Category: Uncategorized

  • The Design of Ephemeral Grace – Seven Essence 2025 Spring Quiescence

    The Design of Ephemeral Grace – Seven Essence 2025 Spring Quiescence

    Quiescence is the child of temptation, a tea that crashes in like Dean Moriarty’s wild, unhinged laughter, a tea that halts time, that fills empty spaces with the substance of life.
    It’s a spring harvest from cultivar B157, one of those rare works that appear once every four springs, refusing to exist in reflections, in mirrors, in repetition.

    The wet leaves smell of frangipani and vanilla, laced with the almost milky notes typical of Taiwanese oolongs. It feels like it fell from a Liberty canvas, dried in the dawn sun of Los Angeles, back when the light was still golden and the air almost liquid.

    It’s a hymn to creative impulse, to those destined to vanish, leaving behind only a trace,  like perfume on a pillow, or a copy of Les Fleurs du mal forgotten on a veneered nightstand, underlined, underlined everywhere.

    The sip is soft, pliant, sweet. It leaves a creamy, floral, almost cosmetic film on the tongue. You can sense the intent, the effort to craft an exceptional tea, every sharp edge softened like a minimalist organic vase. Its aromatic texture feels woven through an analytical, obsessive, surgical search for sensation.

    Sweet notes surface, mango custard, whipped cream, a whisper of osmanthus water. It’s the ultrasound of a happy childhood memory, evaporating into something denser, more designed.
    It lingers in the mouth, clinging to the palate, with a hauntingly familiar aftertaste of strawberry cream.

    There’s a quiet sense of luxury in all of this.
    It’s like stepping into a room decorated only in pale gold and French velvet, with bottles of Champagne scattered across the floor,  where nothing is left to chance, and even the dust participates in the choreography.

    It’s a layered, intentional experience. A reminder that 2025 is a truly remarkable year for Darjeeling.

  • The Changing Mountains – Part 2: Economic Perspectives of Traditional Architecture

    The Changing Mountains – Part 2: Economic Perspectives of Traditional Architecture

    The question most of you are probably asking after the philosophical and ideological discourse of the first part is: how important can the implementation of a system based on rural architecture be in economic terms?

    Quite frankly, I am not an expert in land finance, nor do I wish to replace those who work in that field. I’m a food technologist: I work with food, I analyze problems and find solutions related to it. By nature, I tend to understand why mechanisms jam and how to intervene to restore their proper function. So what follows is an analysis based on much of the literature I’ve explored over the past few years, not professionally, but driven by a genuine desire to understand and a deep personal curiosity. I’ve never liked pointing out problems and then standing back while others fix them, even when I had no idea where to start to piece things together. That’s why you won’t find ready-made solutions here, but rather some reference points for building your own awareness, an awareness that can only grow.

    Before understanding how vital it is to support rural architecture and safeguard architectural cultural heritage, we must grasp how important the real estate market is for China’s economic growth.

    China’s economic development has always followed a dual-track system. Without public housing, no “transformation” would have been feasible or even conceivable. In this model, the tracks are not parallel but sequential: public housing comes first, followed by the market. As a result, the health of the second depends entirely on the first. This is the main difference between China and Singapore, or China and the rest of the world and it explains why housing policy has had such a strong impact in China. It also helps us understand how the greatest forms of resilience, whether in the face of internal crises or external shocks, were triggered by shifts in the central government’s approach to real estate. First in 1990, with the provisional regulation regarding the granting and transfer of state land-use rights in urban areas; then the 1998 housing reform that allowed a huge number of families to acquire necessary goods, including homes, laying the foundations for the current urban middle class. Finally, the pre-2008 policies that prevented China from being swallowed up by the global financial crisis, such as the mandatory implementation of the “831” policy on land sold through public bidding, which brought hundreds of billions of RMB in land revenues to the central and local governments in just a few years.

    The potential economic benefits of preserving rural ecology and traditional building go beyond increasing real estate value, with a possible 15–25% per-square-meter increase in value (Prince’s Foundation). Neighborhoods designed with traditional planning approaches also tend to maintain or increase in value during times of crisis (New Urbanism Report).

    We know that China is currently experiencing a serious real estate crash. Do you remember an old article I wrote about the Pu’er tea price crisis this past spring? There might be a connection, and I’ll briefly get to the point.

    The link between China’s real estate crisis and the issue of rural architecture and place-based value, though seemingly distant, is actually a deep and structural connection. It touches the very foundations of the economy, society and the relationship between built space and capital. The key lies in how value is created through space. Modern China built its economic miracle on the urban real estate market; now, to overcome the crisis, it must find a new paradigm for value creation, one that could partially come from rural areas. To be clear, real estate speculation is a necessary evil*, albeit one that should be pursued with containment logic. But in rural contexts, this is often not the core issue.

    In the article mentioned earlier, I highlighted some potential dangers generated by unchecked price speculation in the Pu’er market, such as a chain of farmer defaults that could cause banks and lenders to restrict credit in an effort to avoid adverse selection (i.e. funding risky projects). That said, there is often a mistaken perception that the essence of real estate lies solely in the buying and selling of land and homes. In reality, the core function of the sector is not so much direct investment, but its ability to generate credit. Any economic initiative can obtain financing if supported by adequate cash flows (as has been the case with Pu’er-related activities over the past two decades); however, the actual ability to secure capital largely depends on having tangible collateral. In this context, real estate plays a crucial role as an asset suitable to serve as a guarantee. Therefore, the fundamental function of the real estate market is to attribute value to real assets and give them liquidity, making them effective tools for activating financial circuits. Equipping villages with targeted credit logic, cultural rootedness, and non-speculative real estate enhancement can thus be a form of resilience in less prosperous times.

    We also know that tourism in well-preserved rural Chinese villages (e.g., Hongcun, Xidi, Zhouzhuang, as well as traditional urban contexts in Yunnan such as Wengji, Nuogan, Shaxi) has led to significant increases in local GDP (China Statistical Yearbook, 2023). The use of native raw materials promotes agricultural biodiversity and increases productivity in mixed systems (agroforestry), while boosting employment in traditional crafts, if supported by local policies that are decoupled from the tea market. All of this fits perfectly within the problematic context of regions heavily reliant on a single crop, where workers often lack transferable skills and economic diversification is limited. When only one productive asset exists (like Pu’er), price volatility threatens not just income but also families’ access to credit, potentially leading to systemic financial exclusion. In this sense, rural architecture represents a form of territorial capital that generates tangible, enduring value, fostering access to local microcredit, creating jobs in restoration, craftsmanship, and tourism, and supporting integrated development. It serves as a catalyst for growth that respects cultural identity without exploiting or commercializing it.

    *
    Speculation is a necessary evil: to increase the housing supply, real estate must be a profitable investment and that means accepting a certain level of speculation: those who build or buy to resell must earn a profit. Also, there is a need to make real estate more liquid, in a sense, it must become a tradable asset and form of collateral. It doesn’t matter whether housing prices are soaring or steadily increasing; what matters is that there’s a sufficient perception of that trend. Without this logic, no one would invest in housing on a large scale. If speculation is curbed too strictly (to protect the right to housing), it disincentivizes investment in the real estate sector. As a result, less capital is deployed, construction slows, employment drops and the economy suffers. Whether the State or the market seeks to ensure housing for all, it often does so through financial instruments like incentives, mortgages, subsidies, market liberalization or low interest rates. This leads to a dilemma: the more accessible you try to make housing, the more you expose it to speculative forces. Therefore, a certain degree of speculation must be acknowledged and managed but not entirely eliminated, otherwise the system risks coming to a standstill. And that is one of the key issues behind China’s current real estate short-circuit.

