Xiao-Li Meng, Whipple V. N. Jones Professor of Statistics at Harvard and Founding Editor-in-Chief of Harvard Data Science Review, was inspired by a student to combine wine and statistics—leading to insights far beyond what they ever expected.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Seeking simplicity in statistics, complexity in wine, and everything else in fortune cookies 

Arvine: Switzerland’s hidden treasure Berry colour: white
 Arvine, pearl of the Alps The ultimate Swiss grape variety, Arvine can produce captivating, complex wines of international stature, from dry to sweet. It is native to the Valais, southern Switzerland, where it was mentioned for the first time in 1602. Since the late 19th century, it has often been called Petite Arvine to distinguish it from Grosse Arvine, a completely different and rare local variety. I have not so far been able to uncover Arvine’s parents by DNA testing. It is often said that Arvine was introduced to Switzerland by the Romans. Its name allegedly derived from helvola, a grape variety mentioned by Cato the Elder. I refute this claim for two very simple reasons: firstly, it is impossible to establish botanical identity between the vague descriptions of Latin authors and modern varieties, and secondly, helvola grapes were black-berried. I think instead that its name comes from the local dialect arvena, itself probably derived from the Latin advena, meaning ‘just arrived’. This name could have been given to the variety shortly after its birth (or arrival?) in the Valais. It is a late-ripening variety, with small berries and compact, small bunches. It is quite productive, but prone to wind damage and susceptible to fungal diseases. Arvine covers 218 hectares (539 acres), almost exclusively in the Valais, representing only 1.48% of the country’s vine-bearing area. It produces complex, lively wines that can age well, with aromas of citrus and rhubarb, and a firm structure, as well as a characteristic salinity on the finish. Champions of Arvine In the Valais, several outstanding producers make excellent varietal Arvine wines. For dry wines, I would recommend Cave Benoît Dorsaz in Fully, Valentina Andrei in Saillon, Didier Joris in Chamoson, Cave de l’Orpailleur in Uvrier and Domaine des Muses in Granges, among many others. For the sweet wines, produced from grapes that are naturally left to shrivel on the vine, the undisputed champion is Marie-Thérèse Chappaz in Fully. From her biodynamic vineyards, this icon of Swiss winegrowers crafts some of the best sweet wines in the world, especially from Arvine. Her Petite Arvine Grain Noble is highly sought after, and her otherworldly Arvine Grain par Grain, made exclusively from botrytised berries harvested by hand, berry by berry, is almost impossible to find. Arvine has rarely been planted outside Switzerland. In Italy, it was introduced to the neighbouring Aosta Valley in 1970. In 1992, Angelo Gaja, one of Italy’s most famous wine producers, planted 0.36 hectares in Serralunga (Piedmonte). The result was a disaster, in his words, mainly because of problems with coulure and wind damage. In France, some vine parcels exist in the Languedoc and in the Rhône Valley, where charismatic winemaker Michel Chapoutier planted half a hectare in Tain-l’Hermitage, but he was not convinced by the results and has now abandoned the experiment. Outside Europe, it is produced only in Mendocino, California, by one adventurous producer, Ernest Vineyards, which makes a varietal wine under the Edaphos label.

