Tag: perfumer

Perfumer Profile: Vanina Muracciole

The immensely talented Vanina Muracciole was born of Italian and Corsican heritage, growing up amid the wild tangle of the maquis, with garrigue herbs, heated pines and sunbaked earth steeping themselves into her memory as naturally as breath. From an early age, scent was not some mere fragrant frippery, but a calling: the trail of Hermès Bel Ami, smelled when she was just eight, struck her so powerfully that she decided there and then to become a perfumer, to one day craft perfumes capable of stirring the same profound emotions in others.

You can read her answers to an exclusive interview with The Perfume Society, here. But let’s take a deeper dive into this fascinating nose’s inspirations and working techniques, shall we?

Studying chemistry first, then refining her knowledge at the renowned perfumery school ISIPCA in Versailles, Vanina combined scientific rigour with a deeply intuitive, emotional response to raw materials, a balance that still defines her creations today. From there, her path took her to Milan and then Grasse, working with MANE, where she honed both her technical palette and her sensorial style, expanding her olfactory vocabulary from the scrubland of Corsica to the classicism of French perfumery, and the precise demands of global clients.

 

 

 

 

Later collaborating with master perfumer Thomas Fontaine at Jean Patou, Vanina immersed herself in the heritage of one of perfumery’s most storied houses, absorbing a sense of structure and elegance that threads through her work. In 2012, she stepped away from the corporate world to become an independent perfumer, a move that opened the doors to niche and confidential houses and gave her the freedom to follow more daring olfactory paths while staying true to her own sensibilities.

Her portfolio since then reads like a who’s who of contemporary artistic perfumery: Jovoy, Jeroboam, Le Galion, Comptoir Sud Pacifique, Fragonard, Lubin and Masque Milano, among others, have all turned to Vanina to distil their stories into scent. Whether creating the leathered elegance of a classical chypre or the gourmand warmth of vanilla and coffee, she listens closely to the narratives brands bring her, translating even the smallest detail of a brief into nuanced accords that feel both modern and timeless.

Perhaps nowhere is her vision more clearly expressed than in her work with François Hénin, founder of Jovoy and the boutiques that helped shape niche perfumery as we know it. Fascinated by musk yet often anosmic to it, François wanted a collection that explored this elusive note from every angle, and turned to Vanina to make the idea tangible. The result was Jeroboam, launched in 2015, a line of extrait de parfums in (originally) compact bottles that belie the power within, each composition an elegant overdose of musks, woods and florals that bloom with remarkable tenacity on skin, like an intimate secret that somehow fills the room.

 

 

 

 

For Vanina, inspiration begins with life itself – the colours of a place, the energy of a crowd, the taste of pesto pounded in a mortar, the cool damp of autumn undergrowth when picking mushrooms, the sunburnt aromatic haze of the Corsican maquis. A mood board or visual brief is not just a box to tick, but a vital bridge between image and odour: she thinks in colours when she reads a brief, imagining the fragrance as a chromatic atmosphere long before the first formula is written. Everyday moments become sparks for olfactory worlds, whether that is the neck of a sleeping baby, the salty breeze stepping off a plane into Corsica, or the soft warmth of Ambroxan, one of her most beloved materials, with its woody amber smoothness and whisper of vetiver.

Chypre structures, too, sit at the heart of Vanina’s olfactory soul: bergamot, cistus, lavender, jasmine, patchouli and oakmoss, arranged in endlessly nuanced variations, form for her the architecture of a perfect perfume. She dreams of the great chypres of perfume history – Miss Dior 1947, Scherrer N°1, those original constructions that combined strict structure with audacious character – and seeks to channel that same originality, harmony, vibrancy and intensity into her own compositions.

When she talks about perfumery today, Vanina is clear eyed, nostalgic yet optimistic. The 1980s and 90s, she feels, were a golden age of creativity, when launches such as Anaïs Anaïs, Giorgio, Paris, Samsara, Opium, Cool Water, Zino and Kenzo Homme pushed boundaries and expanded consumers’ expectations. That level of avant garde daring may have dimmed for a time, yet she sees niche perfumery as the engine now driving innovation, and hopes that the major mainstream players will once again find the courage to be bold, to take risks not just with marketing but with the juice itself.

