’t necessarily as ripe, although in terms of “IPT” (the Indice de Polyphénols Totaux – the level of tannins, a number that has started appearing on technical sheets and critic reports increasingly in recent vintages) 2021 had the same numbers as 2018, ’19 or ’20.  The difference, however, was that there isn’t the same stuffing to balance it – so it was essential that tannins were handled gently. Cold soaks were used at several addresses to extract colour and flavour, but not tannin; many opted for gentler and shorter maceration periods. Saignée – the act of bleeding off juice to concentrate what remains – was commonplace, and higher portions of press wine feature in several blends. Several producers noted that in particular the seeds or pips weren’t ripe this year, so it was important to avoid extracting tannins from them; it’s one reason for the significant portion (45%) of whole-bunch fermentation for the Grand Vin at Les Carmes Haut-Brion. The blends this year are in some instances atypical. On the Left Bank, the Merlot struggled with coulure (uneven fruit-set), meaning some wines have record-high proportions of Cabernet Sauvignon in the blend (a record 98% at Ducru-Beaucaillou, 96% at Lafite, 90% at Calon-Ségur, for example). Cabernet Franc seemed to thrive on both sides of the Gironde, and represents higher-than-normal percentages on the Right Bank (30% at L’Evangile, 60% at Angélus). You may also find a little more Petit Verdot in blends than normal – used to add both colour and spicy richness to the wines (for example, representing 6% at Pontet-Canet). Given the generally lighter style of the wines, élevage will be key. While of course this is not set yet, many producers have opted for lower levels of new oak and plan to leave the wines in barrel for slightly less time. As Noëmie Durantou Reilhac of Ch. l’Eglise-Clinet highlighted, this is to preserve the wines’ delicate tannins and aromas. At Ch. Rauzan-Ségla, Jean-Basile Roland noted that it was particularly important this year to use hot water and steam to extract the harshest tannins from barrels before they were filled. And so what of the style of the actual wines? Well, as you can tell, it is not easy to generalise. This is not a Left or Right Bank year, in our view, although we found a little more consistency amongst estates on the Right (and especially warmer Pomerol). Despite the fact that Merlot struggled a little on the Left, it doesn’t seem to have been such an issue on the Right Bank – it’s neither a Cabernet or Merlot vintage. Several producers were quick to declare it a “terroir” vintage – and certainly it seems that limestone and clay soils were an advantage – but terroir was not the only element at play. It really is a year that needs to be judged individually, per estate and wine. We noted in particular that some second wines have suffered from the selection required to achieve greatness in the Grand Vin. The best embraced the natural style of the vintage – working with the year’s elegance rather than battling it. There is an old-school charm to the finest wines, yet with a very modern fruit profile. “Modern classic” was a term that came up time and again, although we’re loathe to repeat it. At Vieux Château Certan, where Guillaume Thienpont has undoubtedly made one of the wines of the year, he described the wine as “two-thirds perfume, one-third flavour”, while Pierre-Olivier Clouet at Cheval Blanc – another overperformer this year – considers it “academic” rather than “classic”, built on dual pillars of tannin and acidity.  The best wines have fresh acidity, delicate and often floral aromatics, with crunchy fruit – often more at the red end of the spectrum. Alcohols tend to sit between 12 and 13% (a little higher on the Right Bank) and the tannins are not negligible, often providing a chalky grip, and they are surprisingly approachable now. They won’t be wines to cellar for the serious long-term, but will be one of those vintages to consistently overperform – surprising blind tasters with their charm as they evolve in bottle. Given all this, it’s no surprise that producers struggled to find a comparative vintage. Faced with such tricky conditions just a decade ago, producers wouldn’t have been able to make the wines they did today. The 1990s were consistently used as a reference point in style, but more recently 2001, 2008 or possibly 2014 offer the best comparison in terms of style – if not climatic conditions. The wines are more concentrated than 2017, and as is very clear, drastically different to 2018, ’19 or ’20. The vast majority of what we offer en primeur is red, and that is where the focus of our report lies, but this was an exceptional vintage for whites. Several estates feel they’ve made the best wines in their history – and certainly from our tastings that is true. At Ch. Margaux, Aurélien Valence said they thought 2017 was their best Pavillon Blanc, but 2021 exceeds it. The cool conditions that made the year challenging for reds was perfect for the white grapes, which benefitted from the long, slow growing season – offering aromatic ripeness, yet vibrant acidity. They really are superb. Crops in Sauternes were decimated by frost unfortunately (Ch. Suduiraut has just 500 cases of its Grand Vin to offer the world), but what little we tasted was similarly outstanding. Buy what you can of these increasingly rare and special wines, made at almost illogical expense. Bordeaux 2021: the vintage in summary A complicated year, but with some brilliant wines In places, frost and mildew means yields are down by as much as 50% Producers needed the resources to handle everything nature threw at them For reds, quality is not homogenous, but the best are vibrant and crunchy, with lower alcohols, chalky tannins and pretty aromatics Very hard to compare to other vintages, but 2001, 2008 and 2014 are the closest in style An exceptional vintage for dry whites, and tiny volumes of excellent sweet whites Explore all 2021 listings or read more Editorial 

