‘A gateway to magic’ is how Ini Archibong describes his striking new sculpture, which will welcome visitors to the Port Ellen whisky distillery, on the remote Hebridean island of Islay.

Raised in Pasadena, the Nigerian-American designer grew up fascinated by fantasy and folklore, losing himself in tales of Arthurian legends and Middle-earth mythology as a counter to his academic parents’ strict attitudes to religion, behaviour and education. That love of storytelling blossomed as he grew older, baffling his science-focused family as he trod a more creative route into the world of design. Storytelling remains at the heart of his process to this day, with the designer citing the likes of Joseph Campbell, Tadao Ando and Frank Lloyd Wright as influential narrators. ‘Story is everything,’ says Archibong.

Ini Archibong and Port Ellen: whisky, design and mythology

In terms of a good story, his pairing with Port Ellen seems like kismet. Archibong had previously collaborated with the distillery in 2022 on an artwork to be auctioned at Sotheby’s alongside a cask of rare 1979 whisky.

To celebrate its 200th anniversary this year, the distillery invited the designer to conceive the centrepiece of a new guest experience, the Atlas of Smoke, at its Port Ellen site. Its remote Scottish location is a siren song for Archibong – the island, often referred to as the Queen of the Hebrides, comes steeped in its own misty mythology, with tales of a black elf, kelpies and headless horsemen. It was also the medieval seat of power for the Lords of the Isles, the MacDonald clan, and the remnants of their presence, still visible at Loch Finlaggan, were a powerful trigger for the artwork’s final look.

And Port Ellen itself is imbued with a cracking backstory. Founded in 1825 but closed for more than four decades, this ‘ghost’ distillery recently reopened after the discovery that some of its single-malt casks left quietly maturing during the closure had turned into some seriously palate-blowing Scotch. With his love of fascinating narrative, folklore and the finer things (an obsession with beautifully designed objects extends far beyond the day job to clothing, watches, whisky), it’s no surprise that Archibong felt magically drawn to this project.

A blend of craft and history

The artwork was commissioned to tie in with the distillery’s mission to capture the distinctive peaty smokiness of Scotch whisky in solid form. The resulting sculpture, the largest Archibong has ever made, stands at 2.3m tall, and manages to look both monumentally statuesque and ethereally light.

This is largely because it is made entirely from vitrucell glass, a material created using a process developed by master Czech glassmakers Lhotsky Studio, who collaborated with Archibong on the piece. The cast glass technique, which produces a unique honeycomb-like structure, allows for an eyecatching interplay of light and form. For the piece, glass was slowly melted and cooled to create luminous amber bricks with a swirling smoke-like appearance and sporting layers that echo the aromas and flavours of Port Ellen whisky.

The sculpture’s patinated bronze plinth, inspired by Islay’s peaty contours, was crafted in France with the help of contemporary bronze artist Yannick Székany. Enchanted by the island’s mythology and the distillery’s history, Archibong envisioned the glass as a tableau ‘rising out of the murky bog, with the souls of the island being transformed into smoke, swirling inside and upwards’. In situ and backlit, the extraordinary piece is both impressive and mesmerising. 'Pieces like this are an opportunity to shock people into the state of the sublime,' notes the designer.

As the casks of slow-maturing Port Ellen Scotch began to develop a cult following, the decision was made to rebuild the distillery in contemporary form, adhering to a Scandinavian aesthetic that both suits its setting and presents a fittingly cosy environment for savouring the whisky’s intense flavours.

Even if you’re not much of a whisky drinker (like me), a flying visit on a small plane (also bringing Amazon parcels and weekly cheese orders for those who want something other than Cheddar) is more than worth it to enjoy one of the distillery’s range of tour options, which encompass a small-batch tea ceremony, an opportunity to draw directly from a historic cask, and a tasting of an experimental new-make batch. I was spirited away by the passions of the Port Ellen tour hosts, who attuned my palate to the amber nectar’s peaty smokiness, heavily imbued with notes of fruit and spices, conjuring up visions of autumn walks, crackling campfires, and Christmas.

Kiln Square, Port Ellen, Isle of Islay PA42 7AJ

A horological honour

Bill Prince, editor-in-chief

On Thursday evening I presented the award for Best Men’s Watch (which went to Urban Jürgensen) at the 25th edition of the Grand Prix d’Horlogerie de Genève, otherwise known as the ‘Oscars of the watch industry’, held annually in the Swiss city. The event celebrates watchmaking excellence, whatever and wherever its source, and thus attracts a huge number of entries from across the globe. These are whittled down by the GPHG Academy and then adjudicated by a jury made up of industry insiders, collectors and journalists, of which I was one, and whose final decisions are recorded by secret ballot and revealed on the night. Among the evening’s big winners: Breguet, which picked up the ‘Aiguille d’Or’ (Grand Prize) for its Classique Souscription 2025 timepiece, recreated in celebration of the 250th anniversary of the company’s founding by the 'father of modern watchmaking’, Abraham-Louis Breguet, and Zenith, whose legendary Calibre 135 won the Chronometry prize for supreme accuracy in timekeeping.

A colourful collaboration

Anna Solomon, digital staff writer

Last week, I popped into Rixo’s sumptuously vintage-inspired Chelsea flagship to celebrate the brand’s new collaboration with Ruggable – makers of the machine-washable rugs I’m a little bit obsessed with (I have one in my living room, and honestly, I don’t think I could ever go back to stain remover and scrubbing). The collection, which has now launched and is available to shop, fuses Rixo’s playful, hand-painted prints with Ruggable’s life-proof tech. The result is a whimsical mash-up of vibrant florals, intricate geometrics and painterly motifs. These personality-packed pieces are every maximalist's dream, served with a side of nostalgia but sleek enough for the modern interior.

A riveting read

Ailis Bickford, digital project manager

This week, I welcomed the cold weather and the barrage of Christmas reminders by locking myself in my flat like Ebenezer Scrooge and finishing my book, Flesh by David Szalay – the winner of the Booker Prize for 2025. The story follows a man throughout his life – from growing up in Hungary and joining the army to marrying a wealthy older woman in London. At each stage of the narrative, he is desired for his body. As the story unfolds, the disconnect between his body and mind becomes increasingly, heart-wrenchingly apparent. A short but emotional read, this is definitely one to pick up this winter.

A drizzly drive

Jonathan Bell, transport and technology editor

A swift trip to the drizzly Midlands to visit RBW EV, a company that builds all-new bespoke electric sports cars infused with the spirit of the classic MGB. It wasn't quite top down weather but the driving experience managed to rekindle an authentic connection to the road, thanks to RBW's proprietary engineering know-how. These delightful machines are wrapped up in a finely crafted package and shipped around the world to enthusiasts who want a bit more emotional engagement from their EVs.

Relics in Rome

Hannah Silver, art, culture, watches & jewellery editor

I visited Rome this week to celebrate the opening of Cartier & Myths at the beautiful Capitoline Museums, which places Cartier showstoppers in context with ancient sculptures and artefacts, a celebration of how classical codes have always been an inspiration. A stop to see the exquisite new high jewellery collection at Palazzo Talia’s and a fun dinner at Pierluigi Restaurant made for a whirlwind 24 hours.

Innovation at an institution

Ellie Stathaki, architecture & environment director

A visit to the new Backstage at The Old Vic this week reminded me to book some nights out at the theatre. Beyond creating functional and joyful – much-needed – spaces for the South London organisation's own operations (from a marvellous green room to dressing rooms and a Writer's Room I’d love to book for myself one day), the building also has a new bar and café, open to all – conveniently just around the corner from the main stage. Warm crimson, terracotta, yellow and orange hues (I have always been partial to that colour palette) bring the interiors alive, beautifully complemented by a sturdy, exposed timber frame. An unexpected highlight is the façade’s sunshading screen, which is, in fact, ingeniously made of refurbished and painted old barn doors. You will find me at the bar, having a pre- or post-performance drink soon.

A Scotch sojourn

Anne Soward, production editor

I had a Brigadoon moment this week, lost in the magical mist and fog of the Scottish island of Islay with two Americans (designer Ini Archibong and his manager brother Archie). Known as the whisky island, the tiny Hebridean enclave (home to 3,000 people and a lot of sheep) hosts ten distilleries, but I was here to visit Port Ellen as it prepares to launch a new artwork by Archibong to welcome visitors (more on this to come in a few weeks). Founded in 1825 but closed for more than four decades, this ‘ghost’ distillery recently reopened after the discovery that some of its single-malt casks, left quietly maturing during the closure, had turned into some seriously palate-blowing Scotch. As a cult following clamoured for the liquid gold, the decision was made to rebuild the distillery in contemporary form, adhering to a Scandinavian aesthetic that both suits its setting and presents a fittingly cosy environment for savouring the whisky’s intense flavours. I’ve never been much of a whisky drinker but I was spirited away by the passions of the Port Ellen hosts, who attuned my palate to the amber nectar’s peaty smokiness, heavily imbued with notes of fruit and spices, conjuring up visions of autumn walks, crackling campfires, and Christmas.

Björn Frantzén has a new approach to whisky tasting. The Swedish chef – who has three Michelin-starred restaurants – has partnered with Highland Park, the Orkney distillery founded in 1798, on a 16-year-old single malt whisky, ‘Between You and I’. Invited to provide tasting notes for the whisky, Frantzén ventured away from unpacking the usual flavour references – following considered sips of an amber-hued dram – and instead asks drinkers to explore personal memories and emotions inspired by the whisky.

In his own tasting, Frantzén reflected on his experiences and focused on personal associations, rather than identifying specific notes. ‘Taste is such a personal thing, and it has such an incredible power to take us places, bring back memories, and make us feel certain ways,’ he tells Wallpaper*. ‘Eating great food is a very personal experience, and whisky is the same. What I taste will be different to what you taste, and that’s why Between You and I is such an exciting concept – it identifies that we all have unique perspectives, and allows us to each experience the whisky without predetermined tasting notes, just letting its flavours evoke our individual memories and emotions.’

For Frantzén, the whisky reminded him of his travels, and spending time with loved ones. ‘I got a hit of tonka bean on the nose, which reminded me of being on a beach in the Caribbean. Palm trees swaying, warm air, the sound of waves crashing. Another flavour I tasted was marzipan, and it immediately made me feel like I was back in my grandmother’s kitchen in Sweden, doing the Christmas cooking. That smell of almonds, the cold outside, and the cosiness inside. Pure nostalgia.’

The whisky itself matures for 16 years in virgin Swedish oak (a first for Highland Park), sherry-seasoned European and American oak, and ex-Bourbon casks. ‘Between You and I has this kind of attitude – that’s how I would describe the mood,’ says Frantzén. ‘The flavours are really deep and layered, and then there’s this confident kick of smoke. To me, it tastes a little bit like rock music. Not digital, but analogue, handcrafted – people playing instruments at the peak of their craft.’

Each bottle of whisky comes in a customised box, with a booklet filled with questions and prompts inviting the owner to experience the whisky in their own way. Frantzén’s words of advice to those trying out the new tasting experience are: ‘The key is to listen to your palate rather than trying to impress yourself with fancy words. When I began cooking, I didn’t describe flavours – I remembered them.’

'Between You and I' by Björn Frantzén is available including Selfridges, The Whisky Shop, Master of Malt and The Whisky Exchange

As cinematic icons go, Harrison Ford is arguably up there with the true greats of leading men in Hollywood. From his iconic roles as Han Solo in the Star Wars franchise, Indiana Jones and Blade Runner’s Rick Deckard, to the award-nominated roles in Witness and The Fugitive, Ford has shown his broad breath of artistic talent over an incredible seven decades as an actor.

His next role, however, is something a little different, and this week it was revealed that he is to star alongside one of Scotland’s leading lights – namely single malt whisky, Glenmorangie, in a series of short episodic films, directed by actor and filmmaker, Joel Edgerton.

Once Upon a Time in Scotland takes us behind-the-scenes as Ford journeys to Glenmorangie’s Highland home, to discover the skill and craftsmanship that goes into making each bottle of the well-known whisky. It sees the actor enjoy an authentic Scottish experience — from getting to grips with the nuances of Scottish pronunciation and kilt etiquette, to bonding with locals and distillery workers over a dram of single malt — all shot in an unconventional, deliberately ‘off-script’ style.

'I loved working with the team at the distillery — they were all great,” explained Ford. “The whole process of filming was full of unanticipated joys: little unexpected moments. It’s a tribute to Glenmorangie’s sensibilities that they let us be less than totally serious. I think what Joel [Edgerton] has produced has a certain charm to it, because it’s unpretentious and just amusing.'

