Dufftown in Moray, Scotland, is considered the ‘malt whisky capital of the world’ and is home to distilleries that date back to the 1800s, including Glenfiddich, Mortlach, and Glendullan. Another among their number, The Balvenie, established in 1892, is underscoring the area’s longstanding whisky heritage as it unveils its 88-year-old Single Malt Scotch Whisky – currently the oldest whisky in the world.
The whisky was distilled in 1931 and bottled in 2019 by Malt Master Kelsey McKechnie (nudging the world’s previous oldest whisky, the Gordon & MacPhail 85-Year-Old Glenlivet, into second place). The new release forms part of the 1931 Collection, which also includes a 15-year-old, made from 100 per cent home-malted and home-grown barley, and a 12-year-old, made from 100 per cent home-malted barley.
The Balvenie distillery team, 1930
To mark the collection, The Balvenie has collaborated with American artist Daniel Arsham on its presentation. The 88-year-old Single Malt Scotch Whisky is presented in ‘a refined hand-blown crystal decanter, reserved for The Balvenie’s most precious liquids,’ Arsham tells Wallpaper*. ‘It features “The Balvenie Ball”, which is inspired by the unique shape of the distillery’s copper stills, a design credited with intensifying the honeyed flavour in their whisky. I designed the bronze sculptural form that surrounds the bottle as a time-worn relic, crafted from eight layers, one for each decade that the liquid spent in cask. The flowing lines circle inwards as though time itself has carved the whisky into view.’
Daniel Arsham in the Spirit Safe
The bottle sits on a discreet bronze plinth set inside the sculpture, and within this, Arsham explains, there is a piece of copper (crafted from a piece of decommissioned still) that acts as a certificate of authenticity. The artist also designed the packaging for the two other whiskies in the collection, so there’s a continuous design language across all three releases.
Daniel Arsham looks through archival imagery of The Balvenie distillery
Handwritten archives show that 1931 was a defining year for The Balvenie, seeing the opening of the company’s Home Malt Floor (where grain is germinated as part of the 'malting' process). On 5 March that year, what would eventually become the new 88-year-old – made using barley malted in the new facility – was poured into a European oak sherry butt sourced from Jerez in Spain. In the distillery’s warehouse, the liquid was tended by generations. Until, in 2019, the Balvenie’s current malt master, Kelsey McKechnie, intuitively recognised that it had come of age.
Ploughing the malt at The Balvenie
Designing a vessel for the landmark new whisky while nodding to the years of history was no easy feat, as Arsham explained: ‘Much of my work explores time, material transformation and the histories that objects carry. I wanted to create something that feels both ancient and contemporary, to make the passage of time tangible. It’s a huge privilege to be invited to be part of something so old and at the same time, so significant.
Hauling peat to a kiln at The Balvenie
‘There are many layers of history, material, and craftsmanship within this whisky and the sculpture needed to contain those ideas while still feeling like a singular object. Ultimately, the materials became a way to tell the story; each element carries a different expression of time.’
Just 17 bottles of the 88-year-old whisky exist, with the tasting notes referencing honey and a subtle mint leaf and buttery fudge, along with floral heather tones and worn leather.
Barley arrives on The Balvenie Home Malting Floor
Arsham concludes, ‘Time is revered at The Balvenie; its unhurried approach to whisky-making combined with patience and skill has allowed this whisky to reach an unprecedented age. I wanted to convey the preciousness of the liquid; the bottle sits in the centre like a relic uncovered. I also wanted to express the distillery’s rich materiality. The sculpture is made from bronze, an alloy of copper, and evokes a feeling of permanence.
‘The passing of time is represented by a green distressed patina, mirroring the natural ageing process and the oxidisation that happens to copper over time. You can see this colour in the distillery’s spirit safe. Then there’s the wood that plays such an important role in the maturation process – I’ve referenced this on the back of the sculpture. I love the idea that something can evolve over decades while remaining true to its essence; I hope I’ve captured a little of that in the design.’
The Balvenie will partner with Frieze Seoul to debut the 1931 Collection through an immersive, sensorial performance, directed by Daniel Arsham.