Wyn Wine Edition I
7th of July, 2025
The inaugural Wyn edition in collaboration with Hundred Hills (First Edition 2018) features a work by Sonya Derviz and a printed edition with new writing from Henry Jeffreys. The wine is limited to 120 bottles.
Sonya Derviz’s edition for Wyn begins with Rocks (01), a charcoal drawing reimagined as a printed textile. The drawing also appears on the bottle’s label and neck cutter, offering a fixed image alongside the shifting textile form that surrounds it. Cut, sewn, and assembled around the glass, the resulting object hovers between image and freestanding form. It invites the viewer to handle and rearrange its elements—layering fragments in an open-ended gesture.
The translucent mesh, printed in dark grey, subtly veils the image as it folds around the bottle—its contours slipping in and out of view. Once removed, it becomes a flexible structure, shaped by play, improvisation, and balance. The process of layering and reassembly reflects Derviz’s wider practice, where found and photographed images are recomposed into new visual rhythms. What begins as a drawing becomes a shifting composition—an invitation to look again, to feel, and to think through form.
This edition extends Derviz’s ongoing interest in process, structure, and dissolution. Rather than resolving into a single meaning, the work remains in flux—inviting an active, open-ended mode of looking as well as play with chance. As Phin Jennings has written of her work, this refusal to fix meaning foregrounds perception itself, and the ways in which we encounter the visual. Ambiguity here is not a lack of clarity, but a generative space.
Produced in England, the collaboration between Wyn and Hundred Hills brings Derviz’s work into dialogue with the First Edition 2018 cuvée. Made from Pinot Noir and Chardonnay grown on the chalk-rich slopes of the Stonor Valley, the wine is noted for its layered brightness and fine structure—qualities echoed in the piece’s subtle materiality and restrained luminosity. As the final drops are poured, the work remains: a quiet keepsake of the time it was shared.
The edition is accompanied by new writing from Henry Jeffreys, with a brief history of England's transition from a global wine merchant to a wine region of scale for the first time. The original essay traces England’s rise from - in Jeffreys’ words – “a viticultural backwater to probably the best place in the world to make sparkling wine”. The edition is 20 pages, and printed and bound by Taylor Brothers Bristol.
Hundred Hills
Hundred Hills is a boutique wine estate established by husband and wife team Stephen and Fiona Duckett. Hundred Hills' wines, always sparkling, are crafted in their state-of-the-art winery where sustainability and quality have been embedded by design. Each year, only the very best grapes are pressed and vinified into a handful of very distinct wines, each destined, in different ways, to authentically showcase the season that has just passed. Only the finest pressed musts, from grapes that have been on the vine for at least 100 days, are used in their wines to produce their distinctive late harvested vintages. Hundred Hills' wines are known for their precision and outstanding capacity for pairing with delicate haute cuisine dishes. To date their wines have been enjoyed at more than 40 Michelin starred restaurants and a wide range of the very top hotels across the UK.
Sonya Derviz
Sonya Derviz (b. 1994, Moscow, RU) lives and works in London, UK, since 2006. She graduated with a BA in Fine Art from Slade School of Fine Art in 2018. Solo exhibitions include: Near and Far, Sherbet Green, London (2025); Closer, Sherbet Green, London (2023); and Pas de Corps, V.O. Curations, London (2018). Group exhibitions include: Conditions, Soft Commodity at The Shop, Sadie Coles HQ, London (2025); Soft Focus, Bradley Ertaskiran, Montreal (2024); Bury a Friend, Roman Road, London (2023); Into My Arms, Sherbet Green, London (2023); First Light, curated by Hector Campbell, Collective Ending, London (2022); Inside Out, The Artist Room, London (2022); It Seems So Long Ago, Matthew Brown, Los Angeles (2020); Minimal | Maximal, LVH Art, London (2019); Parfum d’épines, Phillips x V.O Curations, Paris (2019); and Paintings by, Alex Vardaxoglou, London (2019).
Photo Credit: Kalpesh Lathigra
Henry Jeffreys
Henry Jeffreys worked in the wine trade and publishing before becoming a writer. He’s a contributor to Good Food, the Guardian, Harper Wine & Spirit, and Spectator, wine columnist for The Critic magazine, and has appeared on radio, TV and The Rest is History podcast. He won Fortnum & Mason Drink Writer of the Year in 2022 and is the author of four books including Empire of Booze and Vines in a Cold Climate, which was shortlisted for the James Beard awards and won Fortnum & Mason drink book of the year. Along with Tom Parker Bowles, he hosts the Intoxicating History podcast. He lives in Faversham, Kent with his wife and two daughters.