  • The Changing Mountains – Part 1: How High Stakes Corrupt Authenticity

    The Changing Mountains – Part 1: How High Stakes Corrupt Authenticity

    Cities, villages, neighborhoods as we have inherited them through the centuries are not mere institutions or simple names that evoke order and schematic boundaries. Rather, they are places that preserve the way of life of a civilization. In them, we experience time, space, and relationships with others, the “others” being women and men, once strangers to one another, who built spaces in which to live peacefully. These places are symbols of human relationships, compromises, unwritten laws and oral traditions, of evolution and change experienced side by side. Through architecture, rituals and religions survive. Not by chance, the word religion derives from relegere, to take note. Every cultural practice demands that attentiveness which architecture can teach. Over time, it has become a vehicle of proportion, memory, order, boundary, teachings on the use of light, shelter from the darkest nights, place of muffled sounds, thresholds and stairways that not only lead but instruct.

    Rural architecture approaches the concept of classical architecture, as it is not merely a form of building that blindly pursues the essential functions of a structure, but rather a symbol of growth and the transitional phases imposed by history on a place’s inhabitants, an architecture that has grown over the centuries through inner coherence. Think of the Dai houses, with their classic two-story layout: living spaces and bedrooms on the upper floor, animals and farming tools on the ground floor. Roofs made of local stone or rice straw, and the use of wood from surrounding forests. These features do not simply create a picturesque image for an ethnographic reportage, but intelligent responses to a specific context.

    This design ideology is not concerned with “looking pretty”: it is necessary, because it arises from a balance between nature, function, and humanity. In this sense, it is a fulfilled manifestation of what Frank Lloyd Wright called organic architecture, a principle he tirelessly sought to establish across Europe and America throughout the 20th century. What Western universities were trying to rediscover, Yunnan, and China as a whole, already had right before their eyes and under their feet. But as so often happens in the history of civilizations, the arrival of wealth and the imitation of foreign models shatter this ancient balance.

    With the influx of money from the tea market, some villages changed their appearance, resulting in the construction of alien hotels, expanses of tiles in village centers, glass towers and sterile multi-story concrete buildings rising like imitative forms of globalization and economic development. But this is nothing more than replacing a dialogue with the environment with a monologue of vanity. To blindly and stubbornly surrender to this process is an act of desensitization to one’s own history. This is how the harmony between built and natural environments is dismantled, rendering a particular village into a generic, interchangeable place.

    To those who accuse me of being a fanatical dreamer, just as Léon Krier was branded a nostalgic visionary, I respond that traditional architecture holds forms and anatomies capable of reflecting truly human interests, more so than modern architecture. Including economic interests.

    Buildings, houses, factories, temples, everything in rural architecture responds to truth and real use, but not in a merely utilitarian sense. Today, modernist architectural projects are not designed to be inhabited, but merely passed through, they are meant to represent a transient place. They are theatrical props in an urban performance, with no reference to a broader meaning, a meaning that can reside even in the humblest dwelling. Modern buildings are often imposing, expensive, designed to elicit hollow opinions from critics with numbed vocabularies, who otherwise might look past them and judge them as they deserve.

    And so Berlin’s Haus der Kulturen der Welt is known as “the pregnant oyster,” the UN building in New York as “the radiator,” Di Salvo’s brutalist buildings in Scampia, Naples as “the sails,” while for the monstrosity of Renzo Piano’s Pompidou Center, they didn’t even bother, just calling it by the name of the neighborhood it was dumped into. While classical forms represent agreements handed down through generations and originate from centuries of consensus, modernist ones require nicknames to identify themselves in their forced attempt to exist solely for a purpose, that of containment, but in iconic form. According to Krier, this need to nickname is nothing but an entry into the category of kitsch: the attempt, by an object devoid of authenticity, to obtain a label that justifies its existence, that makes it “mean” something. It is the staging of a rootless structure, forcibly grafted into a context to which it is alien, like a despised ex who, after years of silence, suddenly shows up, with unwelcome emotional exhibitionism, at your mother’s birthday party.

    In this way, what is gained is not just improved material conditions, if that even occurs, but also the domestication of the sense of belonging: the institution of a “government of smoothness,” where every surface is polished, glossy, frictionless, where nothing invites you to stay. And really, why stay, if nothing is made to last and bear witness anymore and your land is transformed into just another urban cluster like all the others?

    Let it be clear: it is impossible to demand perpetual amniotic preservation. But evolution is not destruction. One can build today according to ancient criteria, using modern technologies without sacrificing harmony, symbolism, or recognizability. Gilbert Keith Chesterton wrote that “Tradition is the democracy of the dead,” and that is essentially true. Abandoning it is not freedom, it is an amputation of collective memory. True modernity is that which recognizes itself as a chapter in an already begun book, not a blank page.

    When we speak of rural architecture, as in the case of homes in Wengji, Shaxi or Nuogan in Yunnan, we are not referring to mere picturesque tradition. We are speaking of an organic spatial model, culturally rooted, formally legible, and humanly proportioned, one that creates value not through financial abstraction but through functional continuity (home-work-land), a form of identity authenticity (cultural and symbolic value of place), constructive ecology (local materials and techniques), and a lasting attractiveness much more resilient to external shocks (for tourism, craftsmanship, and quality agriculture).

    Architecture and urban development must preserve the visible memory of a cultural identity, and to defend these principles is not conservatism, but the ecology of identity.

    Note: The photo was taken by Steve Shafer

  • First Flush, Final Breath: Drinking the Last of the Muses. Seven Essence 2025 FF Darjeeling Muse

    First Flush, Final Breath: Drinking the Last of the Muses. Seven Essence 2025 FF Darjeeling Muse

    At a time when humanity still seemed willing to believe in something beyond the mere surface of things, the Muses sat upon Mount Parnassus. It was an age when people were aware that art was something more than just a string of provocations with fluctuating budgets, something more than what you can now sort “from most to least expensive”. The nine daughters of Zeus and Mnemosyne guided the hands of painters; their voices stirred the blood that fed the cante jondo, urged demons to move T-Bone Walker’s left hand just a little more, whispered the six sonatas for violin and harpsichord into the ear of Vienna’s young prodigy. Today, I fear they no longer sit anywhere. Presumably locked away in some post-industrial loft in Milan, gagged with tape labeled “reconstructed identity” or some other bullshit straight out of the Damien Hirst playbook.

    Calliope, the one who once conversed with Cesare Pavese, has now ceded her place to seventeen seasons of some televised sobfest. Euterpe, on the other hand, is in despair, seeing a world that once resonated with the sublime tones of Giuditta Pasta now wander aimlessly with earbuds in, listening to some immersive composting sound experience, something for those who believe that rhythm is a new form of urban mysticism. Suffering is no longer catharsis, but mere reportage. Tragedy has become a type of therapy. Art is now a vehicle for delivering yet another saccharine confession that nobody asked for. The Muses have not been imprisoned by the market, but by contemporary philosophy itself, which has always denied their necessity.

