There are Brigg umbrellas with Malacca handles that belong in le Carré novels, leather goods made to acquire a life rather than announce one, and the house’s two-and-a-half-century conviction that a useful object may also be stunningly beautiful. Swaine created James Bond’s briefcase and supplies the British military. Somewhere on the premises is the hatmaker behind Indiana Jones’s hat.

The associate was kind and urbane, with a patience rarer today than it should be. Nearly everything, he explained, could be adjusted: a lining color chosen, a strap shortened, pockets moved or added, a closure changed. That is the luxury of it—not excess, but attention: the consideration of what an object will carry, where it will travel, and the life it is meant to support. Someone asks how you will use the thing, then makes it accordingly.

I had thought the house label, small and discreet, was fine where it was: outside, lower center. Most companies attach labels that can be seen from space. The associate suggested, casually and with great politeness, that it be moved—the house’s own mark. I offered the back of the bag. He countered with inside. Under the flap.

Swaine knows who it is, it seems to say, and you know who you are. Anyone who does not need not be told.

This, above all, is Swaine: not insistence, not refusal, but the poised conviction that the right answer exists and will, eventually, be reached.

The plan was admirably ambitious: a driver, several wineries, a thoughtfully arranged route, perhaps a late lunch somewhere with a view.

Then there was Elusa. The tasting became a conversation; the conversation became another bottle; and before long my mother and I had resolved several of life’s smaller mysteries, formed firm opinions about the virtues of remaining exactly where we were, and acquired a case of wine.

The other wineries remained unvisited. They will understand.