Wyn Wine Edition I
7th of July, 2025
The inaugural Wyn edition in collaboration with Hundred Hills (First Edition 2018) features a work by Sonya Derviz and a printed edition with new writing from Henry Jeffreys. The wine is limited to 120 bottles.
Sonya Derviz’s edition for Wyn begins with Rocks (01), a charcoal drawing reimagined as a printed textile. The drawing also appears on the bottle’s label and neck cutter, offering a fixed image alongside the shifting textile form that surrounds it. Cut, sewn, and assembled around the glass, the resulting object hovers between image and freestanding form. It invites the viewer to handle and rearrange its elements—layering fragments in an open-ended gesture.
The translucent mesh, printed in dark grey, subtly veils the image as it folds around the bottle—its contours slipping in and out of view. Once removed, it becomes a flexible structure, shaped by play, improvisation, and balance. The process of layering and reassembly reflects Derviz’s wider practice, where found and photographed images are recomposed into new visual rhythms. What begins as a drawing becomes a shifting composition—an invitation to look again, to feel, and to think through form.
This edition extends Derviz’s ongoing interest in process, structure, and dissolution. Rather than resolving into a single meaning, the work remains in flux—inviting an active, open-ended mode of looking as well as play with chance. As Phin Jennings has written of her work, this refusal to fix meaning foregrounds perception itself, and the ways in which we encounter the visual. Ambiguity here is not a lack of clarity, but a generative space.
Produced in England, the collaboration between Wyn and Hundred Hills brings Derviz’s work into dialogue with the First Edition 2018 cuvée. Made from Pinot Noir and Chardonnay grown on the chalk-rich slopes of the Stonor Valley, the wine is noted for its layered brightness and fine structure—qualities echoed in the piece’s subtle materiality and restrained luminosity. As the final drops are poured, the work remains: a quiet keepsake of the time it was shared.
The edition is accompanied by new writing from Henry Jeffreys, with a brief history of England's transition from a global wine merchant to a wine region of scale for the first time. The original essay traces England’s rise from - in Jeffreys’ words – “a viticultural backwater to probably the best place in the world to make sparkling wine”. The edition is 20 pages, and printed and bound by Taylor Brothers Bristol.
Hundred Hills
Hundred Hills is a boutique wine estate established by husband and wife team Stephen and Fiona Duckett. Hundred Hills' wines, always sparkling, are crafted in their state-of-the-art winery where sustainability and quality have been embedded by design. Each year, only the very best grapes are pressed and vinified into a handful of very distinct wines, each destined, in different ways, to authentically showcase the season that has just passed. Only the finest pressed musts, from grapes that have been on the vine for at least 100 days, are used in their wines to produce their distinctive late harvested vintages. Hundred Hills' wines are known for their precision and outstanding capacity for pairing with delicate haute cuisine dishes. To date their wines have been enjoyed at more than 40 Michelin starred restaurants and a wide range of the very top hotels across the UK.
Sonya Derviz
Sonya Derviz (b. 1994, Moscow, RU) lives and works in London, UK, since 2006. She graduated with a BA in Fine Art from Slade School of Fine Art in 2018. Solo exhibitions include: Near and Far, Sherbet Green, London (2025); Closer, Sherbet Green, London (2023); and Pas de Corps, V.O. Curations, London (2018). Group exhibitions include: Conditions, Soft Commodity at The Shop, Sadie Coles HQ, London (2025); Soft Focus, Bradley Ertaskiran, Montreal (2024); Bury a Friend, Roman Road, London (2023); Into My Arms, Sherbet Green, London (2023); First Light, curated by Hector Campbell, Collective Ending, London (2022); Inside Out, The Artist Room, London (2022); It Seems So Long Ago, Matthew Brown, Los Angeles (2020); Minimal | Maximal, LVH Art, London (2019); Parfum d’épines, Phillips x V.O Curations, Paris (2019); and Paintings by, Alex Vardaxoglou, London (2019).
Photo Credit: Kalpesh Lathigra
Henry Jeffreys
Henry Jeffreys worked in the wine trade and publishing before becoming a writer. He’s a contributor to Good Food, the Guardian, Harper Wine & Spirit, and Spectator, wine columnist for The Critic magazine, and has appeared on radio, TV and The Rest is History podcast. He won Fortnum & Mason Drink Writer of the Year in 2022 and is the author of four books including Empire of Booze and Vines in a Cold Climate, which was shortlisted for the James Beard awards and won Fortnum & Mason drink book of the year. Along with Tom Parker Bowles, he hosts the Intoxicating History podcast. He lives in Faversham, Kent with his wife and two daughters.
