Laphroaig is one of the most famous peated single malts in the world. Founded one year earlier than its fierce rival, Lagavulin, the distillery has proudly stood on the shores of the Hebridean island of Islay since 1815.

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Laphroaig is one of the most famous peated Islay single malts in the world. Explore the whiskies 

Explore Laphroaig single malt Islay whisky

About Laphroaig 

Laphroaig 

The remote Hebridean isle of Islay has an almost otherworldly quality about it. For centuries, this eerily beautiful and beguiling postage stamp of Scotland produced whiskies that elevated some of the world’s most well-known blended malts. In recent years, however, Islay has stepped out from the shadows and become one of the most lauded single malt regions in the world – a position cemented this month when a cask of Ardbeg sold for a record-breaking £16 million.   So just how did this small whisky-producing region become the most collectable name in the world?  Adam Hannett started working as Head Distiller at Bruichladdich, on the southwestern tip of the island, in 2006. He says the difference between Islay, and Islay whisky, then and now is “pretty transformative”. When he joined Bruichladdich, the Victorian distillery was six years into what would become one of the greatest distillery revivals the whisky industry has ever seen.   “Inside the distillery gates, we were at the beginning of our journey,” the Head Distiller tells me. This journey included distilling an organic spirit, running barley experiments and bringing barley-growing back to Islay. The latter, Hannett says, has “changed the landscape of the island completely”. He adds: “Gordon, our Assistant Distillery Manager, talks about how we’ve turned fields golden, which sounds a bit cheesy, but it’s true.”  Journey due east and you’ll find Bowmore – Islay’s oldest and one of its most coveted single malt producers located in the island’s capital. David Turner, who was born and raised on the island, has worked at the distillery for 30 years – for the past 10 as Distillery Manager.   “Thirty years ago we were producing a lot of our spirit for bulk, for blending purposes, and we had a few thousand tourists a year,” he tells me. “We probably had one full-time visitor centre manager and a couple of seasonal tour guides that would come on for the summer.  “I think we’ve now got nine full-time staff in our visitor centre who do tours all year round and we’ve moved away from bulk blended whisky to just being a single malt specialist now.”  During Turner’s career at Bowmore, the distillery has transformed from a lesser-known producer to one of the most collectable names in Scotch whisky. Black Bowmore, Turner says, “put us on the map for being collectable”.  “When we took these samples out the casks, the whisky colour was black,” he says, “the quality was phenomenal.”  This discovery was made in the 1990s, around the same time as the wider whisky world started to take notice of Islay after whisky writer Michael Jackson shone a spotlight on the island’s quality in his pivotal work, Complete Guide to Single Malt Scotch.   As a region, Islay has faced hardship and several distilleries have been temporary or permanent casualties. Port Ellen, one of Scotland’s so-called “Holy Trinity” of lost distilleries, is arguably the most well-known victim, closing its doors after the downturn in 1983. Ardbeg was also shuttered in 1991 and was saved by the grace of God (Glenmorangie) in 1997. Today, the region is booming and the number of producers has reached a healthy nine. This number will increase when Port Ellen is resurrected by owners Diageo imminently – an announcement met with unfettered excitement last year. These closures and shifting paradigms have created a thrilling market for collectors, as whisky enthusiasts search for bottlings from bygone eras. The 1950s through to 1970s is of keen interest as whisky was being produced on a much smaller scale via traditional methods.  Traditionally, Islay was associated with peated whisky. For a time, distillers like Laphroaig, Lagavulin and Ardbeg competed against one another to see who could produce the biggest peat bombs on the market, which divided opinion. Bruichladdich blew all the others out the water when it released Octomore 6.3 in 2015, which registered 258 phenol parts per million (the scale used to determine the peat levels of whisky). For context, prior to that release, the highest peat levels were circa 167 PPM, also from Bruichladdich.   “I think there’s a hugely diverse range of flavour in the whiskies being produced across Islay at the moment,” Bruichladdich’s Hannett tells me. “It makes defining an ‘Islay’ whisky quite challenging as there’s so much variety from one distillery to the next.   “The general public almost expects a heavy smoke, almost medicinal flavour from an Islay whisky but even within our heavily peated Port Charlotte range, we have quite a soft, heathery, barbecue smoke.”    “Islay is famous for its peated whiskies but Bowmore is not all about peated,” Turner adds. “Bowmore sits in the middle of Islay. The north of Islay is very, very lightly peated. The south is very heavily peated. We’re in between the north and the south in peating levels. We see ourselves, and call ourselves, mid-peated, or a perfectly balanced Islay whisky.”  The people of Islay – Ileachs to give them their proper name – are integral to the whisky industry on the Hebridean island. Many of the Master Distillers and Blenders are locals and the vast majority of the production team hails from the island with an average population of 3,000 people. One of the most famous Ileachs is Jim McEwan who started his career at Bowmore, where he later worked as Distillery Manager before he left to lead Bruichladdich’s resurrection in 2000. McEwan came out of retirement to spearhead independent bottler Hunter Laing & Co’s new £12 million Islay distillery, Ardnahoe, saying it was an offer he could not refuse and beyond his wildest dreams.    The distillery, located on a four-acre plot on Islay’s northern coast, between Caol Ila and Bunnahabhain, overlooking the Isle of Jura, became the ninth working distillery on the island when it opened in 2019. McEwan designed the pot stills, mash tun and mucked in with every aspect of production to create a new-make whisky that he says is everything he looks for from a classic Islay: fruit, flower, sweet notes from the mash tun, baked cereal notes, smoky flavour from the peat, and bracken, heather and wild plants from the bog land. McEwan says the spirit he’s produced at Ardnahoe is as good as anything he’s tasted in 56 years.    Islay is at an interesting point in its history. New distilleries are opening, lost names are coming back to life, and many of the old guard are reaching retirement and are being replaced by younger distilling talent. There, arguably, has never been a more interesting time in its whisky-producing history.    Hannett, who is on the younger side, says: “I’m excited to see how distilleries can continue to adapt to support the local community. We’ve got a special thing here, with a booming industry and nine working distilleries.”  Turner picks up the point: “It’s good to see the old distilleries are still thriving. The new ones have got a good future as well but they’ve got a good number of years before they get a good standard core range." He adds: “A good Islay whisky I would say is between 12, 15 to 18 years. So they’ve got a good few years to get to that, never mind becoming collectable.”  Turner has quietly been amassing a collection of his own since the early 1990s. “I was in since the very beginning,” he says. “I was lucky to be in at the right time and I’ve got a big collection. It’s not just quantity or some of the new releases. It’s old and rare and quality I’ve based mine on.”  Initially, Turner collected Bowmore and slowly started adding other Islay and Scotch limited releases to his collection. As interest in whisky grew, the Distillery Manager rejigged his collection to focus on Islay malts – at one point exclusively Bowmore, Laphroaig and Lagavulin. After a period of selling certain bottlings to buy other, more expensive ones, Turner now has an exclusively Bowmore collection. He doesn’t elaborate on this but he does add: “Aye, it’s got smaller but it’s got more quality and rarity attached to it.” One suspects it is quite something to behold.  As for his distillery, Turner says Bowmore has got “good quality stuff maturing” and “some good aged stocks”. “We were family-owned up until 1994 and the family and the directors at the time had good insight. They kept good aged stocks, so we’ve got good 30s, 40s, 50s – 51, 52-year-old whisky – maturing. This good aged stock will keep the collectability going.”  With impressive aged stocks slumbering at Bowmore and its neighbours, there’ll undoubtedly be more records broken in the coming years from this enchanting Scottish isle.    Explore all our Islay whiskies or read more Editorial 