    And yet, now and then, one of them escapes. And when that happens, a Christone Ingram appears. Or a Jordan Casteel. Or a Jacopo Cardillo. Someone who doesn’t need to prove that their kind of expression deserves a higher, transcendent status, because people don’t need to convince themselves that it does. They simply know it. Instinctively. No massively inflated price tag is required to protect their importance, because no price would ever be enough.

    Where once we invoked the austere beauty of Dreyer, or the sacred silence of Tarkovsky, today we exalt centrifugal narratives that refuse to come to any kind of conclusion, as if the unfinished were somehow more “true” than the completed. Perhaps I too am an asymptomatic carrier of this condition. I have a draft of a book sitting untouched in the upper left corner of my desktop for six months. I sometimes drink more than I should. I let Rory Gallagher depress me far too much. And I find myself sensing emotion in a throwaway work by Twombly.

    Before the whisper of a Muse, before hearing the chords of Erato’s lyre move the soul, before Melpomene offers her sword to face the tragic, it now feels almost more honest to linger in the unformed, a sort of beta version of the present that will, one day, receive its necessary update. We live in an age that collects fragments. Isolated sentences. Reels. Reels of reels. Everything must appear as something short enough to scroll past, yet long enough to suggest continuation, even if that continuation never comes. And this, I believe, applies to everything in our lives.

    And I believe it also applies to tea. Including the rare sparks of the extraordinary. It’s entirely possible that one of the Muses escaped into the Darjeeling region, slipping away for one spring from her confinement to the ruins of mythology, leaving strands of her robe in what this first flush has become today: the blooming of precocious talent, something you feel a desperate urge to consume, for fear that it may wither overnight.

    Muse is a sublime tea, the kind I come across only once every three or four years, because evidently nature does not wish to give more than that. It’s a tea whose wet leaves smell of bison grass, soft French nougat, myrtle leaf, and mulberry gelato. At first, it seems accommodating, then it leaves the coasts of Occitania and dives into deeper waves of sweetness: guava, golden kiwi, and frangipani, lined with vegetal chords of cactus, then aloe, like in an art deco perfumery in Silver Lake. In the end, everything contracts into something foreign, citrusy. Pomelo. Sharp. Precise. Almost hostile.

    In the mouth, it’s soft, intensely sweet, but anything but commonplace. The flavors point to fig, vine leaf, traces of herb butter, something vaguely liqueur-like, maybe green acorn distillate, and then birch sap. It’s not a taste. It’s an image. Then it veers. Completely, into mulberry and grape.

    For anyone who believes Indian teas lack Qi, they need to try this. The sensation is stunning, abrupt like a flood of adrenaline rushing through the vena cava, like that chill running down your spine when something truly significant happens. Like all great teas, it lingers. It stays with you for hours, like a text message at 3 a.m. you wish you’d never read. You can push it through ten infusions, fifteen, but the flavor never leaves your mucosae. Muse persists, like nails tapping softly on a taut drumskin, quieter and quieter until nothing is heard anymore and the noise of the street comes through the window, and yet you know that something is still resonating in that absurd chaos.

  • Tả Củ Tỷ & the Weight of the Mist: Aesthetics and Ontology of the Big Rice Field

    Tả Củ Tỷ & the Weight of the Mist: Aesthetics and Ontology of the Big Rice Field

    With A Comparative Journey Through Two Traditional Viet Sun Sheng Pu’er

    When I first saw Steve’s photos, his Vietnam, made of fiery red sunsets, emerald pastures, and motorcycles whose tire treads were mere memories, I was left hanging in a sense of emptiness, of existential incompleteness tied to never having visited those places. Looking at those shots felt like peering into a parallel world, embraced by a sort of ontological nostalgia.

    The snapshots of Tả Củ Tỷ, the “Big Rice Field,” reveal the truth of a borderland world, of earth and blood, behind the major cities, whose distant lights appear like a sarcastic smile with pearl-white teeth. Then the horizon arches, growing increasingly vertical, rising further along the crumbling clay arteries, beyond the rice paddies, moments ago drained, now swollen with rain and reflecting the vastness of the sky.

    Here, every tree, every tea leaf, every sensory experience is an imperfect shadow of an eternal idea. This is where one of the best Pu’er teas in Vietnam is made, loaded with a near-theological sincerity, vibrant in every vintage, soft, flowery, and endlessly mineral. The shengs of Tả Củ Tỷ are like the Rieslings of the Mosel, a form of resistance against the trials the gods impose through the elements. They express the same minerality and layered memory. But while Riesling whispers sweet notes and sings praises like a Romantic poet on a summer evening surrounded by Viennese Jugendstil, the Pu’er of Tả Củ Tỷ elegantly drags you down a muddy mule path under relentless monsoon rain. In both, there is the same sharp and ruthless beauty, but whereas the Mosel wines evoke the rarefied skies of Chagall, suspended in uncorrupted blue, in Tả Củ Tỷ the image offers no redemption, it demands confrontation. Time here doesn’t pass, it presses. The landscapes are those painted by Turner, but not the sublime, ethereal artist of the Dover sea, rather the feverish, visionary Turner of his final years, where light shatters into curls of shadow and smoke, and the scene dissolves into an intensified, nebulous inner reality.

    The province of Lào Cai hosts a pedological diversity of rare complexity, the result of interactions between lithology, comprising metamorphic and sedimentary bedrocks, and a harsh topography shaped by steep slopes and variable altitudes ranging from the Red River’s lowlands to peaks shrouded in mist. In this living landscape, far from documentary clichés, ten major soil groups intertwine, distributed into around thirty subcategories, reflecting an extreme variety of geomorphological, climatic, and land-use conditions. In this mosaic, most fall into the categories of alluvial soils, minimally developed, fertile, fine-textured, laid across the Red River’s floodplains. As elevation rises, submontane zones host deep ferralitic soils, with aggressive pedoenvironments and reddish-brown hues. Then come humic soils on red-yellow parent rock, which inhabit the gentler slopes of the Sa Pa and Bắc Hà districts, ideal for mountain orchards and medicinal plants, the same ones that Dao grandmothers will grant you for a spider bite, heartbreak, or to recover quicker from the drunken night before. Higher still, where the air thins, the sun burns your skin, and geology shifts from academic subject to a lesson in humility, you find the brown, acidic forest soils typical of high-altitude tea forests, marked by thick organic horizons and excellent water retention, where the labor is real, marketing fades, and matter begins. The higher you go, the more essential the soil becomes, and the mountain strips you of every excess you thought you needed.

    Since ancient times, the region now known as Lào Cai has been a living tapestry of peoples from the H’Mông–Dao (including Mông, Dao, and Phù Lá) and the Kra-Dai groups (including Tày and Nùng). The Phù Lá migrated from Yunnan during the waves of the 15th and 17th centuries and opened the Lào Cai–Hekou pass, a crossroads for southern Chinese merchants and Tibetan fugitives, military settlers, and Tonkinese textile makers. Salt, tea, silk, and livestock crossed gorges and cliffs towards the Red River Delta, in exchange for rice, gourds, rare spices, and La Chi cotton fabrics. The trade route stayed open for five centuries, until the war with China in 1979. Tả Củ Tỷ and the entire Bắc Hà highland area have always been a “slippery edge” of the Vietnamese empire: formally part of Đại Việt, but in practice governed by local clan leaders and traversed by cross-border trade routes. Only with the expansion of the Nguyễn dynasty and, later, the arrival of the French, did state control become more pervasive. But that’s another story.