A total of 12 episodes were filmed, taking in the picturesque north-east Highlands of Scotland: from the historic distillery in Tain where Glenmorangie has been created for over 180 years, to the storied 19^th century Ardross Castle, (most recently seen in the BBC One show, The Traitors,) and the dramatic landscapes surrounding Loch Glass. Ford is supported by an unlikely cast of the actual Glenmorangie distillery team, including whisky maker, Dr Bill Lumsden (who was just awarded an MBE for his services to the whisky industry), alongside several whiskies from the brand’s range including the Original 12 Years Old and Glenmorangie Infinita 18 Years Old.

The 12 episodes are complemented by still images shot by acclaimed fashion photographer Lachlan Bailey. They feature Ford as he’s never been seen before: donning a stylish Scottish kilt designed by streetwear brand Palace.

For more information on the campaign and to watch the first six episodes visit glenmorangie.com

Just for a second, spare a thought for the beleaguered Japanese whisky salesperson in Glasgow, some 25 years ago. Imagine turning up at any number of the well-stocked bars, already laden with fine single malt Scotch, holding, in their no doubt trembling hands, the promise of a ‘new way of thinking’ in whisky. I suspect it was pretty slim pickings back then, as the spirit sought to establish itself outside of its already hugely successful domestic market.

Today sees a different scenario indeed. Thanks to the success of established brands such as Yamazaki, Hibiki and Nikka, (which celebrated its 90th anniversary this year) the reputation – and sales – of Japanese whisky have become nothing short of extraordinary. However, as demand has increased, the spirit has inevitably taken on a prestige status – in both the price and desirability stakes.

Japanese whisky full of distinction

This year has seen two hugely significant releases from Suntory, the owner of Yamazaki and Hakushu single malt distilleries, and the Hibiki blended Japanese whisky brand.

The first of these is the remarkable ‘Suntory Tsukuriwake Cask Collection’: retailing at £3,750 and representing four distinct single malts, each crafted to emphasise a profoundly different aspect of flavour in single malt whisky.

There's the light, delicate and buttery Yamazaki Golden Promise, which was distilled using a once legendary strain of barley; an Islay-cask-finished Yamazaki (which brings swathes of elegant, sweet medicinal smoke); an 18-year-old Mizunara-oak-cask-matured Yamazaki (Mizunara oak has become something of a calling card for inimitable and complex Japanese incense aromas); and finally, a smoky and rich 18-year-old Hakushu – the sister distillery to Yamazaki, built in the beautiful surroundings of the Japanese Southern Alps.

2024 was a prestigious year for Hibiki, Suntory’s flagship blended whisky, seeing the release of a 40-year-old – the oldest Hibiki to date, (limited to just 400 bottles and retailing for around £33,000) and arguably the pinnacle of chief blender Shinji Fukuyo’s long and highly lauded career. Created using a mixture of five components – or building-block whiskies – including Yamazaki from 1978 and 1983, both matured in American white oak puncheon casks, a lightly peated Hakushu from 1981, light and buttery grain whisky distilled in 1979 and 1981 from the Chita distillery, as well as robust and complex Yamazaki casks (sherry and Mizunara oak) from 1980 and 1983 respectively.

The resulting blend is testament to Fukuyo-san’s undoubted mastery as a blender: soft and fragrant at first, with wafts of gentle smoke, leading into more powerful, expressive and expansive notes of dark, peppery spice, polished wood, orchard fruit and sweet malt.

A new generation of Japanese distillers

Alongside these titans of the category, comes the new wave of distillers, eager to shake things up and bring the spirit to a new generation of whisky drinker. It was arguably Chichibu, founded back in 2007, which stirred the fiery renaissance for whisky distillation in the country, and thanks to several highly regarded releases ever since (including the much sought-after Chichibu 10-year-old (RRP £1,200), many new aspiring artisans have been keen to ride the crest of the Japanese whisky wave.

Kanosuke has its roots in rice-based Shochu production (Japan’s other rich spirit history), leaning all the way back to 1957, with a new dedicated whisky distillery built at its home on the west coast of Kyushu Island in 2017. The distillery uses an element of locally grown barley in its production and has stuck with traditional distillation techniques, using copper ‘worm tub’ condensers, which gives a more robust, heavier spirit. However, when it comes to the mature whisky, the distillery has begun to push boundaries with its cask choices, with the likes of beer, red and white wine and Madeira casks being used to play broad tunes with the flavour profile. Seek out the 2023 vintage, (RRP £150,) which is full of bright, fresh fruitiness, creamy custard notes and wisps of soft smoke.

Returning to the main Japanese Island of Honshu, a handful of other new – and resurrected ‘old’ – distilleries are also making waves, including Shizuoka, founded in 2016, which has also set out its stall extolling the virtues of using locally grown barley. Seek out its latest release of Pot Still K 100% Japanese barley – (RRP £229) – a youthful, but surprisingly complex malt whisky, with layers of malt, honeycomb, some gentle herbal notes and a dusting of woody spice.

Also worth exploring are the yearly released bottlings of Mars Komagatake (RRP £137) from the Shinshu distillery. Originally founded in 1985, but closed in 1992, only to be resurrected in 2011, the new operation based in the Japanese alps, the highest distillery in Japan, has roared back to life, complete with brand new pot stills and an entirely new visitors centre, for anyone fancying a spot of whisky tourism.

With 70 distilleries now in operation right across the country, filling the plains, valleys and hillsides on nearly all of Japan’s numerous islands, the future seems very bright indeed for an industry that thrives on a balance of deep respect for tradition and an unshakable desire to be the best it can be, day after day. Kampai!

Glenmorangie’s director of whisky creation, Dr Bill Lumsden, is an icon of the whisky world. He has won the prestigious Master Distiller of the Year award more times than anyone else and is known for his pioneering approach. He pushes at the boundaries of taste and experimentation and focuses on recreating sensory experiences through the huge range of complex and nuanced flavours that are attainable at the highest level of whisky making.

For this exciting new expression, Dr Lumsden collaborated with acclaimed Japanese botanical artist Azuma Makoto (who has worked for Dior Parfums and created installations for SFER IK in Mexico) to conjure up a spirit that would reflect their shared love of the natural world: a deep appreciation of the earth, the sky, and everything in between, a concept known in Japanese as ‘shinra bansho’. Together they imagined how they would create a uniquely delicious single malt that celebrates nature in all its forms.

The pair set forth on a trip to Glenmorangie’s Distillery to be inspired by its rich heritage and the unique beauty of its Highland surroundings. Dr Lumsden envisioned a whisky that would entwine Glenmorangie’s floral side with notes of earth and moss.

He took a classic Glenmorangie single malt long-aged in bourbon casks and united it with the brand’s first whisky ever finished in casks that once held Chardonnay white wine from the Meursault appellation in Burgundy. The resulting limited edition is the first of its kind, a truly elemental spirit: rich, deep, and mellow, with notes of moss dampened by rainfall, burning oak and earthy scents of the forest floor.

Sipping a dram back at his Tokyo studio, Makoto drew on the whisky’s exquisite flavours to create his own work of art. He gathered orchids, roses and wild flowers from Scotland and around the world, and wove them through tree bark, roots and moss. His complex, flowing botanical sculpture (entitled Shinra Bansho, after the notion at its heart) is Azuma’s tribute to nature, reflecting the layered depths of the whisky, and is showcased in the limited edition’s packaging.

Says Dr Lumsden: ‘Our collaboration with Azuma Makoto is a delicious celebration of nature’s wonder. Including our first whisky finished in Chardonnay casks from Burgundy, this 23-year-old single malt encapsulates nature in all its forms, through notes of lemon balsam, poached pears and cocoa powder layered on the oaky, earthy tones of the forest floor. Azuma-san’s stunning sculpture, featured on the whisky’s packaging, evokes the fragrant scents and elemental depths of this extraordinarily rare whisky – a gift from nature itself.’

€1,250/£1,050, glenmorangie.com

Whisky is a legendary source of inspiration, proven not least when The Dalmore recently unveiled the results of The Dalmore Luminary No. 2 in collaboration with Melodie Leung, director of Zaha Hadid Architects. This is the second chapter of The Dalmore Luminary Series – a three-part project curated in partnership with V&A Dundee, and which kicked off with a 2022 collaboration between The Dalmore and Kengo Kuma – which brings together an architect of global renown with the revered whisky maker each time, to create new masterpieces in response to each other’s expertise and vision.

Zaha Hadid Architects x The Dalmore The Luminary No.2 Sotheby’s auction

The Dalmore The Luminary No. 2 comprises two new Highland Single Malt whiskies – ‘The Rare’ and ‘The Collectible’ – the former accompanied by a stunning glass amber sculpture, and the latter by a presentation case.

Now, The Dalmore Luminary – The Rare – 2024 Edition and its sculpture is now on auction by Sotheby’s until 31 May, while also coinciding with World Whisky Day, 18 May 2024, with all proceeds donated to the V&A Dundee.

Leung worked with The Dalmore’s master whisky maker Gregg Glass, and master distiller Richard Paterson on the project. For Glass, it was an intense and emotional journey: ‘This has been one of the proudest moments of my career,’ he said. ‘We have built a friendship that has opened my eyes to think differently about what I do and how I work. Whisky is a living, breathing thing; it has a life that will go on and on.’

‘The Rare’ is a 49-year-old Highland Single Malt, and only three decanters and two examples of the accompanying sculpture were made (only one will be auctioned). The sculpture spent 12 weeks in the kiln, with the temperature reduced incrementally over this period to prevent cracking or shattering. It weighs 80kg and spent 500 hours being polished by hand(s) to achieve its mesmerising, liquid finish. The whisky, through an extended maturation and blending process in American White Oak ex-Bourbon casks, offers layers of flavours starting with vanilla, dark berry fruit and chocolatey scents, along with freshly roasted chestnuts, blackcurrant, Doyenne pears and soft spices. It is rounded off with a sweet smoke finish.

‘The Collectible’ – a 16-year-old Highland Single Malt, of which 20,000 sets are available, following its launch in April 2024 – features a small amount of exceptionally rare peated Dalmore spirit. Layers of Manuku honey and crème brûlée are tied together with a herbal wood smoke, and finished with ripe figs, oranges and brioche. ‘The Collectible’ is presented in a presentation case with a swirling design that echoes that of the sculpture for ‘The Rare’.

The two new releases promote the symbiotic relationship between the crafting of whisky and the world of design and architecture, with a fascinating blend of flavour and form.

It is expected that ‘The Rare’ will achieve upwards of six figures at the Sotheby’s auction.

sothebys.com Lot closes 31 May 2024

thedalmore.com

zaha-hadid.com

Islay is one of the seven wonders of the whisky world. For a location as remote as it is – situated off the west coast of Scotland, adjacent to the Kintyre Peninsula – it has certainly had a profound and long-lasting effect on the glowing reputation and unique flavour profile of Scotch whisky.

Islay’s whisky is famed for its peaty, smoke-driven characteristics and robust aroma; it’s a divisive and often challenging style of the spirit for those new to the category. However, for connoisseurs, such challenges represent great commitment and reward: the distinct profiles of local whiskies such as Ardbeg, Laphroaig, Lagavulin, Bowmore, Caol Ila and Kilchoman have come to define Islay’s style, winning legions of fans the world over. Now, another name will proudly sit alongside these legendary distilleries, itself perhaps the most fabled of all.

Inside Port Ellen’s revival

The story of Port Ellen is one that can almost bring a tear to the eye of the true Scotch whisky connoisseur. The distillery was founded in 1825, but ‘mothballed’ in 1930 – a whisky term used when production grinds to a halt. It was then reopened briefly between 1967 and 1983, its smoke-laden spirit used to embolden the popular blends of the time.

However, during the early 1980s, the whisky business hit a major slump and Port Ellen’s owner, the Distillers Company Ltd, faced a dilemma: close the newer, more modern Caol Ila distillery (which it also owned) or call time on Port Ellen forever. With the sad decision made, in April 1983, Port Ellen’s last casks were filled, and the stills and other distilling equipment dismantled, removed and sold.

But every story deserves a happy ending, and remarkably, the last remaining casks of Port Ellen slumbered away unhurried, developing into a whisky of such unique character and quality that those who got to taste it could scarcely believe their palates. Once bottled, Port Ellen gained an extraordinary cult following amongst enthusiasts, who paid small fortunes for the highly limited releases, savouring the oily, smoky, some would say, almost ‘chamois leather' notes it possessed.

Fast-forward to 2017 and drinks giant Diageo, which owned the remaining stock and the Port Ellen name, announced the unthinkable: that it planned to rebuild and resurrect this lost Islay gem.

This arduous undertaking was finally completed in spring 2024 and the newly commissioned Port Ellen is a staggering testament to the faith and hope of those who had longed to see spirit run from the stills again. As the old site was completely gutted, new copper stills had to be designed and built from the original plans. The stillhouse is entirely encased in glass and also features a pair of scaled-down stills to produce experimental spirit styles for the future.