Islay has cast its spell over the whisky cognoscenti for decades, driving independent and distillery bottlings ever higher. Holly Motion explores how this small Scottish island has bewitched fans and become the gold standard of whisky collectability  

Exploring why single malt whiskies from the remote Hebridean island of Islay have become the gold standard of collectability with Bruichladdich and Bowmore

Exploring Islay whisky’s popularity

The enchanting isle of Islay

When people say they’ve put their blood, sweat and tears into something, more often than not, it’s a figure of speech. This is not the case for Bimber Distillery founder Dariusz Plazewski, who has put everything into the build of his dream Speyside distillery, Dunphail. The day before we speak, Plazewski was on the roof of one of his new distillery buildings, mucking in and making sure the mammoth project that was a lifetime in the making stays on track.   The Polish-born Plazewski is a third-generation distiller – or more accurately, moonshiner – who emigrated to London 20 years ago. After observing the English craft distilling boom from afar, the trained architect seized the opportunity to put his family’s legacy and knowhow to good use and set about building Bimber, a single malt whisky distillery based in West London. Bimber’s inaugural bottling, The First, sold out within three hours of release in 2019 – and demand has far outstripped supply ever since.    Fast forward three years and Plazewski is mere months away from realising his dream of producing a single malt Scotch whisky. But it hasn’t been easy.   “There are lots of challenges,” he tells me matter-of-factly. When we catch up, after two aborted attempts, the Master Distiller sounds ever-so-slightly weary – and it’s not hard to fathom why. Today, he is speaking from London, where he’s been “sorting out a few things” at Bimber. He’s boarding a flight back to Scotland in a couple of days and then he’s taking a much-needed holiday – where he confesses he will be on email constantly.   Rest is not in his nature. (Plazewski has been pinballing from one project to the next for decades. By the end of 2022, he says he will have “given up” his other business and solely focus on spirits.) Nor is adhering to the status quo.    Since founding Bimber in 2015, the Master Distiller has prided himself on being a bit of a renegade. Where others have embraced modern whisky-making practices, Plazewski has been staunchly traditional in his approach – and it has served him exceedingly well. “Whisky was always my passion and when I found out that there was a craft movement of whisky and gin distilling, I just started researching,” he tells me. “It took me a long time but I wanted to do something different. I wanted to always do something which was a bit old-fashioned.”  Plazewski’s father and grandfather before him (illegally) made wine, spirits and beer in his native Poland – Bimber translates as “moonshine” in Polish – and Plazewski was an eager protégé with a natural talent from a young age. I refrain from asking how young.   “The good thing is that I understand all the production, all the process, all the fermentation, and how to make alcohol,” he tells me. “Not only whisky but how to make any alcohol really. Sense of smell, touch, and all this just naturally comes to me.”   Plazewski says his fate was sealed the moment he travelled to Scotland and fell in love with Speyside single malts. Dunphail was always going to happen – he just didn’t know when. Starting his (legal) distilling career with Bimber was a shrewd decision. English whisky was then a relative unknown, so Plazewski used this scene as his sandbox to prove to himself and others that traditional whisky production should not be consigned to the history books.   Bimber was, and for the time being still is, a small-scale traditional whisky-making operation. Local barley is grown on a single farm in neighbouring Hampshire. It is floor-malted at Britain’s oldest maltster, Warminster Maltings, and hand-mashed. The two copper pot stills are direct-fired (with a flame, as the name suggests, rather than the more modern and efficient method of steam) and fermentation times are twice the industry average at seven days.  These practices are astoundingly rare in today’s modern whisky world. The majority of producers abandoned floor maltings (the method of malting grain by hand on large malting floors) in favour of industrial malting processes and did away with direct-firing stills (in favour of steam) decades ago, deeming them inefficient and costly. While it is possible to find distillers who adopt some of these techniques – notable examples being Laphroaig, Glenfarclas and Bowmore – it is incredibly rare to find a producer who is able or willing to apply all these labour-intensive and budget-zapping practices.   “I will never be a distiller without floor maltings,” he says physically baulking at the idea of producing whisky any other way. “Never. No. For me, it is crucial,” he adds.    With Dunphail, Plazewski is going one step further than Bimber and building his own traditional floor maltings on-site. This will put Dunphail in a highly exclusive group, and the move has received mixed responses from Plazewski’s peers.   “For me it is very important,” Plazewski says. “I know many people said, wow are you crazy because this is hard work, this is lots of involvement, why are you doing it?”  I can’t help asking him the same. To which he says: “Because nobody is doing this anymore and I want to continue this craft, I want people to see how the whisky was made before. I think it is going to be good fun and I think this is going to be a great feature for our distillery.”  In addition to floor maltings, Dunphail’s stills will also be direct-fired – Glenmorangie was the first to install steam-heated stills in 1887 and countless others followed until only a handful of direct-fired producers remained. Plazewski is the first to acknowledge the practice of heating stills in this traditional way is far less efficient and costly but for him it was non-negotiable and vital to produce the highest-quality Speyside whisky possible – fruit-forward, oily and medium-bodied. He is also in the minority sourcing Dunphail’s barley and peat locally. There are undoubtedly easier routes to produce whisky but the mere suggestion is sacrilege to Plazewski.  Steadfast on his goal, Plazewski set about finding the perfect location to produce traditional single malt Scotch whisky. After years of searching, he settled on a location in the heart of Speyside – a typically renegade move as the majority of new distilleries have been built outside this iconic region. He explains: “The location was really difficult and challenging as well to be honest.”  “I love Speyside – it’s my favourite part in Scotland. First of all, it is a great area because it has got microclimate, so it’s not too cold there and it’s not too rainy. And it’s pretty sunny.” Additionally, he says: “Speyside whiskies are my favourite.”  When asked if he feels the weight of this tradition or pressure to produce a stand-out Speyside whisky in one of the most densely populated whisky-making regions in the world, he says not.   “We are tiny. We’re not going to be competing with the big, established brands. Most of the new distilleries are not built in Speyside, they are mostly built in Fife area. And not many are really going the route we are with the floor maltings and old-fashioned techniques we are trying to apply.”  In addition to the many challenges that come with building a distillery to a blueprint that no longer exists, Plazewski has embattled with supply chain issues following Brexit, Covid and now the war in Ukraine. It’s a minor miracle – and a testament to the tenacity of Plazewski – that the Dunphail build is on schedule and production is set to begin, as planned, at the end of the year.   When asked how he feels, Plazewski pauses for a moment, takes a short intake of breath and hurriedly says: “It’s amazing. It’s hard work. I need a break. That’s why I need this holiday because it’s not only physical work, it’s the mental as well – planning everything.”  He pauses again. “It’s been a stressful and challenging time. But we are on schedule, we’ve planned this well.”  After Dunphail is up and running, and Plazewski has trained his dream team to the standard of Bimber, you wonder what’s next. You sense he won’t just stop after realising his Scottish dream, and that there will be a new North Star.    When asked, he responds to the question with a wry smile, indicating this is not the first time it has been posed to him by others, or even himself. “I would say yes, I’m done after this, but people I know and people around me are saying to me, you are never going to stop, you’re going to find something else.  “But I would say I think I’ve done my dream and when this [distillery] is going to be open, I’m thinking to really concentrate and not do anything more. I don’t think I will put too much pressure on myself and my family again.” A seed of doubt creeps in and then he says resolutely: “No, this is it, it’s going to be my dream, it’s going to be super exciting and I’m not going to go for anything else. I’m just going to enjoy the time and share the drams.” We’ll ask him again in five years’ time.   For the time being, at least, Plazewski (and the wider whisky world) is satiated with turning modern whisky-making on its head and bringing fiercely traditional practices back to one of the oldest and most prestigious whisky regions in the world.   Browse all Scotch whisky or read more Editorial