    The forests of Tả Củ Tỷ possess a mad, honest allure. The color palette feels like something conjured by a cosmic hangover, while the mist moves slowly, like cigarette smoke drifting in a closed room. Its radiance isn’t the kind choreographed by a cheerful smile or Caribbean hues, but rather the disarming kind of beauty of a woman who’s cried all night and then looks at you at dawn, bare-faced. A fleeting moment of rare grace, allowed to linger briefly in the interlude of suffering, the kind of incorruptible, visceral visual rapture that doesn’t let you lie.

    These dusty clay paths have been trodden by pack leaders, smugglers, and warriors. They’ve witnessed rites of passage and the initiations of Dao and Mông shamans, the veneration and sacred songs of the Tày, and offered shelter for markets and negotiations, for secrets traded with Xôi ngũ sắc, and for boisterous jokes between bowls of Thang Cọ and glasses of rice wine.

    From this thread of bare earth echoes the sound of an absolute beauty that refracts through the contingent, like a bridge between the transitory and the infinite. I could be among them now, being filmed as I say that it is in the resilient rurality of these villages that Heidegger’s concept of Gelassenheit unfolds, that is, a spiritual disposition of letting-be, an openness to the essence of things, and, as he interprets in his Parmenides, how it reveals itself through history and daily life. But at some point, a scooter would honk to urge me out of the way, and it would be right to do so. So, thousands of kilometers away, I conclude by saying that there, people have never betrayed their own history, even while embracing change, reminding us that the truth of a place is not measured by the order of its exotic scenery, nor through a mere anthropological lens. Especially not in that land, Vietnam, daughter of the sky, immersed in the dreamlike dimension of its eternity.

    On the left: Tả Củ Tỷ Sheng Pu’er Autumn 2023, medium aged, old and ancient trees
    On the right: Tả Củ Tỷ Sheng Pu’er Spring 2024, old and ancient trees


    Viet Sun Tả Củ Tỷ Sheng Pu’er Autumn 2023

    The autumn version comes from a mixture of medium-aged, old, and ancient trees growing at different altitudes and on diverse soils. It presents itself with a mature register, more oxidized, and the difference from the spring version is indeed perceptible. The autumn leaves are darker, as confirmed by the liquor, a decidedly golden hue, with shades that recall Turner’s Goethe’s Theory, to stay on theme. While the wet leaves retain a line of continuity with the orchid and apricot notes typical of the spring harvest, here honeyed tones and hazelnut hints emerge more clearly, intertwined with musky nuances, dried fruit and pan-fried greens memories, with lightly buttery accents.

    Although vibrant, the sip is clearly more fragile, with a more hesitant body compared to the spring tea. Its huigan is more restrained and immediate, with sharper astringency, although the impression remains of a sweet brew with well-calibrated bitterness. Rather than floral aspects, the palate leans more toward raisin, apricot, and unmistakably honeyed flavors. The mouthfeel is less viscous, with more modest intensity and persistence, yet it remains decidedly interesting for this theater of contrasts between warm, comforting fragrances and still grassy notes, between roundness and sharpness. It is a tea that certainly holds aging potential, but is already quite enjoyable in its youth.


    Viet Sun Tả Củ Tỷ Sheng Pu’er Spring 2024

    I believe there are four essential elements that make a Pu’er good, if I were pressed to summarize: aroma, the taste of the mountain, excellent viscosity and huigan. And all of them are here. There are no substantial altitude differences compared to the autumn counterpart, but here we have leaves only from old and ancient trees. They appear lighter, less reddened, the liquor takes on a straw-yellow hue, and the aroma recalls that of orchid, not the florist’s kind, but the wild one you stumble upon between the cracks of limestone, with scents of an intensely floral field and apricots.

    Framing it is a very light smoky note that fades quickly over the course of the session, while a constant forest-like tone remains, along with wet stone elements that greatly define the olfactory texture. The character is decidedly more intense, more subtly grassy and floral, geared toward evolution over time. The liquor is beautifully smooth, sustained by light bitterness and astringency, which pave the way for a huigan that is reactive, quick, enveloping, and progressively expands from throat to palate.

    As the session continues, it constantly reminds me of some Pu’er from Gedeng, but even more boldly floral and with a distinctly mineral signature. The huigan and the persistence of the aftertaste are undoubtedly the pillars of the tasting experience, two traits that make you forget many gushu from beyond the border.


    Note: All the stunning photos of the passages were taken by Steve (Viet Sun)

  • Shaping the Earth: The Instinctiveness and the Human-Matter Connection. A journey through the ceramics of Damian Piątkowski.

    Shaping the Earth: The Instinctiveness and the Human-Matter Connection. A journey through the ceramics of Damian Piątkowski.

    There is a gesture, absolute and primordial, that precedes every form of calculating thought: shaping matter. Before architecture, before writing, before utterances became language, there was the hand that molded the earth, shaping it with generative tension. Instinctive, untamed ceramics, in which function and flair do not yield to any technique, are the manifestation of an art that does not ask permission from aesthetics; it is substance, it exists and consists purely in itself.

    To it belongs that rural spirit that calls for a necessary return to a time when not everything had to be polished, constrained by automation. It offers itself to the kiss of flame, to the intimacy of fire, whose tailor is alchemical chemistry; within it dwells man, not the perfect one, obsessed with premeditated thought, but the one who falls, who errs, who returns to the earth to reclaim his material condition. It is a reminder of the human, of a beauty that does not stubbornly seek to appear as such; a silent resistance to homogenization.

    Nonetheless, I have often reflected on this way of making ceramics, trying to understand the phenomenon of instinct. And through this exploration, I’ve come to realize that contemporary wabi-sabi has nothing to do with this kind of spontaneity. The more I observe the work of true artists, the more I see how the term wabi-sabi has taken on mostly derogatory connotations, an aesthetic shortcut. I’ve seen a flood of pseudo-artists making so-called “wabi-sabi” ceramics, with imperfect forms, teetering between the amorphous and something regurgitated by an earthquake, claiming to tell stories of “the art of imperfection.” But there is no story. Only form. Only matter. Even more sterile than mass production. Just an attempt to sell incompetence.

    But the ceramics of Damian Piątkowski, Jiří Lang, Jiří Duchek, Andrzej Bero, and Jan Pávek are completely different. In Eastern Europe, a movement has emerged, led by these great ceramists who celebrate the unrepeatable, the uniqueness of creation, its original matrix. While in China, perfectionists like Wu Haoyu and Wang Shi Jun, legends of Yixing like Zhou Dingfang, Yuan Weixin, Yang Hui Ying, or of Jianzhan like Chen Xu, Lai Yun Ping, Xiong Zhonggui have risen to prominence, Europe, too, has now undoubtedly reached greatness, albeit in a different way.

    The unpredictability of the result takes on a new form, a recovery of physicality and of the body, not only in its imperfection, but in its symbols, in its meanings.