Our team spent 10 days in Bordeaux tasting the 2021 vintage – a year that is far from simple. Frost and mildew made for challenging conditions, but the wines shouldn’t be written off. This was a year where tasting was essential and it’s impossible to talk in generalisations. Here, we dig into why

Your one-stop guide to a complicated Bordeaux en primeur vintage that is hard to compare to other vintages, but 2001, 2008 and 2014 are the closest in style

Bordeaux 2021: the human hand

It is hard to imagine The Balvenie without David Stewart MBE and vice versa. The story of each one is so entwined with the other that it’s nigh on impossible to unpick where one starts and the other ends. Since joining William Grant & Sons in 1962 as a whisky stocks clerk, Stewart has gone on to become of the most well-known and respected names in the Scotch whisky industry. He is, for many, the pioneer of cask finishing, and his achievements are far too numerous to list. When the incredibly humble man “hangs up his boots” after a 57-year-plus career, Kelsey McKechnie will become the youngest-ever female Malt Master. “Everyone always jokes and says do I feel the pressure and what does it feel like getting into a role like this. There definitely is an element of pressure around it but it’s funny, you really don’t feel it. I enjoy this role and I love being here. I’ve been very lucky, so I’m saying ‘let’s ride it out for as long as we can’,” the 29-year-old says with unfettered excitement. The Malt Master role is a very different one today than it was in the 1960s, something McKechnie and William Grant & Sons Master Blender Brian Kinsman continually rib Stewart about. “Obviously, way back in the ’60s we had very little to nose,” Stewart says in a flash. When he joined the family-owned business under Master Blender and Balvenie Malt Master Hamish Robertson, Glenfiddich and The Balvenie weren’t being bottled as single malts and Grant’s Standfast blend was the company’s bread and butter. Today, the triumvirate nose samples from Ailsa Bay, Girvan Distillery, Kininvie, Glenfiddich and The Balvenie. From the new-make spirit to mature samples, bottling runs to all the vat samples, everything produced at the William Grant distilleries in Scotland and Ireland passes under the noses of Kinsman, McKechnie and Stewart. This equates to approximately 40-50 Scotch, Irish whiskey, Bourbon and rum samples per day. There are a number of parallels in Stewart and McKechnie’s stories, which they don’t even seem to realise. Both started in very different roles and eyed an interesting opportunity to nose spirits. Through serendipity and, one suspects, a tremendous amount of inherent skill and hard graft, the two found their way into the nosing lab. And once faced with row upon row of whisky samples, the pair knew in an instant that they found their calling. “I always say I have been very lucky,” McKechnie says. “I’m such a firm believer in timing. I came into the team at a time when I had built up enough technical process skills to understand how whisky is produced and carry out analysis, and do all these different things and apply it to blending.” In 2018, Kinsman and Stewart approached 26-year-old McKechnie to ask if she would be interested in learning all things regarding Balvenie and eventually moving into the Malt Master role. She’d been with the company for almost four years at this time, working her way from the lab to the whisky stocks team, from the Lowlands to the beating heart of the business in Speyside. So, what does it take to become a Malt Master and what did the two whisky patriarchs see in the young female scientist at the infancy of her whisky career? According to Stewart, one of the biggest things is the nosing aspect. “We can identify what’s right and what’s not, just by nosing the whisky,” he says. “And that’s what takes the time to learn.” Stewart had already been through the process of training a successor with Brian Kinsman from 2001 to 2010. It might be hard for some to fathom why this apprenticeship takes the best part of a decade, but so much of the role is about instinct and the finest of margins. In the same way Robertson brought in samples for Stewart – albeit not quite as many – all those years before, Stewart to this day brings in spirit samples for Kinsman and McKechnie. “Really, it’s nosing together; pointing out things,” Stewart adds. “I bring in samples from different cask types and different ages. Brian just worked with me and gradually he took over and I was doing less and less.” When asked if she thinks she has a natural gift, McKechnie says it’s curiosity above anything else that’s required to be a good noser. “I think everybody just needs to be curious enough to want to nose. Most often – apart from a few people where it is genetic and there’s one reason