For the past seven years Dariusz Plazewski has led the vanguard of English whisky-making at Bimber. With his first Scotch distillery, Dunphail, months away from production, the indefatigable architect-cum-Master-Distiller tells Holly Motion how he and his distilleries were built to be different   

Bimber has become a whisky-making icon. Now Master Distiller Dariusz Plazewski has set his sights on Scotland with Dunphail. We explore the ethos behind both

How the brains behind Bimber built Dunphail  

Dariusz Plazewski: grand designs

Of all the misconceptions about rum – and there are many – the belief that there aren’t any rules is arguably the most rife. “There is not a lack of regulation in rum,” Mitch Wilson, Global Brand Ambassador for Black Tot, says. “Rum is an umbrella term for an entire category, it does not specify a particular locale like ‘Barbados Rum’, ‘Jamaican Rum', 'Guyanese Rum’ would. Just as there is no 'one rule' for all the different whiskies around the world, there is no one rule for all of the different rums either.” Industry legend Richard Seale picks up the point. “Rules do vary from country to country in rum but that is no different to any spirit. What is different about rum is that it is rarely protected in export markets with a generic rule applying to all origins. “For example, rhum Agricole is a protected term in the EU, but in the US, you can use the term agricole with impunity. Jamaica excise law has protected its rum from adulteration for as long as Scotch whisky [regulations have existed] but you can find Jamaican rum with added sugar for sale in the EU and there is nothing at the moment to stop it.” Herein lies one of rum’s greatest problems and a source of the most heated debates: abuse. “Many rum brands have got away with misleading age claims and egregiously adulterating their products,” Seale explains. “There is little impetus to regulate. I am quite sure if similar happened with whisky, the Scotch Whisky Association would be pressing authorities to act.” Instead, it’s been something of a people’s movement and Seale says consumers are demanding more transparency. “I think huge progress has been made at the level of enthusiasts and industry professionals,” he adds. “Of course, there are many duped consumers but they are typically at a level that they do not care, so we do not care. “We have a mantra: ‘drink what you like, know what you are drinking’. Simply put, make an informed choice.” Daniele Bondi, who works for Hampden Estate's global distributor La Maison & Velier, agrees and says it’s only fair that people are made aware of the content in their glass. He adds: “You can keep adding whatever you like but tell me please. If there is a lot of sugar in what you buy, you should at least know about it like other food categories.” There are countless examples of European entities buying rum in bulk and adding sugar before bottling. They are not lawfully required to declare this and can brandish the words “Jamaican rum” on the label. This, argues many, is deceitful and incredibly harmful. “It’s important to limit this sort of practice and preserve the rum style and not create confusion,” Bondi adds. The Export Director says people will taste a sweetened Jamaican rum and not realise the liquid isn’t true to Jamaican style or that it has been adulterated. The need to disclose these practices extends beyond the consumer’s welfare and is of vital importance to the preservation of rum heritage and production methods. While valiant efforts are being made, the vested interests of some, who wield great power, are thwarting progress. For this reason, the team at Foursquare has created #saveBarbadosRum and are working towards getting the EU to recognise a Geographical Indication (GI) for rum from Barbados and Jamaica. “This would protect our rums from the adulteration that currently happens,” Seale says. “While the US does not recognise GIs, we could communicate to consumers which are the certified rums.” Seale says this is not universally popular. “At the moment, a single foreign interest who bottles adulterated rums sourced from distilleries in which they have a financial interest is taking whatever action they can to effectively derail the process.” The campaign hopes to raise awareness of this and what he calls the “long-term threat to the integrity of our rums”. He continues: “The hubris of some European companies towards rum is astounding. They continue to have an extraordinary sense of entitlement notwithstanding Barbados and Jamaica are sovereign countries.” The ethos at Foursquare and many other distilleries, including Mount Gay in Barbados, is to produce unsweetened, unadulterated rum in the centuries old tradition. Beyond the skulduggery that occurs, rum has struggled with another image issue and this is largely due to classification. Wilson says an insistence on grouping all rums as the same thing, irrespective of who made them – and their local laws, know-how and traditions – perpetuates the myth and undoes a lot of hard work over the past five to 10 years. The only way for this to truly change is through better education. “Without a doubt rum’s greatest struggle is to catch up our education with that of the whisky category,” he says. “On one hand you have hundreds if not thousands of whisky aficionados able to rattle off dozens of distilleries and their corresponding nuances throughout each Scottish region and the rest of the whisky world, with well-established whisky shows and dozens and dozens of books on the subject. Meanwhile, most people still think of rum as ‘white, gold, dark, or spiced’ and have very little understanding of the various regions of rum, raw materials or the differences that lay within.” He says there are undoubtedly a brave few who bang the “rum drum”, but they are “vastly outnumbered”. Another key difference, he says, is the way the rum world is set up compared to the whisky world. There are considerably more whisky distilleries than rum producers, and the majority are owned by behemoths with deep pockets to fund whisky education on various styles and regions. By contrast, many rum distilleries are independent or government controlled. In the instances where big multinationals do own rum distilleries, Wilson says, they typically only own one or two and understandably finance education on their offerings rather than the wider rum world. For the most part, he says this different structure is a positive thing, resulting in a “fiercely independent style” from each region and act as a “great preventative against homogenisation in the industry”. But the cost is felt by others who have struggled to get their message to the masses. “It’s like wine,” Dictador Creative Director Ken Grier explains. “Pinot Noir from the New World tends to be lighter but with a higher abv. Those from Old World producers are often darker and lower strength. It’s the same in rum; you really need to look