 

 

 

 

In her own day-to-day work, Vanina often juggles around ten projects at once, a testament both to her demand and to the way her mind moves, switching between ideas yet keeping each thread distinct. Creating a fragrance can happen with lightning speed or unfold slowly over months – there is, she insists, no rule – though illness can force her to rely on memory and brain when her nose briefly ‘switches off’. She emphasises the importance of training the sense of smell, of consciously connecting brain and nose with each evaluation, building a personal library of reference by smelling as often as possible, thoughtfully rather than passively.

Among her own creations, she looks back fondly on L’Art de la Guerre for Jovoy as her first fragrance, the start of her independent chapter, yet when asked about her most beautiful creation, she answers without hesitation: her daughters. Their presence is woven through so many of her scented memories – the smell of a baby’s skin, the tenderness of a kiss on a child’s neck – reminding us that for all the chemistry, all the technical language and market strategy, perfumery at its heart remains a profoundly human art.

Through Vanina Muracciole’s work, that humanity is made fragrant, lingering like the most exquisite sillage long after the wearer has left the room…

 

Written by Suzy Nightingale

Perfumer Profile: Jordi Fernández

Jordi Fernández is a name reshaping the landscape of modern perfumery. Senior perfumer at Givaudan and often nicknamed “Master of Oudh”, he’s credited for a wave of fragrances that feel at once daring, innovative and deeply rooted in tradition.

Our multi award-winning magazine, The Scented Letter, featured Jordi in an in-depth interview by editor Jo Fairley, earlier this year, uncovering just how inspiration strikes – sometimes in his Mediterranean hometown, in bustling Paris or Dubai, or in the quiet, creative spaces of Givaudan’s labs.

Jordi’s approach is of course technically incredible (the way he transforms what we think we know about a ‘fruity’ fragrance has to be smelled to be believed!), but also profoundly personal and collaborative. “A fragrance is never finished – there’s always another layer to explore,” Jordi confided in his conversation with Jo. He sketches ideas on paper, refines them across hundreds of tweaks, and believes the character of a perfume emerges only through trial, teamwork, and moments of inspiration. ‘Nature inspires me – sometimes I’m trying to capture the exact sensation of a sea breeze’ he revealed, ‘other times, the sunset over Middle Eastern dunes.’

 

 

 

 

For Jordi, it transpires, perfumery is a way of seeing the world – whether it’s through raw materials like patchouli, which he describes as ‘the power of the earth’, or the complexity of oudh, which he says ‘unfolds a rich, animalic depth’ with just a tiny addition.

To read the full and truly fascinating interview, treat yourself to the gloriously glossy print copy of The Scented Letter: renowned for the most in-depth profiles, facts, industry news and interviews with both master perfumers and up-and-coming names – always the best for your nose. THIS ITEM IS NOW OUT OF STOCK

 

 

 

Jordi’s fragrances brim with his signature multifaceted style – sometimes opulent, sometimes minimalist, always full of texture and unexpected delight. Here are just a few highlights from his prolific portfolio…

 

 

 

 

 

 

Maison Crivelli Oud Maracujá

Oud Maracujá is a jungle-bright collision where luminous passionfruit and Turkish rose fizz over the smoky, animalic richness of oud and patchouli. Saffron sprinkles golden spice through the heart, while labdanum, leather and vanilla soften the base, adding glowing comfort. Jordi’s touch is to balance tropical exhilaration with deep, addictive woods – a daring journey from orchard sunlight to incense-shadowed forest.

£220 for 50ml extrait de parfum harveynichols.com

 

 

 

 

 

 

Nishane Oudous Lux Solis

Oudous Lux Solis beams with a sunlit opening of tropical fruits and juicy Italian mandarin, chilled by the sparkle of pomelo and ginger. Layers of honeyed cistus and aquatic calone shimmer in the heart, leading into a smoky, resinous fusion of oud, Indonesian patchouli and Akigalawood. The result is like radiant warmth and depth mingling together – Jordi’s vision of sunlight over rich, mysterious woods.

£310 for 100ml extrait de parfum harrods.com

 

 

 

 

 

 

Michael Kors Pour Femme

Pour Femme glows with a vibrant rush of mandarin orange and blackcurrant, tingled by pink pepper. The heart unfolds soft jasmine, lily of the valley and romantic Bulgarian rose, while the base smooths into sensual vanilla, earthy patchouli and delicate musk. Jordi brings lightness and clarity to classic florals, wrapping each petal in warmth, creamy sophistication and modern, long-lasting beauty.

