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 was 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.