    The ceramics by Damian (clayoncy) that you see in the photo embody all of this: not a regression into some ancestral making, but a conscious position that places the human-matter bond back at the center through a pre-ontological dimension of form, offering a radical alternative to mere artifice and the reproducibility of shapes, reconstructing not only perspectives and objects, but entire ways of experiencing sensibility and inhabiting the present.

  • On the Sidewalks of the Sacred and the Spent – Seven Essence Darjeeling Autumn Augury

    On the Sidewalks of the Sacred and the Spent – Seven Essence Darjeeling Autumn Augury

    Augury is a Seven Essence Darjeeling oolong conceived under a notion of tea-making that is almost Liberty-like, moved by a secular liturgy made of gestures, of manners, of repetitions never entirely identical to themselves. It is the progeny of a movement that knows no envelope, neither of the body nor of the imagination; it is a struggle against the terror of uniformity and constraint. It compels one to separate from judgment dictated by the flesh.


    Drinking it brings back memories of late nights, with the head resting against the wall in front of Casa Florio Nizza, a massive liberty building by Bellini, adorned with cast stone phytomorphic decorations, where the opacified windows let the light filter in like a profane cathedral. The wrought iron of the railings, twisted with almost conscious intent, seemed aware of being among the few survivors of an extinct architectural race.


    This tea brings back to my throat the mineral warmth of those walls, thoughts on the excesses of a life long past, on surrendering beauties, on the last cigarettes smoked standing among those fervent buildings, custodians of descents into hell and fleeting redemptions. A youth lived on worn-out sidewalks, eroded by the disheveled snobbery of its regulars. These were neighborhoods inhabited by angry adolescents, womanizing masons, criminal dandies, penniless but enlightened artists and inept silver spoon kids; people who, in any other context, would never have met.


    The cup appears like that neighborhood, a unifier of opposites, a place incapable of saving anyone, but at least able to ennoble our desire for consolation. With its scents of magnolia, orchard grass, fermented fruit and tuberose, it seems conceived by the olfactory extremism of Cavagna, but what strikes is not only its flamboyant sweetness, the total absence of bitterness, or its glyceric texture, but the verticality of the composition: a Dantean ladder climbing through wildflower honey and the early setting of gooseberries. There are notes of peach candy, guava nectar, coconut water, and pomelo, followed by an archetype of tropical fruit that closes on a fragrance of passion fruit, with an almost surreal intensity.

  • The Price of Inconsistency: The State of the Market and Why an Uncontrolled Price Increase is So Dangerous

    The Price of Inconsistency: The State of the Market and Why an Uncontrolled Price Increase is So Dangerous

    A few days ago, a couple of videos by Farmer Leaf were published on the situation of leaves prices in Yunnan, with some insights similar to an article I posted back in late January, written with a slight tone of historical catastrophism, which, rereading it now, almost feels like a premonition. But that happens because history repeats itself in a damnably perpetual way, and I take no credit for that. Now, I don’t think William needs my promotion, I’ve never even spoken to him, to be honest, but I believe he’s one of the people with the most complete, intellectually solid, and sincere vision of the Pu’er landscape, at least on the western side, and, most importantly, capable of combining field experience with analytical clarity, not only because he lives and produces tea in Yunnan. After all, a heart patient is not automatically a great cardiologist, right? For this reason, I would like to ideally connect to what was said in the videos, and perhaps push the boundaries of the discussion a bit further. I know this might seem like an idle exercise, especially now that we’re on the threshold of a season that in many areas hasn’t yet shown itself for what it will be, but I believe the world of tea is already saturated with misleading narratives, or overly bent towards consumption and function-driven logic, so I think many can still tolerate one more.

    In some areas like Jingmai, but also in the whole Lincang region, Wuliang, and many parts of Bulang, for example, we have seen a significant depreciation. Not all in the same way, as the price of Yiwu leaves has remained almost unchanged in the famous villages, likewise in Bingdao, although I’ve heard of at least a 10% drop in surrounding villages. The forecast is that plantation and old trees materials from less famous areas, including gushu from some terroirs, will be the most affected. It’s no secret that Pu’er has become almost a superhuman niche game in the last 10-12 years, but was this scenario so unpredictable?

    The last discussions on this topic were buried by me in 2014 when more and more people, myself included, became involved with Pu’er, along with a sinking fleet of capital supporters still rushing towards creditors because they considered it a good investment. The growth of the sector was predicted to be unstoppable, which indeed happened for the next ten years. But now it’s no longer like that. The signs have been there for a long time, just like they were present in 2007, although I stand by my previous position, namely that today the situation doesn’t verge on tragedy as it did back then.

    What is truly tragic is that Pu’er has reached ridiculously high prices, and in economic terms, this doesn’t mean that people can no longer afford it, which is the point that many emphasize, as if saying that there will always be people willing to spend; the problem lies in the willingness. When the price of a good drastically exceeds its perceived or utilitarian value, cognitive dissonance occurs in consumers, leading to a drop in demand despite the availability of money, simply due to economic rationality. The opportunity cost (what one gives up) becomes too high compared to the perceived benefit. This is in line both with prospect theory, which suggests people react to losses by perceiving an excessive price as “unfair,” and with the luxury paradox. Luxury, which has often been used as a justification for the monstrous figures requested, actually operates in a paradoxical way where some goods lose their appeal if they become too accessible or even too exclusive. A good loses its appeal as a status symbol if its accessibility (real or perceived) collapses.

    Price is not just a number; it is a psychological signal, and the breaking point is not universal. Exceptions are represented, for example, by works of art: they maintain high prices for centuries because they embody the brilliance of human genius, something that transcends mere consumption; they do not extinguish or exhaust in the face of the tangible, as they serve no purpose other than themselves. Their value transcends consistency, even while having physical effectiveness; it’s a status that no other thing in the world possesses. But for most goods, including Pu’er, when the price loses all connection to the economic, cultural, or functional reality, the market simply collapses.

    I remember that a while ago, people often debated the origins of capitalism, the rise of the West, and how it had overshadowed the Eastern economy in some ways, contributing to a geopolitical gap that is now not so clear. It was in this context that Pomeranz’s “Great Divergence” concept emerged. This was later placed in an economic context by Robert Shiller, who understood it as a situation where financial prices deviate too far from the real economy, creating imbalances destined to correct themselves, often traumatically. The way to identify this phenomenon comes from observing its three main drivers:

    – Economic narratives: shared cultural constructions that influence collective economic behavior, often independent of fundamentals. These narratives, such as “the tea from this mountain is liquid gold,” “only here can you find true gushu from 3,000-year-old trees,” “the stock of this Sheng keeps increasing in value,” or “this is the last chance to buy before prices explode,” act as psychological catalysts, amplifying expectations and contributing to speculative communication. The power of a narrative lies in its ability to be replicated and spread, much like a virus.

    – Positive feedback loop: a dynamic mechanism where an increase in the price of a financial asset attracts further investment, which in turn drives prices even higher. This process can generate a self-reinforcing spiral disconnected from fundamental values, further fueling the underlying narrative. It’s a recurring dynamic in speculative markets, often a precursor to a correction.

    – Imitative behaviors: the tendency of economic actors to replicate others’ decisions rather than base their choices on an independent analysis of available information. This behavior arises from both cognitive (reducing uncertainty) and social (fear of being excluded from collective gain or consumption) incentives, and is one of the main forces amplifying the effects of dominant narratives in markets.

