Julieann Fernandez-Thomson, Master Blender of CVH Spirits.
Months ago, whisky lovers in Malaysia were treated to a rare tasting led by Julieann Fernandez-Thomson, Master Blender for CVH Spirits. Hosted by boutique retailer Single and Available, the intimate whisky pairing dinner offered guests a personal insight into the art of blending. With expressions from Tobermory, Deanston, and Bunnahabhain, each dram revealed her philosophy, her precision, and her passion—proving that Fernandez-Thomson isn’t just preserving whisky tradition; she’s quietly redefining it.
A JOURNEY ROOTED IN CURIOSITY
Fernandez-Thomson’s path into whisky began far from the distillery floor. With a BSc (Hons) in Forensic Science, her early work in analytical chemistry sparked a fascination with the alchemy of flavour. A placement at the Kilmalid lab introduced her to whisky’s complexities, eventually leading her to roles at the Scotch Whisky Research Institute and Chivas Brothers—where she honed her understanding of distillation, maturation, and sensory analysis.
She joined CVH Spirits (formerly Distell International) in 2017 as a Blender and, by 2020, had stepped into the role of Master Blender. Since then, she has created more than 25 limited editions and helped shape new expressions in the core ranges of some of Scotland’s most storied distilleries including Black Bottle and Scottish Leader. What sets her apart is her ability to navigate the intersection of heritage and innovation, anchored by an unwavering trust in her own instincts.
“It’s a constant, creative tension—and that’s what makes blending so rewarding,” she tells The Peak. “Tradition gives us structure: we’re custodians of heritage, whether it’s Bunnahabhain’s coastal elegance or Black Bottle’s gentle smokiness. Innovation is about keeping the spirit alive—finding new expressions of that DNA. And intuition is often the deciding factor.”
A SIGNATURE OF CLARITY
Deanston Distillery in Doune, Scotland.
It’s that balancing act—between history, creativity, and sensory instinct—that defines her approach. “Each of our distilleries has such a distinct voice,” she explains. “Whether I’m working on something soft and sweet from Deanston or something bold and smoky for Ledaig, I always want that identity to shine. I strive for balance, but not at the cost of personality. The whisky should speak for itself.”
For Fernandez-Thomson, there’s no set formula when creating a new whisky. Some projects begin with a commercial gap, others with a cask discovery. But her favourite creations start with a feeling. “Maybe it’s a mood or texture I want to capture. Perhaps something coastal and ethereal for Bunnahabhain, or rich and smoky for Black Bottle. From there, we start pulling samples, building layers, and seeing what’s possible,” she says. “That said, sometimes a market opportunity or a surprising cask discovery is too good to ignore.”
Tobermory 23 Year Old.
While some blends are designed with a specific flavour profile in mind, many evolve organically. “Often, it’s the casks that inspire us,” she continues. “A rediscovered parcel in the warehouse can totally change the direction of a blend. I love when that happens—it keeps things fresh and grounded in the liquid.”
“Each of our distilleries has such a distinct voice. I always want that identity to shine. I strive for balance, but not at the cost of personality. The whisky should speak for itself.” — Julieann Fernandez-Thomson
A MATTER OF CONNECTION
Bunnahabhain.
Fernandez-Thomson sees consumer preferences not as limitations but as opportunities to connect with drinkers. “They naturally influence what we do but not in a way that compromises creativity. It’s more about understanding what people are curious about, whether that’s cask types, flavour intensity, or sustainability,” she explains. “I try to approach blending with empathy: who’s going to drink this? When? What experience are they looking for? If we can connect with drinkers through flavour, that’s a win.”
That mindset is especially relevant in Southeast Asia, where whisky drinkers are engaged, educated, and adventurous. “There’s a real appreciation for bold, rich flavour—whether that’s the sherried depth of Bunnahabhain or the smoky tail found in Black Bottle,” she notes. “We also see growing interest in cask finishes, limited editions, and whiskies with a story. The drinkers there are knowledgeable and curious, which makes it such an exciting region to create for.”
BALANCE AND BOUNDARIES
Founded in 1798, Tobermory is one of Scotland’s oldest distilleries.
While she sees innovation as essential, Fernandez-Thomson approaches core expressions with respect and discipline. “Core expressions are like anchors—they need to be dependable and familiar,” she says. “That consistency comes from rigorous sensory checks and an intimate understanding of our cask inventory.” By contrast, limited releases offer space for experimentation. “I often use those as a space to explore new techniques or highlight unusual parcels, while still honouring the brand’s core identity.”
Of all the whiskies she’s crafted, one early release still resonates. “One of the first Black Bottle limited editions I worked on really sticks with me,” she says. “It was smoky, spicy, and just a little bit rogue, like it had a mind of its own. I remember fighting hard for a particular cask to be included. Seeing it bottled, and then hearing from people who loved that exact note, was incredibly affirming. It reminded me that trusting your instincts matters.”
As for what she pours for herself, it’s all about the moment. “That’s such a difficult question—like asking who’s my favourite child!” she laughs. “But I keep coming back to Bunnahabhain 18 Year Old. It’s rich, layered, and just so elegant. That balance of dried fruit, spice, and coastal salinity gets me every time. I usually drink it neat, maybe with a splash of water. It never feels the same twice, in the best possible way.”
As one of a growing number of women in senior whisky roles, she welcomes the industry’s changing landscape. “The whisky world is evolving and becoming more inclusive, increasingly curious, and more open to different voices,” she says. “For me, blending has always been about nuance, detail, and emotion—all things that aren’t tied to gender. We bring our own strengths to the craft, and the industry is finally recognising that.”