beyond the headlines on the label. We have to explain the differences between rums from different regions and the distinction between brands. “We need to educate about provenance (cultural influences, stories), production, maturation etc. They will all become key.” One way to educate consumers, in Wilson’s view, is through conversations about blends. “The very essence behind blending rum from different regions is because each distillery’s flavour profile can be so unique and so varied,” he says. “If we choose to tell the customer why we picked the rums we did, and why each region has its own unique flavour profile and is individually important, I think we can give people a great snapshot of the wider rum world, and at the very least give them a starting point as to where to look should they be interested in researching further.” During the pandemic, Black Tot has – via the medium of technology – hosted tastings to do just this. “Rather than just let them taste our finished blend, we also deconstruct the blend into its individual components, allowing people to try rum from Barbados, Guyana, Jamaica individually, and understand what each one brings flavour wise to our blend. I believe this is the future of blends, to not just look at the finished product, but to really celebrate the provenance of where the rum is coming from.” In a similar vein, Venezuela’s Diplomatico has championed alternative production methods with its Distillery Collection. “The concept behind the collection is to produce, in limited quantities, rums from a single distillation method that are subsequently aged for a certain number of years,” Maestro Ronero Nelson Hernandez says. “The objective is to offer the opportunity to connoisseurs and rum lovers to discover the very own character of each one of these rums, in a collection that reflects our distillery’s wealth.” It might sound simple but tasting the liquid and reading the label can be the difference between cutting this misconception off at source or continuing down the sticky road. Bondi says it is sometimes easier for him to speak with single malt drinkers rather than “rum drinkers” who are used to a lighter and sweeter liquid. He often gets them to try the Hampden 8 Year Old – the most approachable rum – and asks what they think, and if they thought rum could taste like this. The reaction is instantaneous and incredibly satisfying for the Export Director when he gets to explain that this style is rum, in the authentic sense. Historically, “global” rums have tended to be lighter and sweeter, and far removed from the authentic liquid that is recognisable to the rum purist. To satisfy the global market, sugar has been added to sweeten the taste and in many cases caramel to darken the colour. “The first conversation is always – no, this is rum and all the other sweeter stuff, what you think is rum, maybe is not. At least from a historical point of view,” Bondi adds. “If you speak with single malt experts, they are normally super happy because there is sort of a resistance among the single malt community because ‘rum is sweet’, so when you approach with something like this [Hampden] they say wow, this is something that I can easily recognise because it is dry, it’s full-bodied, it’s funky, it’s flavourful like all the single malts they like.” Bondi finds adopting his boss, Luca Gargano’s – the man responsible for the classification of the same name – production-driven terminology helpful when introducing people to real rum. In the same way whisky drinkers understand Scotch whisky has regional styles – Speyside, Highlands, Islay etc – rum can be communicated in the same way. “Like a different category within a category,” he adds. Hampden is famous for its funky, high ester style, that Bondi says appeals to the peated whisky fan. “It’s more for the adventurers”, he says. “They love this crazy taste of Lagavulin and Laphroaig and maybe they will love to try rum with a different, funky taste.” Undoubtedly, the conversations and appreciation for rum are maturing. The category is shedding its skin of these unhelpful labels that have besmirched its reputation and the right questions are now being asked. Thankfully, there’s a formidable cohort armed with the answers and willing to speak truth to power in order to protect something that is truly sacred. Explore rum or read more Editorial 

Rum isn’t regulated. It is either dark or white. It all comes from the Caribbean. It’s nowhere near as high quality as Scotch. These are just some of the misconceptions that hang around the category like a millstone. Holly Motion speaks to some of those fighting to be heard among all the mistruths

Exploring some of the greatest misconceptions that hang around rum like a millstone, including miscategorisation and questions concerning quality.

How sugarcane spirit mistruths are coming unstuck

Rum: the sticky issues

Navigating the world of whisky sometimes requires a compass. This glossary aims to untangle some of the most common terms that trip people up when it comes to the production and enjoyment of whisky

A guide for all the commonly used and misunderstood terms in the world of whisky. You’ll find everything you need to know when purchasing and enjoying whisky.

A comprehensive guide to whisky terms

Whisky glossary

Laphroaig

Islay

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

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

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The lowest price you're willing to sell at. If the net price goes below this value your listing will be removed.

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

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

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In transit

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

Shipping starts from €25 within Italy and €45 to Switzerland and the rest of Europe for up to 48 bottles (75cl). Costs vary by destination. Larger shipments can be quoted on request.

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

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

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

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

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

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shows any items that are currently awaiting user action.

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

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

The number of cases you wish to place on sale

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

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

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

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

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

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

Laphroaig

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