The visitors’ centre experience is what will perhaps gain the most attention. Designed around a minimalist, Scandinavian-influenced aesthetic, from June 2024, it will allow guests to relax on beautifully appointed furniture especially commissioned from London-based designers Object Studio and award-winning Scottish artist Lucy May Schofield. Visitors will get the opportunity to explore a range of tour options (starting at £200 per person, ranging up to a Price-On-Application tour, for up to eight people,) to explore the smoky flavours of Port Ellen in a unique way: from utilising high-end small-batch teas curated by Postcard Tea of London, as well as being able to draw Port Ellen directly from historic casks and explore the new make spirit.

Islay’s growing whisky tourism, from tastings to driving tours

A short drive up the main Islay road, Bowmore distillery, which recently partnered with Aston Martin on a series of very limited releases, offers a similarly luxurious, £500 per person, two-and-a-half-hour private tasting experience, with five rare and exclusive whiskies, one of which has matured for over five decades. In addition to the warehouse tasting, a curated day of adventure is also on offer, a chance to explore Islay’s rich history, craftsmanship, and Bowmore’s island home. Hosted by a dedicated Bowmore guide, guests will explore the island in a chauffeur-driven Aston Martin DBX Bowmore Edition.

The hospitality element to the island has also developed significantly in the last decade, with the award-winning Machrie golf-course hotel (one of the UK’s top hotels in the Condé Nast Traveller Awards in 2022) offering fine dining experiences, showcasing the best of locally sourced Scottish produce. 

In 2025, Ardbeg House will officially open too, a multi-million-pound renovation of the old Port Ellen Hotel by the distillery’s parent company, Louis Vuitton Moet Hennessy. It will feature interior design by Russell Sage Studios, planned private dining experiences, and exclusive areas for hotel residents and members of the Ardbeg Committee, the global community of whisky fans the distillery was carefully cultivated over the last decade.

As a soulful coastal retreat, Islay certainly makes a strong case for being one of the very best locations in the UK. For global whisky fans, however, it’s the pinnacle of spiritual pilgrimages. A world of truly unique flavour awaits.

portellen.com

The Macallan and Bentley Motors have collaborated on a smooth, limited-edition single-malt whisky to celebrate the distiller’s 200th birthday. Titled ‘The Macallan Horizon’ the light amber-coloured nectar is presented in a horizontal glass bottle enveloped with silky wood that playfully reveals its core. The presentation’s sleek exterior reflects the interior workings of the sought-after luxury cars, and gives the whisky a dynamic, 180-degree twist.

The Macallan Horizon with Bentley Motors

The two companies teased the collaboration in September 2023, showcasing the prototype presentation for The Macallan Horizon and its horizontal design.

The Macallan distillery,founded in 1824 by Alexander Reid, sits along the River Spey in Scotland. A tranquil environment that has provided a vast source of inspiration for its array of whiskies, including The Macallan Horizon. The celebratory release is built on ‘six pillars’ (six materials) that define the storied craftsmanship of The Macallan and are shared with Bentley Motors.

Reused copper from old stills features in The Macallan Horizon’s design as a delicate detail, mirroring the deep colour of the spirit. The presentation’s sculptural foundation is crafted from aluminium, which is also used as a structural ribbon that runs through its form. Wood is shaped into the design’s notable twist, which caresses the vessel, and finished with a ‘Crown Cut Walnut’ veneer, exclusive to Bentley. Presented in a glass vessel, intrinsic for both brands, The Macallan Horizon is protected by a leather sleeve in a chestnut colourway, which complements the earthy colour palette.

The whisky was crafted specifically for The Macallan Horizon and inspired by Bentley’s vehicles. Kirsteen Campbell, master whisky maker at The Macallan, toured the Bentley factory in Crewe to capture the essence of a Bentley car through taste and texture. From there, she whittled down six first-fill, sherry-seasoned oak casks from the estate, and began to craft the revolutionary single malt. The warming spirit carries a velvety smooth taste that packs notes of cinnamon, nutmeg and crystallised ginger, followed by hints of rich sticky dates, sweet orange, vanilla pods, fudge and chocolate. It’s a fine-tuned balance, with a finish that delivers comfort and refinement.

themacallan.com

bentleymotors.com

Mortlach has sought to elevate the whisky-drinking experience with innovative, dual-functioning whisky coasters, created in collaboration with designer and architect Suchi Reddy. Founded in 1823, the Mortlach distillery is globally known for its single malt scotch, its golden hues infused with complex flavour, and last year appointed Philippe Starck as creative director. Released to coincide with Frieze LA 2024, the ‘Rare’ whisky coasters double as incense holders, making them a unique drinking accompaniment.

‘Rare’ whisky coasters by Mortlach and Suchi Reddy

Incense may not be the most obvious choice for a whisky pairing. However, scents are used to create ambiance, and Reddy achieved a fine balance that complements Mortlach whisky’s fragrance. Her infusion of cedar and clove creates a cosy and inviting atmosphere that is casually elegant, the perfect partner for the newly launched Mortlach 30 Year Old limited edition, for example.

The coaster design itself nods to Mortlach’s distillation process. In the centre, an intricately crafted disc of tiger’s eye mirrors the amber-speckled colours of the whisky, while a copper overlay nods to its centuries-old stills. Tucked within, an incense paper is embossed with ‘2.81’, the name of the company’s historic distillation process.

With each use, incense is scattered on the copper surface and leaves marks on the coaster, capturing a moment and turning the object into a keepsake for the user.

Reddy says, ‘I was thrilled to embark on this collaboration, drawing inspiration from the rich history and pioneering spirit of Mortlach. “Rare” embodies the essence of Mortlach – complex, layered, and inherently beautiful. It's a rare gift that invites us to savour the moment and immerse ourselves in the sensory journey of whisky appreciation.’

‘Rare’ whisky coasters by Mortlach and Suchi Reddy are available to purchase from mortlach.com and Thebar.com

The creation of beautiful objects needs no justification, but often the best design begins with a problem to solve. In the case of Philos, the result of a new artistic collaboration between The Glenrothes, Studio Indigo and Little Halstock, it was this: when drinking rare and special whisky at sea, how can you protect and pour it with no risk of spillage? It had never been achieved before, making Philos an unquestionably luxury object and a world-first across yachting, whisky and design. 

Philos by The Glenrothes, Studio Indigo and Little Halstock

Housed in a spherical structure that is evocative of ancient armillary spheres used in maritime navigation, Philos comprises a finely finished aluminium protective case and self-pouring decanter for The Glenrothes Demijohn 1969. It will undoubtedly bring a sense of theatre and wonder to a nautical nightcap or in fact any whisky-drinking occasion.

Set at a 23.5-degree angle to mirror the rotational axis of the Earth, and hand-painted with deep sea blues and greens, the cabinet is opened by drawing back its six interlocking leaves to reveal a hand-blown crystal decanter held securely in a four-way gimbal. The mechanism allows free movement in response to the rolling waves on a yacht, safeguarding the bottle and its precious liquid from jostles and rough conditions.

To pour, the bottle is inverted by hand, and locked in place with a secret key. A secure glass is held at the bottle neck. By twisting an aluminium bezel around an antique brass compass (made in Edinburgh in 1891) a series of concealed metal cogs engages to charge the spirit-measure chamber with a perfect 50ml pour. The whisky then disappears, flowing through a concealed pipe before reappearing into a waiting glass, itself held securely in the topographic curves of the base. The entire process is mechanical, and hugely satisfying to operate.

Created with the luxury yacht in mind, Philos can be relied on should the host, captain or bartender have found their sea legs or not.

As a maker of small batch, rare whiskies, The Glenrothes set out to conceive a sculptural object that would bring together the best of British design, craft and engineering – that would be as poetic as it is precise, embodying the company’s distinctive philosophy, with attention to detail and storytelling all combining to enrich a moment in time.

There is an aura of magic surrounding Demijohn 1969, which Philos holds too. While older whisky in The Glenrothes collection exists, these six glass demijohns contain some of the rarest liquid there is. Master Whisky Maker, Laura Rampling, describes it as a 'unicorn whisky' – one that stops you in your tracks, then haunts you with the knowledge you will never see it again.

The making of Philos

The journey to Philos has not been without challenge, says Anna Lisa Stone, The Glenrothes’ head of creative. 'Through help from experts whom we are happy to call friends, we have overcome them.' The brand was already working with Studio Indigo to redevelop The Glenrothes guesthouse on its Estate, Rothes House. 'Studio Indigo are experts in designing interiors, and their work with yachts of course,' explains Stone. 'The natural flow of our conversations led us to ask, if a whisky connoisseur is going to enjoy incredibly fine and rare whisky, at sea on their yacht, how can this become the most special experience? So, we had the concept and we had the right whisky. The idea for the gimbal device came from myself and was a very natural connection of the dots.'

Next, they needed to bring their vision to life. Enter Little Halstock. From their rural Dorset workshop, this small team of master craftspeople makes remarkably detailed and luxurious furniture and one-of-a-kind objects with an everything-is-possible attitude and a finely honed spirit of adventure. Little Halstock’s globe drew inspiration from the globes and maritime instruments of the Renaissance period, at once a celebration of travel and a nod to later humidors and drinks cabinets.

Studio Indigo guided the three narrative strands for the design. Firstly, sky – in particular celestial navigation: Philos pays homage to the maritime traveller guided by the stars and the first armillary spheres. Secondly, water – specifically the relationship between whisky and water and of course the boats on which Philos will find its home. Finally, the Glen of Rothes topography is mirrored in the stepped contour lines of Philos’ base. Even the bezel around the 132-year-old Edinburgh-made compass encased in the base points to Rothes so that, no matter where in the world the gimbal may voyage, it can always find its way back.

Even though Philos is rooted in history, Studio Indigo wanted the piece to have a contemporary feel. 'This meant a desire to stay away from the traditional woods and brass typical of historic armillary spheres,' says Studio Indigo’s Olga Fox. 'Instead, the mix of contemporary materials in cool steel tones embodies the future of craft.'

For the sphere, the element of water informed the material choices, as the team sought to capture the movement and form of the sea. 'For this, we used a hand-painted lacquer and resin that evokes the depths of the oceans and mesmerising light reflections and refractions. The base is a contoured liquid metal.'

Scale and time were perhaps the biggest challenges, she explains. 'This is a project that has never been done before. The mechanism that the gimbal requires for it to self-pour with precision is nothing short of an engineering feat.' Studio Indigo turned to specialists in aerospace engineering for input on the casing and rotating mechanism, which in turn largely dictated the scale of the piece. The mechanism used for the decanter bottle is very similar to an Aerotrim, a device used by Nasa to train astronauts.

The name was chosen to honour the Greek inventor of the gimbal, Philo of Byzantium (280–220 BC), who sought to create an inkwell that would never spill. It also speaks to the collaboration and sense of friendship that lies behind the project. A venture worth raising a glass to indeed. Carefully though.

theglenrothes.com

Award-winning whisky maker Dhavall Gandhi will be unveiling his latest creation in October 2023: Aga whisky will be launched under the banner of Gandhi’s new enterprise, Kandoblanc, a creative brand that celebrates the fusion of ideas and cultures though exquisitely crafted objects. Aga will be the brand’s first whisky and marks the debut of Gandhi’s work as a creator who oversees every aspect of an object, from the design of the bespoke decanter to the whisky contained within.  

Aga whisky: a new offering by Dhavall Gandhi's Kandoblanc

After beginning his career in corporate finance, Gandhi made a bold decision to change tack, pursue his passion for whisky making and realise his ambition to become a whisky blender. He made a momentous move into the spirits industry; honing his skills under the expert guidance of industry veterans at The Macallan Distillery, where he embarked on a journey to become one of the foremost experts in sherry cask maturation. He is recognised for trailblazing contributions to the world of whisky and has cemented his position as a leading authority in the industry.  

Kandoblanc was inspired by the notion of duality in art, aesthetics and creative influences. ‘Kando’ is the Japanese word for the simultaneous feelings of deep satisfaction and intense excitement that humans experience when encountering something of exceptional beauty. ‘Blanc’ translates from the French as ‘white’ –associated with ideas of purity, brilliance and perfection. The exquisite Aga decanter showcases the marriage of understated Japanese aesthetics and opulent Italian craftsmanship. Its design was inspired by the Japanese art of Kintsugi, and Italian Battuto glass – an engraving technique that gives a wonderfully tactile multifaceted surface with the appearance of hammered metal. 

Gandhi explains, ‘I believe in the art of duality and have a passion for art and whisky. At Kandoblanc our goal is to create individual objects, which are one-off art pieces. Each object is a celebration of cultural diversity and creative influencers. Following the launch of the first one-of-a kind object, we will be creating limited-edition pieces and will be collaborating with artists and designers for rarity and exclusivity.’ 