or another that they don’t have a sense of smell – I actually think so many people will be fantastic nosers.” And the difference between Joe Bloggs and the youngest-ever female Malt Master? The word association piece, according to McKechnie. “So often we’ll see when people are starting up that they can nose something and they can say ‘this is different’. So we do difference nosing. We have one glass and we’re just nosing it against another and saying ‘pick up the difference or not’ – it’s often easy for people but they can’t put into play what they can pick up.” Like any other skill, McKechnie says it takes years of practice and fine tuning. “It’s like using a different language,” she says. “To remain fluent, you need to continually keep nosing and to be able to relate those words to what you’re picking up in nose and taste. I actually think everyone has a gift, if that’s what you want to call it, or the ability to do it. It’s just about really working out what flavour this is and what do we call it.” Sometimes tasting notes for spirits and wines can be a little, shall we say, creative. For this reason, at William Grant & Sons, free words are banned. “We’re really strict about what people can call the different spirits,” McKechnie explains. “It could be too easy for somebody to say ‘this smells like a walk in the park’ and we can find ourselves in a bit of a pickle.” When starting out, as a professional or merely an appreciator of spirits, this word association piece can be a barrier, according to McKechnie, but it shouldn’t be. “There is no need for whisky to be intimidating at all,” she says. “For me, I think it’s because people are so passionate about it. It gets everyone a little bit puffed up – I’m guilty of it as well. But there really is no need for it at all because it really is such an open area that there isn’t one strict answer so I’ll always say that to people – if you are new to it, make sure you get lots of water in there because whisky is just such a flavour bomb. I think people don’t really know what they’re nosing because there are 50-100 different flavours coming at you at once.” So, do the three professional nosers ever disagree? “Because I’ve only ever learned to nose and blend from David who has learned from Brian and vice versa, we don’t often butt heads or have a difference of opinion –  but it does happen,” McKechnie says with a coy smile. Rather than being daunted by the spectre of the longest-serving Malt Master and Kinsman – who has racked up a fairly daunting 24 years in role – McKechnie seems energised by the legacy and is visibly thrilled at the prospect of one day imparting this knowledge to her own apprentice. “I think it would be a massive compliment to be able to give someone the knowledge you have gained,” she says. “I really like the thought of actually one day being able to train someone.” When it comes to the future at The Balvenie, McKechnie says they have “many things bubbling away in the warehouses” and they have “a few more Balvenies tucked up our sleeves”. But, on a personal note, “it’s working with Brian and David day-in-day-out and gaining more of the understanding about what makes Balvenie so unique. Understanding more around the stock model and that 50-year horizon and ensuring that I’ve got the skills to make sure the next 50 years is looking good and that we’re not laying down all the wrong things.” The Balvenie maintains a lot of the traditional whisky-making traditions. It is the only Scotch whisky distillery to grow its own barley, use traditional floor maltings and keep coppersmiths and coopers on site. Rather than being gilded handcuffs, these ties to traditions allow the team to experiment at the point of distillation and Stewart has spearheaded a number of trials that have come from the maltings throughout his career. “I think if there is one thing that David has ever taught me, it’s about how important innovation is,” McKechnie says. “We always talk about the fact we’re the home of cask finishing. It was something that was second nature in David’s role until people started calling it innovation. “And it’s something that we always want to pass on. We’re constantly thinking about what’s next and how can we do something unique and what exciting things we have in the distillery that we could release and bring to everyone. “Obviously the Scotch Whisky Association is pretty strict, in a good way, so that no-one is going to mimic us, but we also like to push the boundaries a little bit and say, what can we really get away with here?” With a glint in her eye and an unmistakable enthusiasm in her voice, you can’t help but feel The Balvenie, when it comes to honouring tradition and driving innovation, is in very safe hands for the next 50 years and beyond. Browse all whisky or read more Editorial

