Through a bold collaboration with designer Samuel Ross, The Balvenie explores the future of storytelling, creative partnerships, and whisky’s evolving cultural relevance.

Transposition is a bold, immersive interpretation of whisky’s alchemy. Conceived by contemporary British designer Samuel Ross and his atelier SR_A for heritage whisky brand The Balvenie, the site-specific installation challenges expectations with a layered sensory experience of material, sound, and reflection.

Unveiled at the Historic Foundry during Salone del Mobile 2025, Ross brings his multidisciplinary approach and conceptual aesthetic to reimagine The Balvenie’s legacy of craft through a contemporary lens.

Samuel Ross sits at the intersection of fashion, art, and industrial design – a distinctive voice in contemporary culture whose raw aesthetic and socially engaged narrative continue to shape the creative landscape. Awarded an OBE in 2023 for services to design, Ross is also a recipient of the Hublot Design Prize and a British Fashion Award – honours that reflect his broad cultural reach.

Founded in 1892 in Dufftown, Speyside, The Balvenie remains family-owned and is known for preserving traditional whisky-making practices – a commitment to craft that underpins this striking collaboration.

Ross says the creative partnership taught him about “slowing down, engaging more deeply with the passage of time.”

We spoke with Sean Fennelly, brand ambassador at The Balvenie, about the role of creative partnerships and how a legacy brand navigates an evolving cultural landscape.

As a heritage brand, how important is it for The Balvenie to engage in contemporary design conversations?

 It’s vitally important. One word we’re synonymous with at The Balvenie is craft: a word that means different things to different audiences, and is in constant need of refreshment and redefinition. Engaging meaningfully and authentically with contemporary design allows us to be guided by, but also contribute to craft’s modern interpretation.

Transposition captures and celebrates craft in a very universal way. It’s possible to take something from it on a purely aesthetic or experiential level, but there’s also such a rich story informing it: Samuel’s existing interest in industrial processes interacting with the very tactile, human craft of whisky making and the natural environment of Speyside, Scotland that makes it all possible.

What was the reaction like at Milan Design Week?

I’ve loved seeing how inter-generational the Transposition audience has been, and how inspired other makers from the design industry have felt in the space. We’ve always championed craftspeople within the whisky industry, this collaboration has been about carrying that same spirit to a new audience.

What aspects of Ross’s creative language resonated with your brand values?

His grounding in a variety of disciplines, working across fashion, art, architecture and product design gave us great flexibility, and offered scope for a genuinely deep co-operation, rather than commission. His work’s a true expression of the times: innovative, essential, and deeply considered, making him the perfect partner for a brand rooted in tradition, but with a keen eye on what’s next.

Can you walk us through the creative process behind the installation?

Samuel’s creative vision for Transposition was seeded during his visit to The Balvenie Distillery in Dufftown, Scotland. It was powerful to see how inspired he became, immersed within the dramatic landscape that shapes The Balvenie and after spending time with the team, families that have often worked with us for generations.

I was struck by that same generosity-of-spirit when hearing Samuel describe producing work: always the practice of ‘we’, ‘our’ or ‘us’, rather than ‘me’. This recognition of craft as a communal effort really resonated with how we discuss The Balvenie: it’s impossible to produce whisky alone. In fact, you could be collaborating with craftspeople who laid down casks decades before you were even born!

What have you learned from collaborating with creatives outside the drinks industry, and how does this perspective influence your approach to storytelling and brand building?

We’ve learned the pleasure of being challenged. Challenged to see our craft through an outsider’s lens and to find a different, less technical, more emotional language to describe The Balvenie.

Samuel’s visit to Dufftown sparked some unexpected new narratives – his focus on the relentless rushing of water from our spring in the Conval Hills and its mirroring of the contiguous, interwoven stories of over a century of makers at our distillery produced a brilliantly simple, but profound metaphor.

I’ll never forget walking into Transposition for the first time, the cascading water chilling the room’s warm air as I crossed the threshold. It reminded me immediately of the sensation of entering Warehouse 24 at The Balvenie, itself rendered cool by the damp, exposed earth beneath the casks. We’ve discovered these resonances directly through collaborating with Samuel, and they’ve made for richer storytelling that augments, rather than replaces The Balvenie’s heritage.

The consumer landscape is shifting — younger audiences are drinking less, but drinking better. What challenges and opportunities does this present for a heritage brand like The Balvenie?

Younger audiences tell us they still value brands with authenticity, quality and genuine craft, so the core principles of The Balvenie won’t need to change. They also value a story they can share, and a way to engage with whisky brands that goes beyond the drama in the glass, making projects like Transposition all the more important. It’s given us a chance to deepen engagement through narrative, design and a thoughtful experience that we’ve shared with an audience who care not just about what they consume, but why. Ultimately, it pushes us to evolve while staying true to who we are, offering depth, character, and craft to those who are choosing to drink better.

Younger consumers are also more discerning, seeking brands that reflect their values. How central is transparency and purpose-driven storytelling to your communication strategy?

Today’s consumers are deeply attuned to integrity, they want to understand the ‘why’ behind the brand, not just the ‘what’. For The Balvenie, this comes naturally. Our story has always been one of real people, time-honoured craft, and a genuine passion for what we do. By being open about our processes, our values, and the hands behind the whisky, we’re able to connect in a way that feels both personal and powerful. It’s not just about marketing, it’s about meaningful connection and building trust that lasts.

Partnerships like the one with Ross naturally introduce your brand to new audiences. Do you see more cross-disciplinary collaborations in the future, and where do you see the greatest potential?

Transposition demonstrated the immense potential of working with creatives from different disciplines. Not only has it inspired dialogues with new audiences who value creativity, integrity and innovation as much as we do, but it’s proven to be a hugely energising experience for both The Balvenie and Samuel. Watch this space, I suppose.