Aga presents a blend of rare Scotch whiskies selected by Gandhi to celebrate a harmonious interplay of flavours. The delicate and refined Speyside malt contributes finesse, and the flamboyant Highland malt brings poise and texture. Distilled in 1979 and bottled in 2023, the whiskies are beautifully woven together to create a unique and exceptional spirit. 

Kandoblanc will release Aga at the highly anticipated Distillers One of One Auction, a biennial charity auction of rare Scotch Whiskies. This initiative was developed in partnership with Sotheby’s, and has two clear aims: firstly to make a meaningful social impact in Scotland, and transform the lives of disadvantaged young people, and also to celebrate excellence in craftsmanship, and to display the rarity value of Scotch Whisky to a global audience. 

kandoblanc.com

The Balvenie has unveiled the latest whisky in The Balvenie Stories collection: ’A Revelation of Cask and Character’ is a 19-year-old limited-edition single malt, and the first in the collection to be matured entirely in sherry casks. Sherry plays an important role in the history and development of Scotch single malt whisky, and this expression celebrates its influence – delivering a rich and luxurious flavour profile unlike any other in The Balvenie range.

The Balvenie, based in Dufftown, Speyside, has been handcrafting whisky for more than 125 years. This unique distillery grows its own barley, malts in its own traditional floor maltings and still employs a team of coopers to tend to the casks alongside a coppersmith to maintain the stills.

The Balvenie Stories collection was named in homage to the craftsmen whose dedication and expertise lie behind the production of exceptional whisky, and the stories that are told from one generation to the next as they pass on precious knowledge. As those who understand whisky will know, the cask in which it is matured is key to the taste and depth of the spirit, which takes on some of the character of whatever liquid the casks once held. The selection, building, and maintenance of the casks is an integral part of the art of whisky making, and the coopers responsible for them are craftsmen of extraordinary skill – with years of experience and a mastery of wood that is fundamental to the creation of whisky.

Ian McDonald, head cooper, who started his career with an apprenticeship at The Balvenie in 1969, says: ‘The coopering team plays a huge part in the creation of all The Balvenie whiskies. Coopering is the original form of recycling; we always repair old casks, which adds to the rich flavour of the spirits. Our coopers work their way up through a four-year apprenticeship scheme with skills passed from generation to generation, contributing to the whisky creation through cask repair, as exemplified with the Spanish sherry casks used for A Revelation of Cask and Character.’

The release of this expression coincides with the appointment of Kelsey McKechnie as malt master for The Balvenie. She assumes the position following six years of apprenticeship under legendary former malt master David C Stewart MBE, who now is now appointed honorary ambassador, having marked 60 years at the brand.

Revelation of Cask and Character is the first release designed solely by McKechnie, who will be responsible for all future liquid innovation and uphold the tradition and quality of The Balvenie for generations to come. 

This first expression on McKechnie’s watch tells a tale of the cooper’s craft, both in Speyside and Jerez in Spain, where the sherry casks originate. These casks impart a sweetness to the whisky, with a nose of intense ripe fruits and caramelised orange peel. The taste is bold, yet elegant and beautifully balanced, with a creamy, nutty finish. 

McKechnie comments: ‘Not many distillers have a cooperage on site and it is so important to the development of our exceptional whiskies. We have a collaborative process with our coopers, which offers flexibility in ideas and innovation, allowing us to experiment with different casks to explore new flavours. By maturing the whisky entirely in European Oloroso sherry casks, drinkers experience new depths of spice, rich toffee and honey that are soon met with toasted oak, providing an overflowing heat.’

The cooperage at The Balvenie distillery is depicted in the presentation of this whisky, with a splendid bespoke illustration by British artist and printmaker Andy Lovell. A very limited quantity means that A Revelation of Cask and Character will only be available for two years, at £307 RRP.

thebalvenie.com

Premium spirits company Beam Suntory has unveiled Ardray whisky – a significant launch that heralds the dawn of a new era in blended Scotch whisky. Ardray is the result of an exciting and groundbreaking collaboration between Scottish and Japanese whisky makers which presents new perspectives and challenges preconceptions of blended Scotch.

The Ardray story begins in the 1920s with Japanese whisky maker Shinjiro Torii – the father of Japanese whisky and founder of Japan’s first whisky distillery, Yamazaki Distillery, which led to the creation of Suntory, Japan’s first single malt whisky. 

Torii reinterpreted traditional Scottish whisky with a Japanese approach. He set out to make whisky that followed Scottish production standards while being subtle enough for the unique Japanese palate, which requires delicacy, balance, and complexity.

In 2023, Torii’s journey comes full circle with the presentation of Ardray whisky. Translating from Gaelic as ‘towards the light’, Ardray honours Torii’s original vision and Beam Suntory’s aim to keep pushing whisky forward. Wonderfully complex, yet approachable, this malt-rich whisky invites us to look at blended Scotch with fresh eyes. Ardray is an ultra-premium spirit that reveals the skill and craftsmanship behind the art of blending.

Beam Suntory’s chief blender for Scotch, Calum Fraser, worked tirelessly with the award-winning Suntory blending team. Three years of meticulous development resulted in a whisky with multiple, elegantly balanced layers of flavour. Grain and malt whiskies were blended at precise ratio increments to find the exact point of perfect harmony and create a whisky of distinction and depth – a new and exquisite experience of blended Scotch.

Fraser comments: ‘In creating Ardray we have combined an exceptional selection of the very best Scotch whisky has to offer with the inspiring talent of Suntory’s blending team to create something new, refreshing and exciting. The time, care and attention to detail taken to source both malt and grain whiskies from some of Scotland’s most noted distilleries has allowed us to explore hundreds of blends of Scotch malt and grain whiskies to achieve Ardray’s optimum balance of multi-layered flavours. [We were] driven by the desire to ensure that the true beauty of this blend is greater than the sum of its parts. Ardray promises a rich and complex taste, with a distinctive harmony of flavours: a mild, gently floral, and citrusy fruitiness, with a vanilla custard creaminess and a rich, silky mouthfeel and lengthy aftertaste that is unmatched.’

Ardray is bottled at 48 per cent and non-chill filtered to fully optimise the complex character of the blend – you may like to serve it ‘off the rocks’, which means straining the whisky into the glass over ice. This new angle on whisky drinking circumvents the old debate over whether to enjoy with ice or with water – off the rocks achieves the perfect level of chill and dilution. 

Ardray is beautifully presented, with original artwork by artist Lia Melia that captures the dramatic Scottish landscape. The bottle features richly textured rippled glass that represents the Scottish water and fields of waving barley from which whisky is made.

ardray.com

Available from thewhiskyexchange.com

American light artist James Turrell has designed a limited-edition whisky decanter for The Glenturret, featuring a prism-shaped stopper inspired by a longstanding fascination with the pyramids of Egypt and the dome-shaped Buddhist stupas of Asia. 

The design, made in collaboration with the historic French crystal brand Lalique (following Turrell and Lalique’s perfume bottle collaboration), has a cobalt blue stopper with a violet neck, while the transparent tapered body of the decanter allows the amber liquid within to colour it. 

The diaphanous crystal tones reflect Turrell’s career-long experimentation with light and colour, which typically takes the form of immersive installations harmonising with the dawn and dusk tones of the sky.

James Turrell whisky decanter for The Glenturret

The decanter, named Eight Decades, was commissioned to celebrate Turrell’s recent 80th birthday, and is available as an edition of 80, priced £80,000. In keeping with the theme, The Glenturret whisky within – which has notes of fruitcake, chocolate orange and berries – is drawn from eight casks laid down between 1987 and 1998.

'I love a single malt whisky,' says Turrell. 'I described the whisky my father enjoyed as inspiration for the team at The Glenturret: my father’s description of civilisation was a fine whisky and a good cigar.'

‘There is also the idea to relate the decanter to the work in crystal I have previously completed with Lalique – I wanted this piece to have the same sensibility as the perfume bottles,' adds Turrell, referring to his pair of Lalique crystal perfume bottles, which won the title of Wallpaper’s Best Grooming Product 2023. 'A tribute to Egypt, pyramids and stupas, these architectural forms are cross-cultural. They move something deep within me.‘

'The collaboration with Lalique and James Turrell makes perfect sense when you recall that [founder] René Lalique was known as the “sculptor of light”,‘ says Lalique CEO and chair Silivo Denz.

‘An enduring approach to savoir-faire and taste aligns with James Turrell’s understated, futuristic aesthetic. Eight Decades is the incarnation of excellence at every level – the perfect balance and a beautiful work of art, a celebration of individuals who contribute to the process over generations, a trophy in their honour.' 

Denz heads up the Lalique Group, a Swiss luxury goods portfolio that owns Lalique crystal and a 50 per cent stake in The Glenturret, Scotland’s oldest working distillery.

theglenturret.com

In partnership with The Dalmore

For Kengo Kuma, whose extraordinary buildings explore and enrich the connection between architecture and the land, understanding location is integral in making each project exceptional. Now, Kuma and his protégé Maurizio Mucciola of London-based PiM.studio Architects have turned their shared creative ethos to a limited-edition series of The Dalmore single malts and a quest to discover a point of convergence between the complex skills of architectural design and whisky-making.

The Dalmore’s Luminary Series of single malts, curated in partnership with the V&A Dundee – Scotland’s design museum, itself designed by Kuma – is a three-year project that matches the talents of whisky-making artisans with creative luminaries. Beginning in 2022, the series involves the release of three editions over three years, each containing two Luminary whiskies – The Rare and The Collectible – presented in special showcases.

Working with The Dalmore’s master distiller Richard Paterson and master maker Gregg Glass respectively, Kuma and Mucciola co-conceived single malts – 48-year-old and 15-year-old – that embody the collaborators’ pursuit of excellence, respect for natural materials and deep regard for the creative process.      

The Luminary No.1 – The Rare – 2022 Edition was co-conceived by Kuma and Paterson and only three bottles have been created. The rare whisky, hand-nurtured for 48 years and finished in casks of Scottish Tay oak and of Japanese oak air dried at the distillery, is housed in a unique sculpture designed by Kuma, comprising 48 diamond-shaped panels and handcrafted in the same woods as the casks (the Tay oak was salvaged from a tree that had fallen beside the eponymous river) and glinting steel.

An importance placed on the use of natural materials, especially wood, is Kuma’s signature and is reflected in his design of V&A Dundee’s interior. At The Dalmore, the location’s fundamental elements of soil and timber play an intrinsic role in the whisky-making process and in giving the whisky its distinctive flavour. Kuma established a poetic connection between design and whisky-making, highlighting mutually utilised materials, taking inspiration from natural surroundings, and honouring a friendship with the V&A Dundee that brought together the project. 

Kuma’s sculpture for The Luminary No.1 The Rare highlights the architect’s signature gentle integration and intimate understanding of natural materials and negative space, the placing of metal alongside wood a nod to ‘kintsugi’, an ancient Japanese art where broken pottery is repaired with gold, to incredible results. The wood, metal and reflected light achieve balance and harmony, drawing parallels with the art of the master distillers that create perfectly harmonious whisky flavours. 

Says Kuma, ‘My relationship with The Dalmore, and with Scotland, is one born from a love of natural materials and the unfolding of stories over a lifetime. In my work with Richard Paterson and The Dalmore, I see the same respect for the environment, and the same careful attention to the way great design must continue to evolve over time. The design echoes this sensibility, inviting all who see it to consider the elements, seen and unseen, that have gone into its conception.’ 

The Luminary No.1 – The Collectible – 2022 Edition is a collaboration between Glass and Mucciola that echoes its Rare partner in design. Glass created an innovative 15-year-old single malt that spotlights his passion for wood and flavour. It begins its journey in American white oak and finishes it in hand-selected Italian Amarone red wine casks and bespoke ‘kintsugi’ casks made from that upcycled Scottish Tay oak. 

The Collectible is held in a contemporary case designed by Mucciola that sees motifs from Kuma’s sculpture reimagined and transformed into a graphic pattern applied to its packaging. Soft earth tones were chosen to recall the strong connections between nature, the location, and the whisky.

The first of the two sculptures created to display The Luminary No.1 – The Rare edition was sold at Sotheby’s London with £50,000 of the proceeds donated to the V&A Dundee, while the second will be held at the Dalmore distillery’s Highland home. The original designer’s proof of the sculpture is on public display at the V&A Dundee. Approximately 15,000 bottles of The Luminary No. 1 – The Collectible edition will be made available at an RSP of £250, for purchase from luxury retailers worldwide.

thedalmore.com

vam.ac.uk/dundee

Kengo Kuma is enjoying the perks of his most recent collaboration. ‘When I became a friend of The Dalmore, they began to send me many types of whisky,’ says Kuma from Edinburgh, in an exclusive interview with Wallpaper* on 21 October 2022. The acclaimed architect recently attended the launch of The Dalmore Luminary Series, for which he has created a sculpture to house one of the distillery’s rarest whiskies. 