Wyn Wine Edition I
7th of July, 2025
The inaugural Wyn edition in collaboration with Hundred Hills (First Edition 2018) features a work by Sonya Derviz and a printed edition with new writing from Henry Jeffreys. The wine is limited to 120 bottles.
Sonya Derviz’s edition for Wyn begins with Rocks (01), a charcoal drawing reimagined as a printed textile. The drawing also appears on the bottle’s label and neck cutter, offering a fixed image alongside the shifting textile form that surrounds it. Cut, sewn, and assembled around the glass, the resulting object hovers between image and freestanding form. It invites the viewer to handle and rearrange its elements—layering fragments in an open-ended gesture.
The translucent mesh, printed in dark grey, subtly veils the image as it folds around the bottle—its contours slipping in and out of view. Once removed, it becomes a flexible structure, shaped by play, improvisation, and balance. The process of layering and reassembly reflects Derviz’s wider practice, where found and photographed images are recomposed into new visual rhythms. What begins as a drawing becomes a shifting composition—an invitation to look again, to feel, and to think through form.
This edition extends Derviz’s ongoing interest in process, structure, and dissolution. Rather than resolving into a single meaning, the work remains in flux—inviting an active, open-ended mode of looking as well as play with chance. As Phin Jennings has written of her work, this refusal to fix meaning foregrounds perception itself, and the ways in which we encounter the visual. Ambiguity here is not a lack of clarity, but a generative space.
Produced in England, the collaboration between Wyn and Hundred Hills brings Derviz’s work into dialogue with the First Edition 2018 cuvée. Made from Pinot Noir and Chardonnay grown on the chalk-rich slopes of the Stonor Valley, the wine is noted for its layered brightness and fine structure—qualities echoed in the piece’s subtle materiality and restrained luminosity. As the final drops are poured, the work remains: a quiet keepsake of the time it was shared.
The edition is accompanied by new writing from Henry Jeffreys, with a brief history of England's transition from a global wine merchant to a wine region of scale for the first time. The original essay traces England’s rise from - in Jeffreys’ words – “a viticultural backwater to probably the best place in the world to make sparkling wine”. The edition is 20 pages, and printed and bound by Taylor Brothers Bristol.
Hundred Hills
Hundred Hills is a boutique wine estate established by husband and wife team Stephen and Fiona Duckett. Hundred Hills' wines, always sparkling, are crafted in their state-of-the-art winery where sustainability and quality have been embedded by design. Each year, only the very best grapes are pressed and vinified into a handful of very distinct wines, each destined, in different ways, to authentically showcase the season that has just passed. Only the finest pressed musts, from grapes that have been on the vine for at least 100 days, are used in their wines to produce their distinctive late harvested vintages. Hundred Hills' wines are known for their precision and outstanding capacity for pairing with delicate haute cuisine dishes. To date their wines have been enjoyed at more than 40 Michelin starred restaurants and a wide range of the very top hotels across the UK.
Sonya Derviz
Sonya Derviz (b. 1994, Moscow, RU) lives and works in London, UK, since 2006. She graduated with a BA in Fine Art from Slade School of Fine Art in 2018. Solo exhibitions include: Near and Far, Sherbet Green, London (2025); Closer, Sherbet Green, London (2023); and Pas de Corps, V.O. Curations, London (2018). Group exhibitions include: Conditions, Soft Commodity at The Shop, Sadie Coles HQ, London (2025); Soft Focus, Bradley Ertaskiran, Montreal (2024); Bury a Friend, Roman Road, London (2023); Into My Arms, Sherbet Green, London (2023); First Light, curated by Hector Campbell, Collective Ending, London (2022); Inside Out, The Artist Room, London (2022); It Seems So Long Ago, Matthew Brown, Los Angeles (2020); Minimal | Maximal, LVH Art, London (2019); Parfum d’épines, Phillips x V.O Curations, Paris (2019); and Paintings by, Alex Vardaxoglou, London (2019).
Photo Credit: Kalpesh Lathigra
Henry Jeffreys
Henry Jeffreys worked in the wine trade and publishing before becoming a writer. He’s a contributor to Good Food, the Guardian, Harper Wine & Spirit, and Spectator, wine columnist for The Critic magazine, and has appeared on radio, TV and The Rest is History podcast. He won Fortnum & Mason Drink Writer of the Year in 2022 and is the author of four books including Empire of Booze and Vines in a Cold Climate, which was shortlisted for the James Beard awards and won Fortnum & Mason drink book of the year. Along with Tom Parker Bowles, he hosts the Intoxicating History podcast. He lives in Faversham, Kent with his wife and two daughters.