£48.75 for 30ml eau de parfum boots.com

 

 

 

 

BDK Impadia

Impadia begins like the perfect Paris morning – juicy pear, zesty bergamot and mandarin, all uplifting and fresh. The floral heart mingles Turkish and Bulgarian rose with radiant orange flower, their petals whispering of elegance and modernity. Vanilla absolute and sensual sandalwood form the lingering, plush base, each note layered with superfine detail – a fragrance that’s effortless, chic and wholly embracing, like a memory of sunlight on skin.

£190 for 100ml eau de parfum harveynichols.com

 

 

 

 

Moncler Sunrise pour Homme

Sunrise pour Homme is clean mountain air captured in scent form. Bergamot, lemon and a dash of spicy pink pepper open the composition with sparkling clarity. Suede and aromatic clary sage create smooth texture, while Haitian vetiver, frankincense and patchouli form a magnetic, woody base. Sunrise feels both invigorating and grounding – the essence of confidence and effortless style, Jordi’s skill at bringing the outdoors directly to you.

£76 for 60ml eau de parfum harveynichols.com

 

If you crave more from Jordi Fernández – his creative rituals, how he blends Mediterranean roots with global visions, and the inside story behind his latest launches – don’t miss our full feature in the print issue, A World of Ingredients! Our exclusive Working Nose series of interviews is where every fragrance lover can discover true (and rare) insight into the way their favourite perfumer’s mind works. And perhaps find their next olfactory obsession. We’re sure if you delve into Jordi Fernandez’s extensive back-catalogue of compositions, you’ll fall for many (as we, and countless others of fragrance lovers, have).

So now you only have to decide which of his works you’ll explore first. Dive in – nose deep! There’s much to adore as you explore…

Written by Suzy Nightingale

Perfumer Profile: Nathalie Lorson

Nathalie Lorson’s fragrant world begins in the fields of mimosa on the hills of Tanneron, bathed in the honeyed light of Grasse. ‘My first scent memory is the field of mimosa when I was walking with my parents,’ she shares, a beginning that seems to set the tone for a career shaped by nature’s poetry and the meticulous science all true perfumers learn to wield.

Her path was forked-lightning bold – ‘In 1980, very few women entered the perfumery field,’ she remembers, speaking with the quiet steel of a pioneer. The daughter of a Roure chemist, Nathalie found herself drawn instinctively to scent, where ‘smelling, for me, was literally child’s play.’ After passing exams, she entered Roure’s school to immerse herself in the arcane language of molecules, accords and raw materials. For her, mastery flows from constant learning: ‘Designing fragrances is constantly a work in progress. Even today I feel like I am still learning,’ she observes.

Her style, she says, is ‘harmonious and generous…’, evident in the smooth, rounded sensuality knit into her blends. She’s one of modern perfumery’s quiet pulse-points, as vital to its rhythm as rose, vanilla or vetiver are to hers. ‘I like to work musky notes, vetiver and rose – but newness is also important and it is exciting to discover new materials.’

 

 

 

 

Nathalie Lorson’s perfumed portfolio, as myriad and shifting as a kaleidoscope, contains classics and cult favourites – Lalique Amethyst, Encre Noire (‘the beautiful story… was written with the purest vetiver, one of my favourite raw materials’), Flora by Gucci, Bentley for Men, Dita Von Teese EDP and the modern icon YSL Black Opium. Indeed, she is part of the quartet that gave Black Opium its velvet swagger, working for Firmenich, where she is Senior Perfumer.

Recent years have seen her hand in scents The Perfume Society loves to write about: Givenchy Gentleman (the contemporary 2017 version, co-authored with Olivier Cresp), Mugler Angel Nova, Boucheron Patchouli d’Angkor and Boucheron Santal de Kandy, Chopard Magnolia au Vétiver d’Haïti, and the enduring addiction of Le Labo Poivre 23. She seems to delight in the challenge of brand storytelling: ‘Always behind the scenes, I translate the brand history into an olfactory tale… I like to work with many different types of ingredients and explore them beyond their limits.’