David Stewart MBE is the longest-serving Malt Master. Kelsey McKechnie is the youngest female Malt Master Apprentice. Holly Motion speaks to the two Balvenie record-breakers about passing the baton, the weight of a legacy, and what it really means to lay down stocks for the next generation

Balvenie's longest-serving Malt Master David Stewart MBE and his successor Kelsey McKechnie on upholding tradition while driving innovation at the distillery.

The Balvenie, making of a master

The Balvenie: the making of a master

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Due to the quantity requested, you won’t be able to select a collection date. Please submit your request, and we will liaise with our warehouse and confirm the collection date with you directly.

Due to the quantity requested, you won’t be able to continue the purchase. Please select third party, or change the quantity (maximum 48 is allowed).

Due to the quantity requested, you won’t be able to select a shipping date at checkout. Please submit your request, and we will liaise with our warehouse and confirm the delivery date with you directly.

For up to 499 bottles in storage, the rate is 39¢/bottle per month or a $50 minimum monthly charge (this covers up to 142 bottles). For over 500 bottles, the storage rate is 35¢/bottle per month.

Storage is charged at HKD 40 per 12-bottle case per month. A minimum monthly storage fee of HKD 80 applies, covering up to 24 bottles.

Standard storage rate

By selecting third-party shipping, you will take full responsibility for all aspects of legal compliance and authorize Vinfolio to transfer the items to the party specified in your instructions. Items shipped via third parties will remain in their original packaging.

Collection times are between 8:30am - 12pm & 1:30pm - 4:30pm, Monday to Friday. Wines at Will Call, that are not picked up within 10 business days, will be transferred to storage and subject to a $1.50 per bottle stocking fee.

Items to be sourced and shipped to our state-of-the-art fine wine storage facility for the best possible safe-keeping where you can arrange collection from our warehouse address in Napa.

Will Call (Napa)

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We're in the final stages of upgrading to our brand-new trading platform. As part of this transition, we're currently migrating all customer-owned inventory to ensure a smooth and seamless experience.

Our new and improved platform will be ready for you on Friday, April 4.

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About description for demonstration purposes

shows all the items you currently store with us. These items can be sold, delivered or transferred.

At {shortName}

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represents all the wines that are in your possession and have been consumed.

This is the price you paid for this item.

Cost price

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The lowest price you're willing to sell at.

shows all the items that you have pre-ordered, including en primeur wines, and all the items on your watchlist.

Futures

You can set a sell price on items you're selling based on a % of current unit net value.

You can set a market price on items you're selling based on a % of current unit net value.

shows all the actions that you have taken on items in your Portfolio.

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 estimated value 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.

* At time of sale a 15% trading fee will be deducted from the final sale price.

Total estimated value*'

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 Vinfolio, available for storage or shipping. For more information on shipping and handling visit vinfolio.com/shipping

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. Upon arrival your wine will be stored at Vinfolio in our temperature-controlled 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).

When a wine is on "pre-arrival", it means that we have a confirmed order on the bottles from our supplier and we are simply waiting for the winery or distributor to ship the wine to us. The delivery timeframe for pre-arrival wines varies significantly, depending on where the wine is coming from. We will notify you once they arrive at our warehouse and, at that point, you can decide to arrange shipping or list them for sale.

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