‘I’ve learned the small differences between each [whisky]. I feel that whisky and wood are the same. Wood has great diversity: even in the same [species], wood has a different grain and smell. The same thing happens with whisky. This collaboration is to show the similarities between wood and whisky.’

The Luminary Series sees The Dalmore release a collection of ultra-rare single malts from the distillery’s vaults over three years, working with V&A Dundee and some of the finest talents in the fields of architecture and design to present and house the seminal whiskies in the way they deserve. First up with the Luminary No.1, 2022 Edition are the V&A Dundee’s lead architects, Kuma and his protégé Maurizio Mucciola, who have designed the housing and case for the Luminary Series’ inaugural Rare and Collectible whiskies respectively.

‘I’ve been a big fan of whisky for a long time,’ continues Kuma. ‘After we started the V&A project eight years ago, we often came to Edinburgh and Dundee. Maurizio and I drank whisky a lot after work. We understand the deepness of whisky culture here in Scotland, and how whisky culture and Scotland relate.’

Of course, a deep-seated affection and affinity for whisky is something that’s shared by Scotland and Japan, but it isn’t the only subject on which the two countries enjoy a close bond. After Japan opened its borders to outside trade in the second half of the 19th century, Scottish architects and professors travelled to Tokyo to share their design sensibilities with an eager audience. 

It’s a shared heritage that Kuma holds dear, and one that has informed his work with The Dalmore: ‘Engineering in Japan came from Scotland. This project is based on that similarity. A good example is Charles Rennie Mackintosh: he was very much inspired by Japan, he interpreted “Japaneseness” into his furniture. I learned many things from Mackintosh and the back and forth relationship between Japanese and Scottish design.’

Just three bottles have been filled with the Rare, a 48-year-old single malt nurtured by master distiller Richard Paterson, influenced by Oloroso sherry, vintage port and American white oak, and finished in Scottish tay and Japanese oak casks. 

What emerges is a cherry-filled, coffee-roasted dram with a maple chocolate body and a telltale sherry edge in the orange marmalade and sugar finish. It’s a whisky that Kuma responded to immediately: ‘With the 48, I feel as if my body is floating off the ground. It goes beyond liquid. My imagination is flowing through space, and I wanted to represent that kind of feeling in this sculpture.’

This flowing space between objects is reflected in the Rare’s housing, comprising 48 hand-crafted diamond-shaped panels of Scottish oak, Japanese oak and polished metal, each panel signifying a year the whisky waited in its various casks before revealing itself to Paterson. A growing number of distilleries are turning to architects for willing collaborators, and Kuma sees this as a natural step: ‘The whisky business and our business both work with wood, work with earth and work with climate,’ he explains. ‘They look like very different jobs, but our approach is very similar. This collaboration is very architectural – before we started, I didn't think the project was architecture, but after working together, I understood that we’d worked on an architectural project.

‘They have a strong passion for the whisky, and we had a strong passion for achieving the idea. Without passion, quality cannot be achieved.’

That passion can also be seen in the Luminary Collectible Edition, master whisky maker Gregg Glass’ 15-year-old contribution to the Series. Matured in American white oak barrels, the single malt Collectible honours the Japanese art of kintsugi – the repairing of broken ceramics with powdered gold, silver, or platinum – having been finished in virgin ‘kintsugi’ casks made from a combination of Japanese oak, American oak and Scottish oak from the banks of the River Tay. Its case, by Maurizio Mucciola, reflects Kuma’s geometric housing of the Rare.

This is only the start of V&A Dundee’s collaboration with The Dalmore, with a new Series release to come in each of the next two years. This relatively quick turnaround belies the years of maturation and expertise behind both the whisky and the skills of its collaborators. ‘What I learned from Richard [Paterson] is that time is necessary,’ reflects Kuma. ‘We don’t need to hurry. With architecture projects, sometimes the schedule is very tight. After completion, the architecture begins its ageing process. It’s the same as whisky – we should take our time, not rush. That’s the lesson.’

One bottle of the Luminary No.1 Rare with its accompanying sculpture will be available at auction on 16 November 2022 at Sotheby’s London, with bidding now open online. A portion of the proceeds will be donated to V&A Dundee. Approximately 15,000 bottles of the Collectible Edition will be available from a selection of retailers for £250 each.

thedalmore.com, kkaa.co.jp, pim.studio

In partnership with Mortlach

A spirit of audacity pervades the complex curves of designer Felicia Ferrone’s new ‘Cowie’ glassware range for Mortlach, the Scotch whisky maker based in Dufftown, Moray. Inspired by the ‘audacious’ nature of Mortlach’s Single Malt Scotch Whisky, Ferrone, founder of the US- and Italy-based brand Fferrone, brought a sense of boldness and surprise into her design. ‘Cowie’ glassware pushes the envelope of expectation to the same levels of fearlessness as the Mortlach whisky that it holds. 

Named after George and Alexander Cowie, the 19th-century father and son owners of Dufftown’s first distillery and originators of the unique process that produces Mortlach whisky’s robust spirit, the glassware lives up to the family’s indefatigability and verve. 

‘Glassware, upon first thought, is quite simple,’ says Ferrone. ‘I needed “Cowie” to be anything but. I strived for the bold, courageous and outside-the-box. With this in mind, I designed these glasses to be unlike anything else, to have a single, dedicated use: for tasting Mortlach. I wanted them to match the intricacy of Mortlach and reflect the high level of craftsmanship that goes into the spirit’s distillation process. I continuously challenged myself as I iterated through various designs of the glassware to push the final product to truly embody what it means to be audacious.’ 

The glassware had to be unique, but functional, protecting the Mortlach Single Malt from changing temperature due to hand-transferred body heat. ‘I chose an adventurous route, creating a void straight through the middle,’ explains Ferrone.  The challenge was working out how the liquid would stay inside the glass when tipped and not pour through the centre void. The design also had to facilitate easy sipping without  the central stem interfering with the tasting process. 

The ‘Cowie’ glass holds a standard 1.5 ounce neat pour, its wider form allowing a fuller olfactory appreciation of the Mortlach Single Malt even before you taste it, and allowing notes of citrus, cocoa nibs, vanilla, and spice to swirl forth. The texture of the central, open stem’s interior is scalloped to highlight Mortlach’s unique tonal play, ‘creating a glowing effect when the spirit is in the glass’, says Ferrone. 

The designer insisted that each glass be intricately handmade, without a mould, by master craftspeople in the Czech Republic, using a specialist process not unlike the distilling at Mortlach’s Dufftown HQ; each step is carefully executed and considered to create the highest quality final product. 

Making the intersection between the glass’s two volumes – the ring shape where the whisky is poured and the central, inner void in the body of the glass – perfectly align and come together while both shapes are in a molten state, is a technical challenge requiring extraordinary precision and artistry. 

Honouring the eye of the designer, the skill of the glassware experts and the audacious spirit of the Mortlach founders, the ‘Cowie’ glass was created to surprise and delight. It makes for an intense and intimate taste experience, for Mortlach whisky only.

mortlach.com

The Macallan and Bentley Motors have revealed a first look at the extraordinary result of a collaboration between two titans of global luxury.

Bentley, manufacturer of the most sought-after luxury cars, and The Macallan, maker of some of the world’s best whiskies, have combined their storied craftsmanship and expertise to create The Macallan Horizon – a limited-edition single malt whisky with a highly original presentation. While the project remains in development, the prototype has just been revealed.

Jaume Ferras, global creative director for The Macallan, remarks: ‘By sharing learnings from both our crafts, built up over generations, what The Macallan and Bentley Motors have created together completely evolves the design of what a whisky product should look like. The Macallan Horizon is a beautifully designed product with innovation at its heart.’

The collaboration melds materials and techniques from the production procedures of both brands. In a nod to the ‘six pillars’ that underpin The Macallan’s approach, it incorporates six upcycled, repurposed or ethically sourced materials (the majority sourced and produced locally in Scotland and the UK) that are integral to the two companies.

These include recycled copper from the distillery stills, aluminium recovered from the Bentley Motors manufacturing process, recycled wood, recyclable glass and locally sourced carbon-neutral leather. Whisky, of course, is the final defining component; The Macallan master whisky maker Kirsteen Campbell (who also spoke to us about the release of The Reach, The Macallan’s oldest ever whisky, earlier this year) developed the flavour profile following a visit to Bentley Motors in Crewe, where she was inspired by their shared passion for creativity, craftsmanship and innovation.

Together, the six key materials form a unique concept that defies the classic, vertical aesthetic of a whisky bottle and reflects the horizontal trajectory of the automotive world. Traditional craftsmanship and materials are met with cutting-edge technology and visionary design that pushes the boundaries of luxury whisky presentation.

Bentley’s product and lifestyle design manager, Chris Cooke, comments: ‘This was a real collaboration between two design teams which sit in very different industries. In the automotive business, we are obsessed with surfaces, form language and reflections, while the whisky industry is focused on craft, attention to detail and flavour. So, for both teams, it was something brand new that we hadn’t done before which was incredibly exciting.’

The Macallan Horizon is a beautiful object in itself. Lit from within, and cast in a warm amber glow, with light used as a key element that interplays with the materials – the piece has no standing base and features a glass bottle with a dynamic 180-degree twist.

Says Cooke: ‘If we imagine what the future might look like, it is what we are doing today.’

INFORMATION

The Macallan Horizon will be available as a whisky product from Summer 2023.

Information regarding pricing and availability of The Macallan Horizon single malt whisky will be shared closer to its release on themacallan.com and bentleymotors.com

Exciting news from the premium spirits circuit as whisky expert George Koutsakis and Formula One racing star Jenson Button have united to create Coachbuilt – their impressive and delicious blended Scotch whisky.

The fortuitous meeting of this duo, both masters of their respective crafts, led them to discover a mutual appreciation of the similarities between coachbuilding and the blending of the best whiskies – each requires knowledge born of experience, great talent, and exceptional expertise.

The Coachbuilt name refers to the craft and engineering of luxury coachbuilding: the highly precise design and manufacture of the external body of a racing car, which global brand ambassador Button is passionate about. Indeed, the elegant Coachbuilt bottle reflects this, with the forms of car panels and a steering wheel etched into the glass. Button comments: ‘The timing was brilliant – I was in the middle of launching our coachbuilding company Radford [with designer Mark Stubbs and TV mechanic Ant Anstead] when I got introduced to George as he was on a mission to create the ultimate blended whisky.

‘I’ve always loved whisky but didn’t know a huge amount about the blending world. However, the more we talked, the parallels between blending and coachbuilding became pretty apparent. George then sent me an early sample of what he was working on and that was that; I asked how I could get involved and two years later here we are!’

On the international whisky circuit, it could be said that blended whiskies have taken a back seat, or even sat in the side-car of the more exalted single malts (each of which is the product of one single distillery) – but a skilful blend is a pinnacle of the whisky-making craft, requiring expert understanding of its different elements to achieve a perfectly tuned result.

As the brand’s founder and CEO, Koutsakis, says, ‘Coachbuilt began from a realisation that blended Scotch whisky does not receive the praise it deserves worldwide. With our whisky we cast the spotlight on the immense skill required to take components from dozens of distilleries across the country, and piece them together, to create a liquid defined by balance and complexity.

‘From sourcing liquid from each region of Scotch whisky, to the final touch added by the sherry cask finish, craftsmanship is the core of our blend,’ he adds. Coachbuilt is a blend of spirits from the five whisky-producing regions of Scotland – Islay, Speyside, Campbeltown, Highlands and Lowlands – each showcasing very different flavour attributes. The result is a beautifully balanced whisky with a depth and complexity of flavour that offers character beyond its years, and rivals some of the best ultra-premiums in the category.

The Coachbuilt blend is smooth, rich and creamy; full bodied and intricate on the nose and palate, with notes of summer fruits and subtle spice, followed by toffee, chocolate and a touch of citrus. The finish is long and soft, with fruit, toffee, and a hint of smoke leading the way.

Koutsakis and Button are genuinely excited and justifiably proud of the whisky, and we may look forward to further triumphs from the duo; this first release stands tall as the brand’s flagship expression before the ultra-rare, aged and limited-edition releases that will be coming round the track.

INFORMATION

coachbuiltwhisky.com

The Macallan whisky brand marks an extraordinary event in its history, as it unveils The Reach – a rare and highly significant 81-year-old single malt, and the oldest whisky ever released by the company.

The Reach was laid down in 1940, at The Macallan Estate above the River Spey in north-east Scotland, amid the turmoil of the Second World War, which compelled the distillery (which today occupies a Rogers Stirk Harbour + Partners building, completed in 2018) to close its doors for the first time since it was founded in 1824.

This incomparable whisky is a testament to the skill and endurance of the craftspeople behind its creation, the dedication necessary to resume the art of whisky-making during turbulent times, and the excellence of those who continue to uphold the distinction of the brand today.