Dr José Vouillamoz
 
Areni: Armenia’s national treasure Berry colour: BLACK 
History in a bottle Areni is the most important red variety in Armenia. It most likely comes from the village of Areni in Vayots Dzor, at the southeastern end of the county, where the world’s oldest cellar (4000 BC) was discovered in a cave in 2011. Interestingly, the grape remains found at the bottom of the old karas (the traditional clay jars) buried in the cave look very similar to the pips of the modern Areni variety. DNA profiling has failed to identify Areni’s parents, making it an orphan Armenian variety, but it has shown that at least two distinct varieties share the name Areni: Areni Sev (sev means black), the ‘true’ one that has historically been grown in Vayots Dzor, and Areni Seyrak (seyrak means loose, referring to the bunches), sporadically found among Areni Sev vines in old mixed vineyards. Areni Sev is a late-ripening variety with oblong, sometimes ovate, thick-skinned berries. The bunches are medium-sized and dense. It shows good resistance to frost, which means it can be cultivated at high elevations (up to 1,600 metres in Armenia). It is moderately resistant to powdery mildew and susceptible to downy mildew. Areni is exclusively cultivated in Armenia, where it has traditionally been used to make high-quality, age-worthy wines with complex aromas of violets, wisteria, cherries and blackberries, silky tannins and refreshing acidity. Champions of Areni After my first visit to Areni village in 2003, and despite the rudimentary winemaking at the only local winery (Areni Winery, now Hin Winery), I was convinced that Areni was among the most promising grape varieties in the world. In 2012, I met Zorik Gharibian in Izmir (Turkey) at the European Wine Bloggers’ Conference. I was much impressed by his 2010 Karasi Areni Noir, Zorah Wines’ very first vintage after 10 years of trial and error. We became friends and I selfishly helped him find an importer in Switzerland, in order to secure my own supply of his wines, including the mind-blowing high-end cuvée Yeraz. Since then, Zorik and his wife Yeraz have relentlessly promoted Armenian wines all over the world, and Zorah Wines has become one of Armenia’s most respected flagships. Their wines, sourced from ungrafted vineyards between 1,300 and 1,600 metres altitude are partly made in karas, traditional clay jars partly buried underground, ‘cousins’ of the Georgian qvevri. The sad thing is that Armenian-born Eduardo Eurnekian, one of the wealthiest people in Argentina and owner of several airports, including that of Yerevan in Armenia, has founded a winery named Karas Wines, despite not using any karas in the winemaking process. In 2018, judges granted him the exclusive usage of the name Karas, disregarding 6,000 years of shared tradition. Zorik Gharibian has been determinedly fighting against this unfair judgement and he plans to appeal to the country’s Supreme Court. I strongly support him. And I predict that Armenia may well be the ‘next big thing’ in the wine world. Dr José Vouillamoz
 Kydonitsa: Rebirth of an extremely rare grape variety Berry colour: WHITE Rescued in the nick of time Kydonitsa is a survivor, an almost forgotten variety from Lakonía (Laconia) in the southern Pelopónnisos (Peloponnese) in Greece. According to local belief, it was widely cultivated in the medieval period when Lakonía formed part of the Byzantine Empire. It then flourished under brief periods of Venetian rule, before it was threatened with extinction under Ottoman rule, as a result of the bans on alcohol consumption. It had almost disappeared when it was saved from extinction by Yiannis Vatistas and Yorgos Tsimbidi (Monemvasia Winery) in the late 1990s. DNA profiling has not revealed any match or parentage with any other variety, making it a Greek orphan. The medium-sized bunches are relatively loose and elongated. The berries are small and turn golden yellow when ripe. In Greek, the word kυδωνίτσα (kydonitsa) means ‘little quince’, referring to the aroma of both the berry and the wine. The wine also shows notes of lemon, grapefruit, bergamot and mirabelle plum, as well as aromatic herbs. It is elegant, creamy, with crisp acidity and a slightly bitter, orange-peel finish, with a hint of iodine. Kydonitsa is grown exclusively in Lakonía, on the east coast of the Pelopónnisos, near the island of Monemvasia. Champions of Kydonitsa Yorgos Tsimbidi is a visionary. In 1997, while most wineries in the Pelopónnisos were busy planting so-called international grape varieties, he founded Monemvasia Winery in order to revive the historical Malvasia wine in its birthplace. The name Malvasia has been given to a wide range of genetically distinct white-, pink-, grey- and black-skinned varieties which are all particularly well suited to the production of sweet wines. The name is purported to be a corruption of Monemvasia, which means ‘single entrance’ and is the name of a small port situated on a rocky spur in Lakonía. It has been famous since ancient times for its sweet wine made from sun-dried grapes. The earliest mention of the sweet wines of Monemvasia dates back to 1214 in Éfesos (Ephesus, today in Turkey), and in 1278 the Venetians were already importing vinum de Malvasias. The exact identities of the grape varieties making up this sweet wine are still unknown, but Kydonitsa and the appropriately named Monemvasia were probably part of the blend. This is what drove Yorgos Tsimbidi to put all his time and energy into rescuing them, carrying out countless on-farm trials since 1997. He now produces dry varietal wines, as well as the sweet ‘Monemvasia – Malvasia’, a blend of Monemvasia, Kydonitsa, Assyrtiko and Asproudi grapes, dried for approximately two weeks under the sun, in order to revive the ancient tradition. Today, Yorgos runs the winery with his wife Elli and their daughters Marialena, Anastasia and Artemis. I was able to taste a mini-vertical of Kydonitsa during my visit in 2016, which convinced me of the exceptional quality and ageing potential of this resurrected variety. And the rest of the portfolio convinced me that Monemvasia Winery is one of the best in mainland Greece. Dr José Vouillamoz