    The key point to understand is that no divergence between prices and reality can last forever, none. You might ask, “What about works of art?” Works of art don’t enter into this context because they don’t have divergence. This sets in when the vicious cycle becomes unstable, because goods like tea are always subject to physical constraints, like having a house on the side of a hill in an area that is perpetually at risk of earthquakes. For real goods, final demand always depends on tangible utility, whether it’s for dwelling, consuming, or earning. If this function is lost in products that naturally possess it, the market collapses in the end.

    The significant difference from wine is that in the latter, entire areas have seen an increase in land cost and corresponding product beyond imagination, like Pu’er, but there are still labels that are more accessible and others totally out of reach for 90% of people, and both contribute to maintaining the peak of that specific terroir, which remains accessible but sufficiently elitist. In Pu’er, this doesn’t happen, which leads everything to a single standardized dimension. But it isn’t the same for quality. An example can be that all Bingdao shengs are expensive, some more prohibitive than others, but all are excessively costly and generally inaccessible, even the mediocre ones. The quality of raw material can differ even within the same micro-territorial context, but, above all, the hand of the producer is often unknown in the world of Pu’er, reducing everything to a blind purchase if you go outside your small circle of trusted producers or traders. According to this mechanism, if one producer in Montrachet makes a mediocre wine, it’s an isolated case; if someone sprays herbicides every Friday or produces low-level Pu’er in Yi Shan Mo, everyone risks being affected.

    Secondly, there is the crisis of trust, which arises when investors realize that the price is an “empty promise” in terms of missed capitalization or, at the same time, in terms of unfulfilled organoleptic quality, no matter how high it may be. Furthermore, the crisis of trust sets in when uncertainty exceeds average tolerance thresholds. Rigged auctions, counterfeits, false claims about the region and age of the trees — all factors contributing to the genesis of distrust. Have you ever seen cakes that looked ordinary, wrapped in plain white paper, always nibbled by the chewing apparatus of some friendly larva, with a damp stain, deliberately present to legitimize a supposed date, affixed a line before a price with 3 or 4 digits? If you were to sell a Chateau d’Yquem, pick any vintage as long as it’s not the 2008, to a wine expert, but that Sauternes were in a naked bottle, without a label, do you think they’d be willing to give you $600 on trust alone? Without clear traceability, strict controls based also on biochemical analysis, do you think people would spend a fortune on any Burgundy wine? In these contexts, people self-report among neighbors, whereas with Pu’er, there still seem to be actors who want that jianghu, that shadow line that seemingly benefits everyone. Wine is clearly different and not all concepts can be applied to tea, as it’s a different raw material. But why is it that everything becomes tolerable for Pu’er?

    Finally, there are external interventions, or regulatory agents that trigger corrections, which in this case can be merchants or investors. The money flow stops, and the machine halts, and this is the third reason for the unsustainability of the divergence.

    All these factors are usually monitored by financial experts to assess the health of the current market but also to avoid excessive financialization. If a good loses sight of its utility principle, it becomes an asset detached from what makes it itself, turning into a tool for speculation. So, I ask once again: why is there such a desperate effort in Pu’er to gamble and push itself to the edge of this condition?

    Complicit in all these self-flagellation efforts are surely all those photos, those beautiful live postcards with tea trees standing like soldiers at attention, ready to go to war to satisfy our palates, slaves to a huigan, an authenticity and a cha qi at $2/g findable only there, and I mean only there in those 5 square meters of land immortalized, because only there, according to the seller, God has cast his gaze, good tea is made only at that spot, everything else has obviously been planted to shade that little patch of earth, not to be harvested and sold. What they might not show you is how the person taking the photo might be standing on a guardrail next to the highway, and maybe the grass burnt by pesticides gets cut out with editing, as well as the poorly pruned trees (sometimes they don’t even hide those), or other similar things. Or, simply, the tea doesn’t even come from that patch of earth, because let’s be honest, buying tea is often not just an act of trust, it’s entirely an act of faith. This doesn’t apply to everyone, but it’s a concept that applies to many.

    There are no certifications to guarantee the maintenance of a supply chain, nor that a fair price is paid to the producer or farmer, nor control over denominations like in wines. There are chemometric authentication methods through the analysis of stable isotope ratios to trace the origin and harvest year, but I’m smiling just thinking about it. $400 for 357 grams of pure “maybe” seems a bit too much. Half would still be too much. As you can see, the problem is not whether one can afford it or not, for once the problem isn’t money. The problem is the physiological rejection, that immune response of my body against the enormous “if” that resides in my cup, which I’m about to swallow, hoping that the huigan will overwhelm me so I don’t have to engage in psychomanipulative strategies and explain to myself why I spent yet another boatload of money on something that’s barely worth a third of what I paid for it. Usually when there is asymmetry of information between the buyer and the seller, an average price is paid due to the lack of knowledge of one of the two parties. But in Pu’er this does not happen.

    And having mentioned authenticity, I’ll refer to the next crazy price-justifying argument. I remember an interesting article by Shuenn-Der Yu, an anthropologist from Academia Sinica in Taipei, who concluded by saying, “Ironically, the story of Puer tea demonstrates that the concern for authenticity may have reached a state where no one cares what Puer really is, so long as the current version of the tradition generates profits.” And here comes another bitter pill to swallow. The campaign for understanding what is authentic in the world of Pu’er has been going on for at least 50 years, and today we are still at the same point, the starting point. Authenticity has moved through the debate between wet and dry storage, between terrace tea and forest tea, until reaching the exasperation of single-origin, which cannot be guaranteed, and the compulsive search for gushu. The search for authenticity has poured into the desire to know the exact location of the bathroom closest to the wok that generated the leaves of that cake from the Banpo forest and the need for those trees to date back to the Qinghai campaign of 1723. Otherwise, you’ll never know what authentic Pu’er tastes like. It’s not a communicative strategy adopted by everyone, but there’s always someone ready to pull out the sign saying “I have the real gushu, the others are fake.”

    From the late Qing period, blending (pinpei, 拼配) was considered a refined skill, the result of long training and experience, not unlike, in rigor and sensitivity, the art of blending in whisky or tobacco. This technique continued to represent an essential component of production, both for shenh ad shou Pu’er, continuing its evolution even within large state-owned companies in modern times. But today, authenticity resides in the single village, in the extreme representation of terroir, in tasting the locality, an invitation to the sage of purity and a claim to a place, as happens with French crus or Italian MGA. Too bad that in Pu’er there is nothing similar, neither in historical documentation nor in tradition, nor, again, in the concept of denomination. And without denominations and identity controls, which terroir are we talking about exactly? We can talk about it when we are in that mountain, in that forest, tasting the tea that comes from it because we know who worked it or picked it. But hundreds or thousands of kilometers away, how does that certainty remain intact?

    Apart from the controls in some areas, in other parts no one will tell you the truth about what’s happening. Ten years ago, MarshalN wrote, “If you think about it, nothing stops a seller from going to the nearest Chinatown supermarket, buying a bunch of tea cans that cost $5 each, emptying them, repackaging them as quality tea, and reselling them at a 4x markup,” and what has changed in 10 years? Nothing.