The Reach decanter

To honour the momentous launch, The Macallan is presenting The Reach in an exquisite decanter of mouth-blown glass, cradled on a bronze sculpture of three hands.

Sculptor Saskia Robinson created the piece with bold artistry – working with countless drawings, and the brief that each hand would represent important characters in The Macallan’s unique story. One commemorates the distillery workers of 1940, whose hard work and expertise brought the fine single malt into existence; another is the hand of one-time chairman Allan Shiach, whose grandfather headed the company when this remarkable spirit was first consigned to its cask; and the third is that of today’s master whisky maker Kirsteen Campbell, who carefully selected the 1940 cask used to create The Reach.

As Campbell explains, ‘The creation of many hands, The Reach has been a truly collaborative effort. It’s also a tribute to the people who made this precious whisky, and their enduring spirit, which never wavered.’

The eight-decade old spirit is revealed within layers of wood, bronze, liquid and glass – with an attention to detail that extends from the magnificent form of the sculpted hands, to the glass surface of the decanter, which features subtle indentations matching the fingerprints of the bronze hands that embrace it. The decanter is housed within a cabinet crafted using wood from a fallen elm tree that is thought to have been on The Macallan Estate in 1940.

Glowing at the centre of this visually arresting presentation is the whisky itself. Campbell says, ‘Its deep auburn hue is the first hint of this remarkable whisky’s astonishing depth. Offering notes of dark chocolate, sweet cinnamon and aromatic peat, leading on to treacle toffee, crystalised ginger and charred pineapple, before giving way to an intensely rich, sweet and smoky finish.’

Few will have the opportunity to taste this unique legacy, as The Reach is limited to only 288 decanters worldwide, priced £92,000 each.

INFORMATION

themacallan.com

In partnership with Mortlach

Mortlach By Design is a programme that sees the nearly 200-year-old whisky brand invite six designers to take inspiration from its unique characteristics, and the sculptural forms of the six stills behind its signature 2.81 distillation process, to create diverse projects. 

As part of Wallpaper’s contribution, US director Michael Reynolds and entertaining director Melina Keays hosted a 1930s-inspired, speakeasy-style dinner at interior designer Ken Fulk’s Tribeca loft, working with chef Hari Nayak, from Priyanka Chopra’s much-talked-about Indian restaurant Sona, to create the perfect dishes to pair with the unique and robust flavour profiles of Mortlach’s 12-, 16- and 20-year-old whiskies. (The dishes are shown here, recreated in Sona’s Flatiron restaurant.)

Mortlach whisky and a speakeasy-inspired soirée

Guests were offered a choice of whisky cocktails on arrival, specially crafted to celebrate the spirit’s complex and robust flavour. There was a Scotch Manhattan, New York’s rich and smoky take on the classic Rob Roy, made with 12-year-old Mortlach, sweet vermouth and dashes of bitters; and a Boulevardier, aka the Whisky Negroni, composed of 12-year-old Mortlach, sweet vermouth, and Campari. 

The latter’s creation is accredited to Erskine Gwynne, the American-born writer who founded Boulevardier magazine in Paris during the 1920s. Both cocktails were the perfect complement to the crab puri and caviar appetizers passing through the room. 

Mortlach 16 – with ice and soda – was served with dinner, chef Nayak pairing the complex expressions and unique flavour profiles of the whisky with beet galouti, buckwheat bhel and tamarind lamb chops. 

Alongside the darkly glamorous chocolate bebinca dessert, a dram of Mortlach 20-year-old provided a bold and magnetic finale.

INFORMATION

mortlach.com 

All interior items not credited are from Sona. With thanks to Sona, 36 East 20th Street, New York, sona-nyc.com, and Mortlach

Of the world’s great drinks, single malt whisky, and the places where it is made, are particularly well endowed with heritage, culture, and beautiful surroundings. Glenmorangie Distillery, deep in the rugged Highlands of Scotland, has channelled these attributes towards creating an immersive whisky experience that offers the chance to appreciate every part of the whisky story at its source.

Glenmorangie House

Visitors may elevate their single malt adventures with a stay at Glenmorangie House, which is nestled in the stunning Highland landscape and only moments away from the distillery. The beautiful 17th-century house is surrounded by fields of barley, from which whisky is made, and has recently undergone a dramatic reincarnation that takes guests on an exciting sensory journey through the whisky-making process.

Designed with exuberant flair by Russell Sage Studio, every space is a window into the whisky world. Take a seat in the morning room, which, with its golden, hand-painted Fromental wallpaper, nods to a sun-filled barley field before harvest. The dining room, meanwhile, suggests the heat and grandeur of copper stills. Each of the luxurious bedrooms reflects an enticing aspect of whisky’s colours, tastes and scents, and is scattered with quirky and delightful details.

Russell Sage remarks on the ‘aim to create a joyful experience’ and for ‘people to have a real sense of surprise and discovery’. The drawers in the sunset room, for instance, are lined with maps of Jerez – a reference to Glenmorangie’s Lasanta expression, which is finished in sherry casks from Jerez in Spain.

A sense of place and community is enhanced by the celebration of local artisans, who have been called upon to craft unique pieces, from paintings and prints to hand-tufted rugs, blown glass, and woven willow baskets.

The world of whisky is steeped in history and heritage, but that is not to say that it is positioned in the past; far from it, the whisky experience is constantly moving forward with our modern world, and in addition to the reimagining of the house, the distillery has now revealed The Lighthouse research and innovation lab designed by architects Barthélémy Griño, a groundbreaking multi-million pound expansion to its existing stone buildings. 

Glenmorangie Distillery extension

The Lighthouse may be seen as a whisky maker’s playground, where Dr Bill Lumsden, Glenmorangie’s director of whisky creation, continues his pioneering work in pushing the boundaries of single malt production. 

The 20m-high glass building takes its place as a dramatic modern feature of the Highland coastline, with the signature, tall copper stills visible through the glazing. The custom-designed stills feature a host of modifications that hugely expand what is possible with the raw ingredients for producing whisky (there are only three: barley, water and yeast). A laboratory is housed above the still house, in which Lumsden and his team experiment.

The combination of heritage, technology, and exceptional expertise yields delicious results that are all to be explored at Glenmorangie, whose portfolio is showcased at the distillery and the house, where you may retire at the end of a glorious Highland day, reflect on the magnificent experience, and savour a cocktail by the fire.

INFORMATION

theglenmorangiehouse.com

When Shanghai-based architecture studio Neri & Hu won Pernod Ricard’s competition to design a home for its first whisky distillery in China three years ago, Lyndon Neri and Rossana Hu’s vision was to combine the values of an innovative new brand with the cultural heritage of its location. As a result, The Chuan Malt Whisky Distillery, bridges cutting-edge technology with Chinese tradition, set in its idyllic, rural location. 

The architectural site, in the Sichuan province, nestles among a meandering creek and terraced fields overlooked by the imposing and spiritual Mount Emei – a stunning Unesco World Heritage Site – and reflects the traditional Chinese philosophy of the interdependence between mountains and water. This not only presents a deep understanding of nature, but also expresses its metaphorical power.

The Chuan Malt Whisky Distillery

The complex itself symbolises this natural formation in many ways. The distillery buildings are a reinvention of everyday traditional Chinese architecture, while the visitor-experience spaces mirror the elements of the terrain. The distillery comprises three long, parallel buildings on the north side of the site, nestling into the slopes, while the roofs are supported by a modern concrete post-and-beam structure. The descending rooftops are made from reclaimed clay tiles to give an effect of permanence.

There are two visitor-experience centres in the complex, which are graced by strong, primary geometric forms – the circle and the square. The ‘circle’, a tasting-experience building, is partly underground, with five subterranean tasting rooms enveloped by a domed courtyard featuring a central cascading water feature. The top of the dome protrudes slightly above the ground, topped by three concentric brick rings evoking the silhouette of Mount Emei. Further down the slope, the ‘square’ restaurant and bar volume is cantilevered on two sides with one corner leaning over the creek. 

The design for The Chuan Malt Whisky Distillery also pays tribute to the site’s natural resources. The boulders taken from the ground when the site was levelled have been recycled to provide infill for the rock walls. In addition, other materials – concrete, cement and stone – are a nod to the minerals that can be found on the site. The craft of whisky, appropriately, provides the theme for the interiors, with tools such as copper distillation pots and aged oak casks evoking the rich sensual comforts of the famous spirit. 

INFORMATION

neriandhu.com

The 1960s were a notably creative and exciting decade in which many good things were born, including Suntory’s Yamazaki 55 Year Old whisky – the oldest in its history.

The House of Suntory has now released its highly anticipated blend of unique and exquisite single malts. Yamazaki 55 is a whisky whose journey began during the 1960s under the supervision of Suntory’s founder Shinjiro Torii, who built the Yamazaki Distillery in 1923. It stands as Japan’s first and oldest distillery, and is the birthplace of Japanese whisky.

The distillery is nestled in a misty valley at the foot of Mount Tennozan near Kyoto, where the region’s humidity and diverse temperatures, and the exceptionally high-quality mineral water, create the perfect conditions for the making of fine whisky.

Japanese whisky: delicacy, balance and complexity

Japanese distillers follow the Scottish standard for whisky production, but they tread their own path and have their own ways. The unique Japanese whisky palate has three main requirements: delicacy, balance, and complexity.

Chief blender Shinji Fukuyo worked closely with third-generation master blender Shingo Torii, and with their art and wisdom, created a complex spirit of extraordinary depth and splendour.

The deep amber colour is distinctive of the Japanese Mizunara oak casks in which it is first aged; Mizunara is much scarcer and more expensive than European or American oak, and tricky to work with, but skilfully used, it imparts exquisite nuances of flavour. Yamazaki 55 offers notes of sandalwood and ripe tropical fruit; the finish is slightly bitter, yet sweet, rich and smooth, with some lingering smoky peat.

Did we mention that Yamazaki 55 is a rare whisky? Presented in an engraved crystal bottle whose neck is wrapped in handmade Echizen washi paper and bound with Kyo Kumihimo braided cord (a traditional Kyoto craft), only 200 bottles exist worldwide, each retailing at $60,000. It is rare indeed, and a fitting tribute to the legacy of the founding family of Japanese whisky.

INFORMATION

whisky.suntory.com

American graphic designer David Carson knows how to execute a project with unconventional, hand-crafted flair; his latest for The Macallan Concept No. 3 whisky is no exception. 

Concept No. 3 is the latest launch in The Macallan Concept Series, a limited collection of annual release whiskies that blend creativity and the art of whisky-making. Carson’s intervention on the luxury single malt scotch whisky involves a bold new take on the bottle’s label and presentation box.

Carson’s career has not been short of accolades, or variation. He’s created campaigns for the likes of Ray-Ban, and Omega, art-directed 1990s alternative rock-and-roll magazine Ray Gun, designed a Wallpaper* Handmade limited-edition subscriber cover and was named one of only two graphic designers selected by Apple as part of its iconic ‘30 most innovative users’ list. Alongside pushing the boundaries of art direction and revolutionising typography, he’s also a professional surfer.  

Wallpaper*: How did your collaboration with The Macallan whisky come about?

To gather inspiration for the project, Carson visited The Macallan’s 485-acre estate in Scotland’s Speyside – with a distillery designed by Rogers Stirk Harbour + Partners – where he spent time immersed in his surroundings and picked the expert brains of The Macallan whisky maker Polly Logan (he even incorporated the letter ‘P’ for Polly into his final creation). Inspiration for the collaboration swung both ways: the whisky’s pale yellow colour, named Californian Gold, reflecting both the blend’s citrus notes, but also Carson’s sun-soaked days on the West Coast surf. 

We speak to David Carson about the creation of The Macallan Concept No. 3, and the beauty of ‘hand-doneness’. 

David Carson: I was visiting an artist friend in Barcelona, Ramon Enrich. Ramon had been invited to take part in a ’creativity day’ organised by The Macallan, and he suggested that I be included. This was my first introduction to working with the brand, and during the experience, I gave a presentation on branding, design, and my work. The day was a huge success and eventually led to our collaboration. It was an unexpected pleasure and rare opportunity to collaborate with such a unique and respected brand on The Macallan Concept No. 3.

W*: How did your time spent on The Macallan estate inform the direction of your work?

DC: The amazing architecture of the distillery really stood out, especially the way it blends in so well with the landscape. The extraordinary grounds, trees and open spaces, the River Spey, and really just the whole environment on the estate seemed to whisper freedom, creativity, nature, colours and humanity. And, like all great experiences, the people helped make it – amazing, warm, friendly people, who are passionate about life and what they do.

Everything provided inspiration – the rich colours of the buildings, the handwritten type which was written in various colours, parts of the casks, and the people who checked on the casks daily. Overall, I think the colours and the humanness of the process influenced me a lot in wanting to do the artwork by hand. 