 Baga: Northern Portuguese red with a simple name and a complex character Berry colour: black 
The rehabilitation of Baga The meaning of Baga may be simple (berry) but the variety is far from it. When it is good, it is breathtakingly beautiful and capable of long ageing. When it is abused, it is acid, mean and lean, with tough tannins. It requires commitment from growers and wine lovers. While it may have originated in Portugal's Dão region, it has found its home in neighbouring Bairrada, where it is the dominant red variety. In 2017 there were 8,258 hectares (20,406 acres), 4% of Portugal’s vineyard area. It’s found mainly in Bairrada but also in Dão, although there it is not authorised in DOP wines. Baga vines are also planted, though far less numerously, in Lisboa, the Tejo and the Douro. The cool, wet, Atlantic-influenced climate of Bairrada is particularly inconvenient for a late-ripening variety with thin skins and prone to botrytis. If its vigour and productivity are not controlled by careful viticulture or the natural balance achieved by older vines in poor soils, there is increased risk of under-ripeness or rot when the September rains arrive. Despite all this, those whose hearts have been captured by the variety have shown it to be as bewitching as Pinot Noir, and as hauntingly complex and long-lived as Nebbiolo. Champions of Baga The variety allows itself to be made in many styles, influenced strongly by the soil (limestone-clay and granite are both prized), the age of the vines and, not least, by the personalities of the winegrowers and their choices in the winery. The most restlessly experimental and determined is Luís Pato, who was prominent among a small group of quality-minded winegrowers who dragged Baga into the spotlight for fine wine after it had languished for so long as a source of bulk reds churned out by the state-controlled co-ops and négociants for much of the 20th century. While there are today, thankfully, too many good winegrowers to mention by name, the Baga Friends display the variety’s wonderful diversity: from the powerful styles aged in oak that become increasingly complex and perfumed with age that are produced by, for example, Luís Pato, Mário Sérgio Alves Nuno at Quinta das Bageiras, François Chasans at Quinta da Vacariça and Paulo Sousa at Sidónio de Sousa; to the lightly stepping, red-fruited, fresh and scented beauties of Filipa Pato and Douro incomer Dirk Niepoort at Quinta de Baixo. Baga can also make very good sparkling wines. Bussaco Palace Hotel has an astonishing collection of very old vintages, blending Baga from Bairrada with Touriga Nacional from Dão. Julia Harding MW 
Kisi: Recently resurrected and scented Georgian white Berry colour: WHITE The resurrection of Kisi Maybe it’s because thin-skinned Kisi is difficult to grow and sensitive to the climate that it was on the verge of extinction at the end of the 20th century, when David Maisuradze made a wine that put the variety firmly back in the spotlight. The highly respected winemaker, then with Telavi Wine Cellar, managed to find just four tonnes of the variety to make a wine, fermented in a stainless-steel tank, that stunned wine lovers with its pure, floral aromas and deep fruit flavours of citrus and pear, richly fruited but dry. This variety didn’t stand much chance in the Soviet era when only a very limited number of varieties were permitted in the interests of volume rather than quality. Kisi was not among them and it survived in family vineyards in just three villages in its homeland of Kakheti, in the Alazani Valley in eastern Georgia in the shadow of the Caucasus Mountains: mainly in Maghraani but also in Argokhi and Pichkhovani. There are currently about 500 hectares (1,235 acres) of Kisi in Georgia, all still in this region. There is currently no DNA evidence to reveal the variety’s parentage but it is not related to Mtsvane Kakhuri or Rkatsiteli, the latter a Soviet favourite. Champions of Kisi In Georgia, ‘classic’ white wines are made in a way familiar to most 21st-century wine drinkers – fermented without the skins, typically in temperature-controlled tanks, occasionally fermented or aged in oak. By contrast, so-called qvevri white wines, sometimes referred to as amber wines because of their typically deep colour, are those vinified in traditional Georgian qvevri, large clay vessels ranging from 700 to 2,000 litres, buried underground so that just the opening is visible. The lightly crushed whole berries, including the skins and seeds, and sometimes even the stems, are fermented together in a qvevri, thus producing a wine with firm, even chewy, tannic texture and a wonderful panoply of flavours derived both from the variety and the winemaking, often ranging from apricots to chamomile. Soon after the appearance of Maisuradze’s revelatory wine, Gogi Dakishvili, a master of these qvevri wines, was able to buy a small amount of Kisi and make a wine in this second style. The cat was out of the bag and growers, including Dakishvili, started to replant when they saw the potential.  Kisi made under both the Dakishvili Family and the Orgo labels reveal all the textural and aromatic complexity of scented varieties made in this way. They are utterly pure, full-bodied wines with intense aromas and flavours that have sufficient structure to be very versatile with food. Qvevri winemaking was recognised as a UNESCO intangible heritage in 2013. While this is the style I particularly enjoy, for anyone who is not a fan of amber wines, there are fine examples that reveal even more of Kisi’s aromatic potential and deep but fresh fruit intensity. These include those from Winiveria and Khareba, and a particularly good off-dry style from Koncho & Co. One of the finest, in this case with light oak influence, is made by Danieli Winery, from vines near Argokhi, one of the three villages which were key to Kisi’s renaissance. Julia Harding MW
 This article was originally published in FONDATA, Issue One.  Illustration by Sarah Jane Humphrey.

Wine Grapes co-authors, Julia Harding MW and Dr José Vouillamoz, champion five lesser-known grape varieties from the book – and the winemakers that are using them to notable effect.

Wine Grapes co-authors Julia Harding MW and Dr José Vouillamoz champion five lesser-known grape varieties – and the winemakers using them to notable effect

FONDATA: Raisins d'être

Raisins d'être

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 

Some wine regions dance to the beat of their own drum. From the sweeter reds of Ethiopia’s Rift Valley to the soft-styled fizz of Altos de Pinto Bandeira, Arnica Rowan explores far-flung regions with distinctive approaches to growing vines and making wine – almost exclusively for their own people

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

Discover the wines of Ethiopia, Brazil and beyond

Not for export

Greece

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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 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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