    The marketing of Pu’er tea has for many years been a choreographed performance, orchestrated through often incomplete contracts that leave excessive room for opportunistic behavior. This modus operandi can be rationalized by observing three harmful symptoms: the sanctification of space, the providential narrative, and the pseudo-religious iconography. All of these are present and exposed above. The Pu’er market has been plundered by what should be the true agronomic meaning and sense of terroir, which deserves true protection, not mere commercialization. What should be the core of authenticity becomes the passive accomplice of an economy of hope.

    “It’s normal for people to always want more and earn more; it’s useless to play the morality crusader,” is a typical phrase I hear in debates about situations like these, and it is the natural response many would wield in face of this article. Therefore, I would conclude by reaffirming the reasons that constitute the danger of such a perverse economic cycle.

    In the relentless pursuit of higher margins, many areas have converted their crops, with reductions in many cases of more than 40% of the land cultivated for essential foods, increasing vulnerability in case of external imbalances. To expand or maintain production, many farmers have taken out high-interest loans, which, naturally, are also increasing, as the bet was based on a continuously rising price for Pu’er, thus increasing pressure on the credit system and families. Now, if the price of raw tea continues to decline in the coming seasons, these farmers would find themselves in technical default. I read somewhere years ago that rural banks in Yunnan had about 40% of their loan portfolio tied to the Pu’er sector: if producers could no longer repay the loans, there would be a risk of chain insolvencies, similar to a mini subprime mortgage crisis:

    Farmers → insolvency → rural banks → credit freeze → collapse of local businesses → slow return to normalcy.

    So, the point is not just to lower prices, but to rebuild a network of trust. Continuing the speculative system would not only lead to critical adjustments for honest farmers and intermediaries but also to credit rationing phenomena that would prevent rapid recovery or mere subsistence even after the true outbreak of the crisis. Banks and credit institutions could limit loans to avoid adverse selection risks, like financing risky projects, favoring only the large intermediaries and leaving smaller entities behind. And this is a frequent thing that nobody ever talks about.

    Moreover, most of the workforce in rural Yunnan is directly or indirectly involved in the sector: farmers, processors, vendors, tea-related tourism employees. With another market crisis, what transferable skills would hundreds of thousands of potential unemployed people have? Economic restructuring is not possible in the short term to cope with a potential crisis, given the absence of industrial alternatives. To conclude this excessively dramatic view, even with a collapse in the value of Pu’er, rents and mortgages would not fall, since for a good initial period, land and properties would still be valued based on high-return expectations, and families would remain trapped in a stagflation trap (despite some sectoral deflation): high production, high costs, falling income, rising underemployment, and declining consumption. I don’t believe Yunnan is in this situation, despite some sectoral deflation and possible inflationary rigidity of essential goods and fixed costs, nor do I think it will get there soon. But this article is an investigation into various perspectives, so it is necessary to describe even extreme but possible conditions.

    Essentially, the Pu’er sector, grown under a model of accumulation and continuous speculative expectations, is now facing its structural limits:

    • Inflated prices → distorted rents → inefficient resource allocation.
    • Dependency on a single product → systemic vulnerability.
    • Lack of diversification and resilience → risk of regional social and economic crisis.

    The Pu’er market has evolved into a microcosm of financialized capitalism, where the described drivers create a deadly divergence between price and reality. The correction is painful but necessary, as only by anchoring the price to real values (quality more closely correlated with price, an ethical and certified supply chain, cultural utility) can we avoid the trap of the “Great Divergence.” As Galbraith wrote: “Everyone thinks they can leave the party before the punch bowl runs dry. But the punch always runs dry suddenly.”

    In light of the above, the solutions – though complex and not immediately applicable – must include a selective revision of price levels, especially in areas that have experienced the sharpest increases in recent years. This recalibration would help to rise quality, to reduce the entry barriers that currently discourage new operators and consumers in a sector characterized by volatile and often unstable preferences.

    It is true that there is a niche of loyal consumers, deeply connected to Pu’er from both a cultural and taste perspective; however, most consumers show high price sensitivity, and in the event of compromised accessibility, they will drastically reduce consumption or migrate towards alternative tea varieties, or turn to other Pu’er production areas such as Laos, Thailand, and Vietnam, which are more economically sustainable and are now producing excellent teas.

    As also highlighted by William in his videos, another key strategy is diversification: particularly the development of sustainable and integrated tourism (ecotourism) and the reintegration of agricultural crops suited not only for human consumption but also functional for renewable energy production, such as biomass for biogas, or alternative crops like coffee, given the growing prestige of the Menghai region, where extremely high-quality varieties like Gesha are now being successfully grown, representing promising ways to free local communities from the near-exclusive dependence on tea monoculture.

    At the same time, the introduction of a mandatory certification system for Pu’er is necessary as a tool to restore market trust and strengthen the perception of the product’s intrinsic value. The cheerful postcards will not be enough sooner or later. In this regard, the use of blockchain technology – to ensure traceability and transparency – together with the formal recognition of local designations of origin, represents an essential step towards a credible and sustainable revaluation of the entire sector.

    From a macroeconomic and credit perspective, if the market continues to show rigidity and an absence of adaptive capacity, it will be inevitable to implement extraordinary intervention tools. Among these, it will be crucial to begin systematic monitoring of essential goods prices in the most affected areas, to contain the regressive effects of the crisis on the most vulnerable households. It will be necessary to consider the possibility of activating public debt moratoriums for small producers, as well as, with extreme caution, evaluating the partial conversion of debt into equity instruments. Although this measure would provide immediate financial relief and potentially facilitate access to certification programs and technical support, it carries significant structural risks: among them, the potential for abuses, the excessive commercialization of production logics, and the disproportionate cession of land-use rights in relation to debts that might be overestimated or poorly contracted.

    Those who know me or have had the chance to read what I usually write on my profile know how attached I am to Yunnan and China, and they perfectly understand my language, saturated with admiration for an irreducible people. However, I believe that poetic phrasing, lyrical tones, and romantic philosophy are no longer enough. On the contrary, I think a more critical, aware, and participatory approach is needed: a form of shared responsibility toward a market that has proven extremely fragile and that requires more balance and transparency, for the good of all, those who live there and those, like us, who observe, love, and frequent that world.

  • How Money Can Buy Your Taste. And Why You Should Buy Tea Anyway.

    How Money Can Buy Your Taste. And Why You Should Buy Tea Anyway.

    Universities are fascinating places to discuss how money cannot buy happiness. Perhaps because young people at that age are often strapped for cash and, at the same time, eager to prove that money can’t buy everything, not even that feeling, that harmony between duty and desire, between the passive acceptance of immediate pleasure and the attempt to avoid ephemeral satisfaction. The academies, until one secures a professorship, are also the venues where the idea of the hedonistic treadmill is strongly endorsed. This concept describes the human tendency to incessantly seek pleasures or material improvements without ever achieving lasting satisfaction. Even significant achievements, such as a career advancement, the purchase of a long-desired asset, or a personal milestone, generate an initial peak of satisfaction that nevertheless fades with habituation, returning the individual to their preexisting “set point” or “basal level of happiness.”