I also used photos I’d taken as we visited the various areas of the estate, weaving them into my work. I took such a warm feeling from the whole experience, and I hope my design for the project gives people a bit of the same feeling. 

W*: Can you describe your approach to creating the collage?

DC: I took a lot of photos with my phone, and was especially intrigued with the warehouses where the whisky matures in the casks. The Macallan estate is one of the few distilleries able to store and age all whisky on site. 

Taking in the entire experience of my visit, I started working with printouts of my photos combined with various screen prints I had made over the years. It’s a very intuitive, subjective process. I often arrange elements on the floor, with many tweaks, until I am happy, then I photograph the end result with my phone. This allows me to get some depth and texture, even shadows, that a scanner wouldn't do. The very last process is to actually glue the elements down to the art board.

INFORMATION

themacallan.com

Long before it is decanted into glass bottles or poured into crystal tumblers, The Macallan’s single malt whisky lives in the woods. At the beautiful Rogers Stirk Harbour + Partners-designed distillery in Speyside, Scotland, a dedicated Master of Wood sources oak for more than 200,000 barrels from trees in the US and Spain. The wood is dried, shaped and formed at a specialist Spanish cooperage, the barrels then seasoned with dark, orange-amber hued, richly textured Oloroso sherry from Jerez, in southern Spain. An essential contribution to the quality, colours, distinctive aromas and flavours of The Macallan's malt whisky, this slow, expensive, meticulous and usually unseen process has now been chronicled by Magnum photographer Steve McCurry.

Beginning his ‘wood journey' in the vast green forests of Northern Spain, the source of European oak for The Macallan casks, McCurry photographed tall trees and burly loggers. He then travelled to the sawmills of Santander, and to cooperages in Jerez, where The Macallan's casks are hand-crafted and seasoned. McCurry also visited Pennsylvania, where he discovered the influence of American oak, key to the unique flavour of The Macallan's Double Cask range.

His lens followed the oak all the way to The Macallan Estate on Speyside, watching in the distillery as the casks were filled with new-make spirit, ready to be matured under the watchful eye of The Macallan’s whisky mastery team.

As well as evoking the sights, sounds and even the smells of the forests where the oaks that form The Macallan’s casks are grown, McCurry’s work also reveals the craft and commitment of the coopers who spend many years learning and perfecting their art.

‘Steve’s outstanding images provide a unique insight into the intensive process of sourcing, crafting and seasoning our exceptional oak casks,’ says Stuart MacPherson, master of wood at The Macallan. ‘With up to 80 per cent of The Macallan’s final flavour and character determined by cask quality, Steve has recorded the painstaking commitment and attention to detail that we uphold.'

For McCurry, the project has provided compelling new insights into the mastery of wood and spirit, which The Macallan has honed since 1824. ‘The thing I admire about The Macallan is their passion for craftsmanship, their excellence and their integrity for their processes,' says the photographer. ‘Sometimes you have to choose a different path – the one less taken – to go beyond hardship, to reach excellence.’

McCurry’s interpretation of The Macallan’s wood journey follows his previous work with the brand to document the build of The Macallan Distillery, alongside fellow Magnum photographers, in 2018.

INFORMATION

magnumphotos.com

themacallan.com

Spend your money on experiences rather than things – this now popular philosophy has weight and wisdom. A great experience will enrich and educate you well beyond it’s actual duration, especially if it has been created, with note-perfect finesse, by those who know a thing or two about life’s pleasures.

Clos19 is a lifestyle retail house, and a branch of Moët Hennessy, the wine and spirits division of LVMH. Embracing this life philosophy, Clos19 is presenting a range of experiences that bring a new dimension to the enjoyment of LVMH’s champagnes, wines and spirits. From a bespoke Champagne tour to foraging in New Zealand, they have used their credentials and expertise in the luxury world to curate adventures and encounters in spectacular settings — none more breathtaking than the Highlands of Scotland, where the Glenmorangie Experience takes place.

The immersive experience is particularly resonant in the Highlands, where the elements of earth, wind and water, and the dramatic landscape, are so intimately connected with the whisky scene. Glenmorangie means ‘the glen of tranquility’ – and it lives up to its name. Serenity can be felt from the moment you arrive.

Staying amidst the tartan elegance and considerable comforts of Glenmorangie House, you are surrounded by the very fields of swaying barley from which Glenmorangie single malt whisky is made. This, and water from the mineral-rich spring, (whose location is a closely guarded secret), are its only ingredients, apart from the passion and life-work of those who distill it.

There is mysterious alchemy in the creation of fine whisky — the subtle nuances and fantastic complexity of its flavour belie the apparently simple ingredients. Exceptional skill and knowledge, and a certain artistic sensibility, are required to produce the elixer. It is not for nothing that Dr Bill Lumsden, Glenmorangie’s Director of Distilling and Whisky Creation, has won numerous accolades and become an icon of the whisky world.

The personal tour of the distillery (pictured top), guided by an expert, sheds light on the process — barley, casks and all. Did you know, for instance, that the golden hue of whisky comes purely from the wood of the cask? (The spirit is crystal clear before it is transferred from the stills to the oak casks.) Your understanding will be further expanded at a behind the scenes warehouse tasting, where a range of Glenmorangie expressions are sampled in-situ.

Nothing though, makes you appreciate the spirit of the Highlands like feasting on the superb local seafood and (delicious) haggis, whisky glass in hand, while being serenaded by a bagpiper. Rich layers of tradition and history are woven into The Glenmorangie experience, and local artists celebrated — you may even try your hand at stone-carving, under the expert eye of sculptor Barry Grove.

The ancient art of falconry is another possibility, if you so desire. The grip of a hawk’s talons, or the weight of an owl, is a strange and beautiful sensation. Either way, this tapestry of pleasures, with whisky woven in, leaves a lasting impression.

INFORMATION

clos19.com
glenmorangie.com

Many crossovers led to the collaboration between Welsh designer Bethan Gray and Scottish whisky maker Glenlivet. The 194-year-old distillery liked the British designer’s combination of natural materials and craftsmanship, and that fact that her grandfather was from nearby was also a bonus. ‘He was a research forester and helped replant the Cairngorms National Park (in which Glenlivet’s distillery is located) with indigenous trees after the Second World War,’ explains Gray.

Gray created 150 limited-edition bottles and display cases to celebrate the launch of Glenlivet’s latest Winchester Collection. Local references abound; each bottle was hand blown by Scottish master glassblower, Brodie Nairn at his workshop in Tain, and feature incisions that fade from bottom to top and from front to back. ‘I wanted to emphasise how the whisky, which is a 50-year-old single malt, changes from light brown to a dark honey colour as it ages,’ says Gray. ‘Hand blowing bottles is very difficult. You need to know just how much glass will create a vessel for an exact amount of liquid,’ she adds, estimating it was a one in eight success rate.

The collection is created in honour of Glenlivet’s master distiller Alan Winchester. ‘I wanted to incorporate Alan’s passion for the local countryside into the design,’ says Gray. Each case lid is inlaid with mother of pearl taken from the fresh water mussels that populate the River Spey and the cases themselves are grey, to echo the barrels in which the whisky is stored. (These are recycled from the bourbon and sherry industries and are then set alight, a process which infuses the whisky with a subtle smoky flavour.)

The copper inlay on each box is a nod to Glenlivet’s copper stills, or vessels, in which the whisky is distilled. Its Dhow pattern is a motif that has become synonymous with Gray’s design, appearing on her furniture and ceramics.

Each bottle costs £20,000, but as single malt whisky catches up with fine wine as an investment, its value is sure to rise. Assisted, no less, by its elegant design.

INFORMATION

For more information, visit the Glenlivet website, or Bethan Gray website

It would be hard to think of anyone more appropriate for making our bespoke whisky set than Peter Ivy. His reasons for doing what he does are exactly what Wallpaper* Handmade is all about. Originally from Austin, Texas, he now works from his small studio in a tiny hamlet just outside of Toyama, Japan, where he pursues a collaborative, hands-on effort, working with an assistant, always striving for a result slightly better than before. That he loves one-off projects, as opposed to making the same thing over and over again, made this an even better fit.

Ivy studied product design at the Rhode Island School of Design, but he quickly discovered that he didn’t like the way manufacturing was heading, with design and production being split into two completely different entities, often across large distances both culturally and physically. He wanted to be closer to the actual creation process and by chance stumbled upon glass making during his student days. He was hooked. ‘I like the mental focus and physical coordination needed,’ he explains. ‘Glass is fluent, and contrary to what many people think, you cannot really control it, but rather only make suggestions with your hands and tools towards the shape you are striving for.’ It seems he must be very good at making suggestions. This becomes clear if you look at the level of precision exhibited in all his pieces – for example, the perfect fit of the cups and bottles for the Wallpaper* Handmade whisky set, or the lids for his coffee bean and rice jars. 

Ivy had a clear idea of what he wanted to do from the very beginning. ‘I had done a shochu picnic set before,’ he says, referring to the Japanese spirit, ‘and had wanted to work on a version for whisky for a long time. This was the perfect excuse to do so.’ Our initial idea was to have him make a bottle and glass set and use granite ‘ice cubes’ to cool the dram. However, through his research, Ivy learned that such stones weren’t the best solution for anyone serious about whisky. Instead, he came up with the idea of using custom-made copper ‘weights’ to cool the drink. ‘When considering which materials to use, I thought of the process of how whisky is made,’ he explains. The copper stills used during distillation led him to the idea. Copper has the added benefit of being an excellent thermal conductor and matches perfectly with the copper-coated steel wire mechanism Ivy settled upon to hold the bottle and glass, or glasses, together.

Rather than theorise a design, Ivy likes to get right down to it and work on the idea to find the perfect shape. ‘It’s the doing and thinking that distils the idea.’ Pun unintended, he explains with a smile. Once he had decided on the general form, it was just a matter of perfecting each element.

Ivy worked on two versions, a one-glass and a two-glass set. In the first, the glass sits snugly over the top of the whisky bottle, while in the second, the bottle appears to float mid-air between two glasses by way of a small fold in the middle of the bottle, which rests on the edge of the bottom glass. These pieces are all made from recycled glass reclaimed from fluorescent tubes. Ivy likes this low-grade, hard-to-use material, because of the textural quality that the many small imperfections (bobbles, unevenness) give to his final product. He made grooves in the bases of each glass to accommodate the simple, almost flimsy, wire mechanism with a small bamboo handle that holds them together with the bottle.

To cool the whisky, Ivy had a friend mill two copper weights, which are presented in a small carrying box made of Japanese oak (again, a reference to whisky making). The weights should be chilled in advance and lowered into each glass to cool the whisky – fitting snugly on the vessels’ kick-up bases (or ‘kicks’ as Ivy calls them) – then removed before drinking.

Ivy likes to have several layers to his work. There is the overall aesthetic, but when you look more closely you notice small details that add depth and interest. Irregularities in the glass decorate the seemingly plain surface. Jack marks (lines left from the tool used to ‘open’ the glass) circumvent the top 2cm or so of the glass and are deliberately not smoothed out, remaining as clues as to how the set was made. It has been said that it is the little inaccuracies that characterise quality handcraftsmanship. We’ll drink to that.

As originally featured in the August 2015 edition of Wallpaper* (W*197)

Following the success of 2012's 'Modern Gentleman' project, an ambitious, collaborative effort that saw Glenmorangie and Wallpaper* teaming up to encourage craftspeople to create a collection of one-off, whisky-inspired furniture, lighting and accessories, Wallpaper* and Glenmorangie has joined forces once again.

Six designers from our young, global talent roster were asked to submit three Glenmorangie glorifier creations. The brief? To enhance the visibility and desirability of both the Glenmorangie 18 Years Old and Signet expressions of whisky, either on or behind the bar, or on a table in an Asian 'on-trade' venue.

It was, said David White, Glenmorangie’s Marketing & Communications Director 'a project that brings together Glenmorangie's passion, craft and innovation with the design flair and dynamism of Wallpaper*'.

After the prototypes had been posted on our respective websites, we asked the combined Glenmorangie and Wallpaper* publics to vote on Facebook for their favourite six designs from the original 18. The result is a collection of provocative and imaginative glorifiers of rare quality, wit and impact. From the six pieces, Glenmorangie has selected its favourite - an extraordinary wood relief confection design by Rolando Rodriguez-Leal of Aidia Studio that will be put into production for use behind cocktail bars and on lounge tables all over the world.  

Now, for the first time, Wallpaper* presents the final six glorifiers…in all their glory.

Glenmorangie’s 18 Years Old is a premium single-malt Scotch whisky of serious distinction. Wallpaper* worked with the venerable Highlands-based brand on last year’s 'Modern Gentleman' by Glenmorangie and Wallpaper* project, an ambitious collaborative effort that saw us commissioning a collection of one-off whisky-inspired furniture, lighting and accessories from a handpicked selection of designers and craftspeople.

