Get to Know Quattro Gatti, The Gin Brand Taking the Art World by Storm

Late last fall, at Clemente Bar in New York, a family-led gin company named Quattro Gatti launched in the United States. Although Europeans and Australians have known its flavor since 2022, the label brought Manhattanites a taste of its small-batch gin, known for its native, terroir-driven notes of juniper, olive leaf, artichoke, lemon, and thyme.

Bringing together a passion for art, hospitality, time, and place, the slow-craft spirit was created by Simon, Catriona, Angus, and Brielle Mordant—a family that splits much of its time between New York and Umbria, where the gin is produced. The latter destination, where the Mordant family has spent time immersed in its landscapes and rhythms, is reflected in the gin itself, made with a personal approach to craft that’s shaped by years of cultural and creative engagement. What began as an exploration of botanicals and distillation evolved into something more expansive: a sensibility around gathering, storytelling, and the art of experience.

That ethos extends to the brand’s latest role as the official gin partner of the International Art Exhibition of La Biennale di Venezia—a continuation of a longstanding dialogue with the art world. The Mordant family’s ties to major cultural institutions and their decades-long involvement with the Biennale inform every aspect of Quattro Gatti, from its understated elegance to its thoughtful integration into moments of artistic exchange. With backgrounds spanning patronage, photojournalism, and visual production, each family member contributes to a shared vision grounded in narrative, context, and connection.

Quattro Gatti exists at the intersection of contemporary art and conviviality, shaped by summers in Umbria and years spent supporting artists and institutions around the globe. Whether through its presence at one of the world’s most influential art events or its debut in downtown Manhattan, the brand embodies a way of living with art.

Whitewall spoke with Simon, Catriona, Angus, and Brielle Mordant about intention, atmosphere, and the power of coming together, and how art and culture shape much of what Quattro Gatti stands for. 

Bringing Quattro Gatti to the U.S.

WHITEWALL: Before launching Quattro Gatti last year, what were each of you up to professionally and personally? You’ve had a long-standing relationship with the arts and storytelling, yet no one comes from a spirits background. Why did you want to launch a gin company?

CATRIONA MORDANT: Our backgrounds are quite varied, but they’ve always been connected through a shared interest in the arts.  Simon and I have spent decades working closely with artists and cultural institutions, including long-standing involvement with the Biennale and other international organizations. At the same time, Angus and Brielle were developing careers in visual storytelling in New York City. Angus is a photojournalist and Brielle has a background in advertising and production. These paths naturally shaped how they think about narrative and experience.

Spending time together in Umbria brought those worlds into alignment. What began as long summers and shared meals evolved into a deeper connection to the land, the rhythms of daily life, and the idea of gathering with intention. Quattro Gatti emerged quite organically from that intersection. It became a way to translate our connection to place into something tangible and shared. What started as an exploration of botanicals and distillation grew into a broader expression of how we like to host, gather, and experience those environments together.

“It became a way to translate our connection to place into something tangible and shared.”

–Catriona Mordant

WW: How did the idea for Quattro Gatti Gin first emerge? In what ways does the spirit reflect your family’s deep connection to Umbria, heritage, and the Italian way of life?

ANGUS MORDANT: The idea really began in Umbria, where we’ve spent a great deal of time as a family. I’ve been coming to the region since I was a child. There’s a distinct rhythm to life there and it became a source of solitude and relaxation for us. In 2021, when travel started to open up, my dad and I took a gin-making course in England. Feeling energized from the class and knowing some of the best juniper in the world grows in Umbria, we returned to Italy to begin experimenting with botanicals to create a gin that was distinctly Italian. Gin Classico became our first expression. Rather than overworking it, the intention was to create something composed and expressive, but still approachable. It’s designed to sit comfortably within different moments, whether that’s a simple cocktail or more involved mixology. Something you return to naturally. 

Quattro Gatti’s Ties to Art

WW: Your family has long been recognized for its patronage and leadership across major cultural institutions. Can you also what led you to the arts, and any details you can share on recent activations, exhibitions, etc. you’ve been part of? 

CM: My work has always been centered around supporting institutions that create space for artists and sustain creative communities over time. I’ve been involved with organizations such as the Museum of Contemporary Art Australia, Sydney Dance Company, Art Gallery of New South Wales and Queensland Ballet, all of which play an important role in shaping cultural life. What draws me to this work is the ability to help build environments where people can come together around art, whether through performance, exhibition, or shared experience. These spaces don’t happen by chance, they require long-term care, advocacy, and belief in their value. That way of thinking has very much carried through into how we approach Quattro Gatti. It’s not just about creating a product, but about contributing to moments where people feel engaged, present, and connected through a shared experience.

WW: What kinds of organizations, movements, or fairs do you feel drawn to? 

SIMON MORDANT: We’re particularly drawn to biennales because they offer the opportunity to encounter artists we may not yet be familiar with. We’re always energized by being around creative people, and these exhibitions often present work through fresh, unexpected perspectives. The Venice Biennale is a true highlight for us, bringing together national pavilions, a thoughtfully curated central exhibition, and a rich program of offsite presentations.