    I began to wonder, in conversation with colleagues, how one might temporarily yet continuously buy access to the upper floor of happiness, creating an emotional elevator that works on demand, but without the immediate dispersion typical of compulsive buying, and without short-term happiness eventually leading to long-term side effects. Honestly, I was very happy during my early university years, marked by precarious employment and mere subsistence, but I don’t think I’d want to return to those same conditions at this stage of my life. Yet I also don’t want, now that I’m aware of having greater purchasing power, to fall into the collector’s spiral, where happiness is repeatedly renewed and crumbles as one fills a substantial void or into the trap of social comparison, where one measures their value against others in a cultural context that celebrates material success. This phenomenon, as Festinger’s theory of social comparison suggests, has only made many people poorer and poorer. Then, for those of you, like me, who refuse to accept the reality proposed by Lykken and Tellegen, that 50%, and even more, of subjective happiness is hereditary, it becomes necessary to find something that rescues us from our desperate, ill-fated genetic inheritance of perpetual dissatisfaction. I would like to tell you that to govern happiness you must focus not on possession but on mastering your inner judgment; however, I am by no means the most spiritual person you’ll ever meet to be in a position to say that, and besides, I don’t feel like lying to you.

    If money cannot buy happiness, we have certainly noticed how it can at least purchase quality, or at the very least, the pretense of quality. I recall several studies, as well as numerous blind tastings, where it consistently emerged that wine, or tea, showed a positive correlation between price and quality, yet the relationship was always incredibly skewed. The most expensive product never ranked first, never. Now, in the Pu’er saga, we see how, as a common snack available everywhere, tea cakes priced at $1–2 per gram appear as if it were normal, as if quality resided only in those teas, and among the buyers of these cakes very few complain about the actual quality of these productions. Beyond the debatable nature of this phenomenon, there are reasons for it.

    The first is that these products do indeed embody quality, albeit not to the extent that justifies their exorbitant prices.

    The second, as trivial as it may seem, yet as current as a Rolex Submariner on a trust fund kid’s wrist, is that no one is willing to admit to themselves that they’ve burned through a third of their salary on a tea cake that didn’t overwhelm them with a mystical aura but was simply an excellent tea. This is the “sunk cost fallacy”, we recognize that it is irrational to persist in a failing project “because we have invested so much in it,” yet the pain or anger of admitting a loss paralyzes us, doesn’t it? When something is expensive, the link between price and pleasure becomes extremely strong; the price tag transforms into a vehicle for a symbolic narrative that promises a sort of redemption for the expense, an existential revenge. The more you spend, the more you believe you are accessing a “superior” pleasure, rarefied, almost transcendent, and this occurs even before the actual possession of the good, via dopaminergic anticipation.

    But the third, and most important, reason is that often the price demands attention. When you spend a lot, it is rare not to notice every smallest detail; every moment can become saturated with meaning. You’re willing to overdose on information just to testify that something is truly extraordinary. This happens even without resorting to selling your organs for a cake, but when you spend a lot, there is no doubt that even someone usually inattentive to every macro-detail would experience the situation differently. In short, both emotional and physical engagement reach their maximum.

    Tea in Asia is the apotheosis of agricultural art, and it is natural that people find far more to discuss about a Bi Yun Hao tea cake priced at $500 than about a Xiaguan tuocha costing $10. In the latter case, even if there were something worth discussing, the buyer might subconsciously suppress their thoughts, because it is socially expected that any good priced below a certain threshold has nothing to offer except a “daily squeeze” of repeated consumerism. Many believe that you cannot enter the elite with a ten-dollar purchase, right? But then, how can one leverage this perverse, consumerist vision to one’s advantage without selling both kidneys? Now I come to the point.

    What if we viewed price not as a determinant of the intrinsic quality of tea, but as a marker of a sacred boundary between the everyday and the consecrated moment, where money is not betrayed by the real quality (a quality that will never be proportional to the money spent in any case), nor idolized by those who have invested a fortune in what they consider the only way to achieve “true” pleasure? It would no longer be about chasing luxury or a social identity, but about intensifying the present regardless of other factors at play.

    To do this, there is no need to spend vast resources; it is enough to pay just a little more than what we consider “normal,” employing a critical yet functional hedonism in which that slight surplus serves as a cognitive bypass and taste criticism functions as a true tool in the search for real quality. Then, all that is needed is to unbox a tea cake and share it, with someone you love or with yourself on a difficult day, thereby consecrating the moment. And you can do this repeatedly, in a logic that transcends every commercial imposition.

    That “little bit more” translates into the symbolic gesture of surpassing the ordinary. If you think that isn’t enough, bear in mind that one aspect is the rational awareness of a cognitive bias, and another is overcoming it. It becomes akin to knowing about an optical illusion yet continuing to perceive it even after understanding the trick. Awareness of a bias triggers the analytical system, which is more laborious but corrective; however, it does not interfere with the creation of the bias itself—because biases are effects of evolutionary inertia, developed to survive in a context of cognitive sustainability, not to be right. Essentially, we live in a sort of metacognitive blindness, so why not exploit it.

    Let it be clear, this approach would not make extraordinary what is not, nor would it imbue something with an unreal quality it does not possess, but it would help remove many externally induced obstacles to accessing this generative mechanism.

    In addition, it would bypass what Byung-Chul Han defines as the “psychopolitics of consumption”, that is the colonization of emotions by the market, which transforms price into an indicator of sentimental intensity, a revealer of truth. Instead, a practice of ritualized happiness is built, as Bruckner would note, whereby a Pu’er tea cake becomes a pragmatic and positive fiction, an accessible simulacrum that does not promise the eternal happiness but guarantees a repeatable fragment of fulfillment.

  • Seven Essence Darjeeling Masquerade

    Seven Essence Darjeeling Masquerade

    I believe there are few people on this earth for whom I have ever felt even a modicum of envy, and I do not say this out of vanity nor from some absurd, ultraterrene awareness. I’m simply indifferent to the allure that possession exerts on people, the resonance of an echo of absence, the trace of a denied desire. Yet Bubble and Abhijeet have a rare, transcendent empathy when it comes to tea, a quality that is either innate or remains scarcely graspable, one that probably I don’t even have. Their autumn collection attests, indisputably, to their status as the Vaughan brothers of the Darjeeling terroir and to the perception that selecting leaves is a virtuous act, a testament to aesthetic discernment.

    The election of the proper material is not a mere sorting process; rather, within it dwells that lyricism, that aphonic language in which what resides is lifted from its ordinary form, unfolding into a dizzying array of aromas and scents where time contracts and expands with a diaphragmatic cadence. To select leaves is an invocation of the sublime, a re-creation of the universal tension between order and chaos, wherein the structural opposition of what is utilitarian and what lies beyond utility is drawn and maintained open, rendering tea not merely a beverage but a vehicle of meanings.

    Masquerade is a Darjeeling oolong produced from the AV2 cultivar, a tea with a dense liquor, a chromatic snapshot vibrating between ancient gold and dusty amber. The leaves exude the fragrance of rose and jasmine, of olive oil and fruit tart. The infusion is sweet, soft and persistent, with hints of pear, pistachio and dried apricot. It is a sip of freshness, capable of rejuvenating even those weary nights, illuminated by the flashing lights of police cruisers deployed in one of those torrid, sleepless nights.

    Notes of chlorophyll, subtly vegetal, along with hints of olive leaf and mango, evoke an introspective road movie, laden with trembling shooting of hands brushing against corn stalks and bodies staggering in the sultriness, a spiral of rural unrest and youthful rage, of adolescent fights in the badlands, where typically nothing was too dear but everything cost too much.