For this year’s challenge, we’ve teamed up with Glenmorangie again and selected six more designers from Wallpaper’s extended global talent network.

We’ve provided each one with a simple brief: use your craft, creativity and technique to create bar-room glory with a multiple-bottle display – what’s known in the drinks trade as a ‘bottle glorifier’.

Our six designers’ role is to enhance the visibility and desirability of both the Glenmorangie 18 Years Old and Signet ranges of whisky, either on or behind the bar, or on a table. The glorifier must work for both ranges (both bottles having the same footprint and diameter).

For the first stage of the project we’ve asked each designer to submit three initial glorifier designs in the form of sketches. Then it’s up to you.   

From these three preliminary sketches Glenmorangie is asking Wallpaper.com readers and Glenmorangie Facebook friends to decide which one of the concepts, by each designer, will go into production for a special Wallpaper* feature early next year.

We’ve got a buried treasure story for you, complete with a windswept island setting, and casks of rare, golden whisky.

Bunnahabhain distillery, founded in 1881, sits on the north-east shore of Islay, the southernmost of the Hebridean islands, off the west coast of Scotland. This remote location, with its cold sea air and pure spring water, is key to the unique character of Bunnahabain whisky, which also holds the distinction of being the only ’non-peated’ Islay single malt. Its taste is quite different from the others; smooth and subtle, it is known as the ’gentle taste of Islay.’

The hero of our Scottish tale is Ian Macmillan, Bunnahabhain’s esteemed master distiller, with over 30 years experience under his kilt. Perusing the ancient whisky ledgers, he happened upon an entry that referred to casks laid down four decades ago. Immediately realising its significance, and with mounting excitement, he followed the trail to the cavernous Bunnahabhain storerooms, and discovered the ’Turney’ casks, filled with precious malt whisky by eminent Glasgow wine merchants, J G Turney, and known for being the highest standard of quality. They had remained hidden, quietly maturing, for over 40 years.

The exhilaration of this incredible discovery was fully justified upon sampling the whisky, for the years had treated it well. The taste is magnificent and unique, with fragrant notes of sweet oak, hazelnut, citrus, and chocolate, finishing with just a hint of sea salt that places you at Bunnahabhain’s island home.

Even by Bunnhabhains’s rareified standards, this was a very special find; pure gold (literally) to international collectors of rare malts. The distillery has announced it will release a one-off prestige bottling of only 750 individually numbered and hand-signed bottles, presented in a bespoke oak box. Renowned illustrator Iain McIntosh was commissioned to design the beautiful label that commemorates this extraordinary event, and tells the story of Bunnahabhain 40 Year Old, with its 750 happy endings.

Chivas Regal with Bang Bang Chicken

18-year-old Blended Whisky, £41, by Chivas Regal

Serves: 4

4 skinless boneless chicken breasts
2 tbs sesame seeds
1 cucumber
1 carrot
4 spring onions, trimmed and chopped

For the dressing:

4 tbs smooth peanut butter
2 tbs soy sauce
2 tbs toasted sesame oil
2 tbs light vegetable oil
2 tsp Szechwan chilli oil (include some of the chilli flakes in the oil)
Juice of half a lime
1 tbs sugar
1 tbs finely grated fresh ginger

1. Place the chicken in a pot, cover with water, bring to the boil, then turn down the heat and simmer for 15 minutes until cooked through. 

2. Remove from the liquid and allow to cool. When cold, place each breast on a board and bang it sharply two or three times with a rolling pin to begin breaking up the flesh. Shred the chicken into strips. Place in a bowl and set aside. 

3. Put the sesame seeds in a dry frying pan over a medium to high heat. Toast them, shaking the pan constantly and never leaving them unattended, as they will turn golden brown very quickly. 

4. Pour out onto a plate and set aside. Peel the cucumber, slice into quarters lengthways, and cut out the seeds. Julienne the cucumber into strips roughly matching the chicken shreds. Peel and julienne the carrot similarly. 

5. To make the sauce, place all the dressing ingredients in a bowl over a pan of simmering water. Whisk for a minute or so, until the sugar has dissolved and you have a smooth paste. Remove from the heat. Whisk in approximately 100 ml of hot water, more or less, gradually, until you have a thick dressing. 

6. Compose the plates with a layer of cucumber, carrot and spring onion, followed by the chicken, and then the sauce. Sprinkle with sesame seeds and serve.

All photographs by Richard Foster

Glengoyne with venison carpaccio with beetroot salsa

Ten-year-old Highland Single Malt Whisky, £35.95, by Glengoyne

Recipe by Tom Lewis of Monachyle Mhor Hotel, Perthshire, Scotland. 

200g loin of wild venison
a sprig of thyme
2 beetroot, peeled and diced
3 tablespoons light olive oil
1 tablespoon aged sherry vinegar
juice of half lemon
2 small shallots, finely chopped
1 small mild chilli, finely chopped
10 yr old Glengoyne malt whisky, to taste
a handful of dressed garden leaves (rocket and land cress)

For the horseradish crème fraîche:
5 tablespoons crème fraîche
1 tablespoon mayonnaise
a thumb of fresh horseradish, peeled and grated
a squeeze of lemon
a few drops Tabasco, to taste (if required)
salt and freshly ground black pepper



1. Preheat the oven to 220C/350F/Gas 5.

2. Season the venison well and rub with thyme. Heat a heavy frying pan add a dash of olive oil, then sear the venison evenly all over, counting to ten slowly while you turn it around. Remove to a tray to cool and rest.

3. Roast beetroot in foil envelope with fresh thyme and olive oil and a couple tablespoons water for 40 mins. Cool. When cold, peel and dice, then mix in the remaining ingredients, adding a dash of Glengoyne to taste. Season with salt and pepper and leave to infuse for 20 mins.

4. Mix the crème fraîche with the mayonnaise and horseradish. Leave to infuse for 1 hour then pass through a sieve.

Hakushu with sashimi

12-year-old Hakushu Single Malt Whisky, £47, by Suntory, from Royal Mile Whiskies

Slice thin strips of tuna, fatty tuna, salmon and squid with your sharpest knife. Serve with pickled ginger and wasabi

Greenore with smoked salmon and soda bread

Greenore 15-year-old Single Grain Irish Whiskey, £52, by The Cooley Distillery, from The Whisky Exchange

Smoked Salmon made by Frank Hederman at The Belvelly Smokehouse Co. Cork.
Available from Fortnum & Mason, Selfridges, Wright Brothers, Borough Market.

Soda Bread
Makes: 1 loaf

250g wholemeal flour
200g plain flour
1tsp salt
1tsp bicarbonate of soda
300ml buttermilk, or a mixture of 150ml sour cream and 150ml water, whisked together.

1. Grease a baking sheet. Preheat the oven to 200ºC. 

2. Mix the flours, salt and bicarbonate in a large bowl. Make a well in the centre and pour in the buttermilk. Stir, and bring the dough together, then knead briefly and lightly with your hands to make a smooth, slightly flattened, round ball. 

3. Place this on the baking sheet and score a deep cross in the loaf. Bake for 30 minutes. The loaf should be well-browned and sound hollow when tapped on the base. Cool on a wire rack.

The Balvenie with Dundee cake

12-year-old Double Wood Single Malt Scotch Whisky, £29, by the Balvenie

Whisky Dundee cake

100ml whisky, plus more for feeding
350g mixed dried vine fruit
100g glace cherries, halved
50g chopped candied peel
zest of one orange
150g butter at room temperature
150g soft brown sugar
3 eggs, beaten
200g plain flour
a pinch of salt
1 tsp. baking powder
2 tbs ground almonds
100g whole blanched almonds

1. Place the vine fruit, cherries and orange zest in a bowl with the whisky, and leave to soak overnight.

2. Grease an 8 inch 20cm round baking tin, and line with baking parchment. Preheat the oven to 170ºC. Sift together the flour, baking powder, and salt and set aside.
Beat the butter and sugar together until light and fluffy. Add the beaten egg, a little at a time; making sure each addition is thoroughly incorporated before adding the next. 

3. Carefully fold in the flour mixture, and then the ground almonds. Mix in the fruit and whisky. Spoon the mixture into the tin, smoothing the surface with the back of a spoon. Arrange the blanched almonds on the top of the cake, pressing them in only very lightly, to avoid them sinking during baking. 

4. Place the cake in the oven for 1 hour 45 minutes -2 hours until the centre is firm and the cake golden brown. Cool in the tin for 30 minutes, then remove to a wire cooling rack. Make small holes in the top of the cake and feed it by sprinkling the surface with couple more tablespoons of whisky.

Johnnie Walker with Lamb Bhuna

Black Label Blended Whisky, £34, by Johnnie Walker

Serves 4-6

4 tsp coriander seeds
2 tsp cumin seeds
2 tsp mustard seeds
2 tsp fennel seeds
2 tsp fenugreek seeds
2 dried red chillies, broken onto pieces
1 tsp black peppercorns
5tbs tbs vegetable oil
1 large onion, peeled and finely chopped
1 thumb sized piece fresh ginger, peeled and finely chopped
4 large cloves of garlic, peeled and finely chopped
3 peeled chopped tomatoes, or 250g canned chopped tomatoes
12 curry leaves
1 kg boneless lamb, cut into 3cm cubes
11/2 tsp salt

1. Heat a heavy frying pan over a medium to high heat. When hot, add all the dry spices and stir them around for 3-5 minutes until they are fragrant, and a shade darker. Tip them onto a plate and allow to cool slightly, and then grind them to a fine powder in a pestle and mortar or spice grinder, and set aside.

2. Put the oil into a large heavy pan over a medium heat. Add the onion, ginger, and garlic, and fry, stirring constantly, for about 5 minutes, until soft and golden. Add the chopped tomatoes and the curry leaves and continue to stir-fry for about 5 minutes until you have a thick paste. Add the ground spices and cook for another minute, adding a tablespoon or two of water if the paste seems too dry. Add the meat and the salt, stirring, and coating the pieces in the fragrant spice mixture, for five minutes. Pour in 250ml water, bring to a simmer, then cover the pan, reduce the heat to low and cook for one and a half hours. After this time, remove the lid, turn the heat to high, and reduce the sauce, stirring constantly, until it clings to the meat. Serve with rice or roti.

Glenmorangie with chocolate whisky semifreddo

Signet Single Malt Scotch Whisky, £112, by Glenmorangie, from The Whisky Exchange

Serves: 8-10

250g dark chocolate at least 70%
4 eggs separated
5 tbs caster sugar
3 tbs Whisky
400 ml double cream

1. Line a 1 litre loaf tin with cling film. Break up the chocolate and place in a large bowl over a pan of simmering water, until the chocolate has melted. Stir and set aside. 

2. Whisk the egg yolks with two tablespoons of the sugar, until pale and fluffy. Beat this mixture into the melted chocolate, and then beat in the whisky. Beat in 150ml of the cream, until you have a smooth and glossy mixture. Whisk the egg whites in a large clean bowl until they hold soft peaks. Add the remaining sugar, whisk again until glossy, and set aside. 

3. Beat the remaining cream in a separate bowl until it hold soft peaks and then beat about a quarter of it into the chocolate mixture, to loosen it. Fold in the rest of the cream, and then the egg white, until all are thoroughly but lightly combined. Spoon into the tin and place in the freezer for at least 6 hours. 

4. Remove from the freezer 15 minutes before serving. Invert onto a plate, remove the cling film, and cut into slices with a sharp knife dipped in warm water. Serve with blueberries and raspberries.

Talisker with scallops with black pudding and pea purée

Ten-year-old Single Malt, £59, by Talisker, from Single Malts Direct

Serves: 4 as a generous starter

For the pea purée

40g butter
1 tbs olive oil
1 banana shallot or small onion, peeled and finely chopped
400g frozen peas
200 ml chicken stock
about 20 mint leaves
3 tbs double cream
salt and pepper

2 tbs olive oil
1 Stornaway black pudding, or approx. 400g, cut into 8, 1cm thick slices.
12 scallops
salt & pepper

1. Heat the butter and olive oil in a medium sized pan over a medium heat. Add the chopped shallot and cook for about 5 minutes until soft and golden. Add the peas and the stock, bring to the boil, turn down the heat and simmer for about 7 minutes until the peas are tender. Add the mint and cream, season to taste, and then process the mixture to an almost smooth puree, but with some texture remaining.

2. Heat a large, heavy frying pan and pour in the olive oil. When very hot, place the black pudding slices in the pan. They will need about 2 minutes on each side, the scallops one minute each side. Season the scallops with salt and pepper and place them in the pan when you turn the black pudding. The black pudding should be crispy, and the scallops well browned. 

3. Spoon hot pea puree onto each plate, add two slices of black pudding, and place three scallops on top.