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50 { THE SOMM JOURNAL } DECEMBER/JANUARY 2018/2019 is known for collaborating with clients on immersive experiences meant to enliven their respective surroundings. Meanwhile, as a former chef, Von Saal specializes in creating utterly distinctive restaurants, wineries, and residences that combine natural and highly polished surfaces in dra - matic contrasts. In the new facility, visitors will notice packaging and label elements inspired by the brand's ethos mirrored in the materials and textures seen through - out the building. The Prisoner blend's label is based on a dark etching by Spanish artist Francisco Jose de Goya (1746–1828) titled "La Petite Prisonnier," which Phinney received as a gift from his parents as an adoles - cent. Over the course of his long career, Goya's work became deeply pessimistic and searching: The etching depicted on the label dates to 1807, the year Napoleon invaded Spain, and has long made the wine stand in stark contrast to the brighter, nature-inspired labels that began populat - ing store shelves in the early 2000s. Inspired by the label's color scheme, the new winery's black-and-grey palate is punctuated with splashes of red. Reclaimed wood accents, sourced from the original Bay Bridge, warm the gleaming finishes. Rise of the Make According to an August story in The New York Times, the facility is among several re- cent arrivals "shaking up the tourist scene in Napa Valley with interesting spaces, intimate experiences, and an emphasis on dining and culture." Napa Valley wineries have long partnered wine appreciation with cultural elements in the form of art, music, and cui - sine, but through The Makery, The Prisoner Wine Company has introduced an arti- sanal experience to celebrate handmade objects and the talented makers behind them. These offerings are also inspired by the brand—this time by The Prisoner Wine Company's careful winemaking tech - niques and small grower partners. Wittman and The Prisoner Wine Com- pany Chef Brett Young will join a bevy of local artisans in showcasing their creativity, which will serve as an integral part of the winery's tastings inside The Makery. The private space houses four open-format studios where artists can produce and display their wares as part of a memorable wine-pairing experience. The opening slate of makers will include sculptor Agelio Batle of Batle Studio, who expertly casts writing instruments and sculptures from graphite. As an artist, Batle says he immediately gravitated toward the Prisoner aesthetic: "I enjoy contrast and exploring the connection between light and dark," he explains. His piece "Ash Dancer," a life-size skeleton cast in graphite that draws impressions of itself, will be fea - tured alongside other wine-inspired items like ceramics, soaps, hand-milled pasta, wine jellies, artisan salts, jewelry, culinary bags, and cork apparel. In addition to running the winery's open kitchen, Young will oversee The Yard on the other side of the property, along with a courtyard sheltered by living walls that houses a wood-burning oven and a culinary garden for herbs and produce. A Lodi native who trained in Singapore, the chef has developed a signature style of cuisine that relies on seasonal ingredients and a cross-cultural approach that bridges The interior of the new The Prisoner Wine Company winery was designed by Richard Von Saal, a Napa Valley native. Prisoner Wine Company Chef Brett Young aims to elevate the wines through his pairing experiences.