We also value spending time in artists’ studios, gaining a deeper understanding of their practice, especially with artists whose work we’ve followed over time. During our travels, we make a point to visit local galleries, particularly in places that are new to us. It’s one of the most immediate and insightful ways to engage with and understand a local art scene.

WW: How has a lifetime of engagement with the arts shaped the identity and storytelling behind the brand?

SM: A lifetime of engagement with the arts shapes how you think about proportion, restraint, creativity and context. Over time, you begin to value work that feels resolved and enduring, rather than immediate. That perspective carried into Quattro Gatti. We weren’t interested in creating something that dominated a space, but rather something that could exist alongside other elements, whether that’s within a cultural setting or a more informal environment. For us, it’s about creating something that feels considered and complete. There’s a discipline in knowing when something is finished, and that sensibility comes directly from years spent around artists and institutions.

Inside the Mordant’s Art Collection 

WW: Can you tell us a bit about your collection? What’s in your homes?

SM: Catriona and I have been collecting art together for nearly 40 years, and we’ve never sold a work. For us, the guiding principle has always been simple: the work must resonate deeply at the moment of acquisition and be something we want to live with over time. There have been instances where a work met that first criterion, but practical considerations, such as scale or even whether it’s suitable for a home with animals, have led us to pass.

Our focus has largely been on contemporary art, as we value the opportunity to engage directly with artists and develop a deeper understanding of their practice. We’ve collected globally, primarily through commercial galleries, which we see as an essential part of the art ecosystem, and occasionally through biennales, art fairs, and, more rarely, at auction.

Our collection reflects the rhythm of our lives. In Italy, where we spend much of our time outdoors and have expansive land, we’ve installed a number of large-scale sculptural works. In Australia, the focus shifts more toward painting and moving image. We’ve been collecting moving image for over two decades, and it now represents a significant part of the collection.

As the collection has grown beyond the limits of our spaces, we’ve begun to thoughtfully place works with museums around the world. It’s important to us that these pieces are seen and experienced, rather than remaining in storage. 

Quattro Gatti: The Official Gin of The Venice Biennale 2026

WW: What does it mean for Quattro Gatti to be named the first Official Gin of the International Art Exhibition at La Biennale di Venezia? How did this partnership come to fruition?

SM: It’s a very meaningful moment, particularly given our longstanding relationship with Venice and the Biennale. I’ve had the privilege of being closely involved over many years, including twice serving as Australia’s Commissioner, which has allowed us to build genuine relationships with the people and institutions that shape the exhibition. Because of that history, the partnership came together quite organically. It didn’t feel like a brand entering the Biennale, but rather an extension of an existing dialogue. It was important to us that Quattro Gatti felt appropriate within that setting, something that enhances the experience in a subtle way, rather than competing with it. The Biennale is ultimately about artistic exchange, and we see our role as supporting the environments where those interactions unfold.

“The Biennale is ultimately about artistic exchange, and we see our role as supporting the environments where those interactions unfold.”

–Simon Mordant

WW: Over the years, your relationship with the Biennale has included pivotal moments such as the rebuilding of the Australian Pavilion. How does launching a creative venture like this during such a globally influential art event feel personally and professionally?

SM: Catriona and I have been coming to the Venice Biennale since we were married in 1988, which was a pivotal year for Australia, marked by both its bicentennial and the allocation of one of the final sites in the Giardini for a national pavilion. At the time a temporary structure was hastily erected to mark the occasion.

Over the years, that building began to deteriorate, prompting us to explore what might be possible for its future. We were surprised to learn that Australia’s pavilion was the only one in the Giardini not protected by heritage listing due to its temporary status. With the support of the original architect, we sought approval to replace it with a new, permanent structure.

The process took nearly a decade, but resulted in a considered and flexible space designed to better support artists. We led the campaign to fund the redevelopment, and I had the honor of serving as Australia’s Commissioner twice, first for the final exhibition in the original pavilion, and then for the inaugural exhibition in the new one. Today, I serve as Australia’s Global Ambassador and Advocate for this year’s presentation.

The Biennale represents so much of what Quattro Gatti stands for. Given our long-standing relationship with Venice, it felt like a natural alignment. We’re incredibly proud to be the first-ever spirits sponsor and to introduce the Official Biennale cocktail as part of this moment. 

Gin at the Intersection of Art, Hospitality, and Storytelling

WW: How do you envision Quattro Gatti evolving at the intersection of hospitality, contemporary art, and cultural experiences, particularly through collaborations, cocktail programs, and future artistic partnerships?

BM: We’ve always seen Quattro Gatti as something that exists within experience, not just as a standalone product. There’s a natural relationship between hospitality, art, and design, particularly in Venice, where those worlds intersect so fluidly.

I’m interested in how a brand can move through those spaces in a way that feels cohesive. That can take shape through collaborations with artists, whether through subtle interventions like limited-edition labels or more immersive environments, or alongside cocktail programs that are conceived more as rituals than recipes.

We’re also thoughtful about where and how we show up. Partnerships with cultural institutions, hotels, and creative spaces allow us to build moments that feel site-specific and intentional, rather than replicable.

Looking ahead, our focus is on creating experiences that are well-paced and considered. Not overbuilt, but carefully composed where the atmosphere leads and every element from the liquid to the setting works together to support a feeling.