Nathalie’s creative fragrant energy hums frenetically – ‘I am currently working on about 10 fragrances at the same time.’ Her travels, especially in Japan, spark inspiration for new olfactive territories, yet she stays grounded in the day-to-day texture of her craft: ‘Discussions with inspiring people are critical – they bring to life the ideas behind the scent.’ In interviews she adds, ‘We find lots of dust, but very few nuggets…’, alluding to the laborious search for newness and excellence each time she starts anew.

 

 

 

 

When Nathalie Lorson reminisces about her favourite smells, they speak to her breadth of memory: ‘Rose, vanilla, the smell of sand, freshly-cut grass and Christmas trees.’ And how incredible to think that her favourite first purchase – the original YSL Opium – set the course for a career mapping the DNA of French luxury. Asked how to fully appreciate fragrance, her advice returns to experience: ‘The best thing is to wear fragrance, to live with it, to smell it, to experience it.’

Pushed to choose the one fragrance she wishes she’d created, Lorson allows herself to pick two. ‘FlowerbyKenzo: a beautiful re-interpretation of a classic floral-powdery theme with a very identifiable trail. And Dior Hypnotic Poison: a product of pure pleasure, sensual, enveloping, very recognisable and with just the kind of “signature” I like.’

Today, pressed between luxury’s demands and niche creativity, Nathalie’s spirit remains keen: ‘Yes, with the arrival of all niche brands… the luxury brands are also asking perfumers to create fragrances with unique “signatures” that are new and different from others – so that’s very stimulating, too.’

Nathalie Lorson is – and ever was – quietly at the heart of things, dreaming ‘of everything that has not yet been discovered…’ For perfume lovers and practitioners, and for we fragrance-lovers alike, her work is a living invitation to scent, skill, and wonder, carried by a nose that grew up among the mimosas and never once switched off. And we thank goodness for that!

 

Written by Suzy Nightingale

Improve Your Sense of Smell: extraordinary noses share their knowledge

In the world of fragrance, there exists a group of individuals whose talents are as extraordinary as they are elusive. These are the ‘noses’ – the perfumers whose olfactory artistry shapes the very essence of our most beloved scents.

For the past decade, The Perfume Society has been at the forefront of unveiling the mysteries behind these master craftspeople through our multi award-winning magazine, The Scented Letter.

Our regular feature, ‘A Working Nose‘, offers readers an unparalleled glimpse into the lives and minds of these olfactory virtuosos. This world-exclusive series of in-depth interviews delves into the personal working styles, composition techniques, and daily routines of both established master perfumers and rising stars in the industry.

 

 

 

 

 

We’re rather proud that it’s a feature unmatched by any other publication, offering fragrance enthusiasts a rare opportunity to understand the intricate process behind the creation of their favourite scents and iconic fragrances.

So, if you’d like to learn more about the lives of the ‘noses’, and perhaps even gain some olfactory insight into the way they imbue their creations with their own unique characters, or styles of composition; do sign up for your FREE e-subscription to The Scented Letter Magazine. And don’t forget to browse the always fascinating shorter interviews with noses on the website.

 

But the world of perfumery isn’t just for the professionals. At The Perfume Society, we have always believed that everyone can benefit from a deeper understanding and appreciation of scent.

That’s why we’re excited to share with you a collection of aromatic wisdom from these remarkable noses; with practical tips and insights that you can incorporate into your daily life to enhance your sense of smell and deepen your relationship with your most cherished fragrances.

 

These ‘noses’ possess a talent that goes beyond mere chemistry and technique. They are time travellers and emotion weavers, capable of transporting us to cherished memories and evoking powerful feelings with just a single whiff. Their creations have the power to make us feel more confident, more alluring, more creative – transforming not just how we smell, but how we feel about ourselves.

 

 

noses advise how to improve your sense of smell

 

 

For too long, these artists of scent worked very much behind the scenes, their noses in anonymity, and their contributions to our sensory experiences unacknowledged. But now, like great chefs emerging from their kitchens or painters stepping out from behind their canvases, perfumers are beginning to take centre stage in even greater numbers. They’re sharing their stories, their inspirations, and the intricate processes behind their olfactory masterpieces.

Join us as we celebrate these extraordinary individuals and hear their advice on how to improve our own sense of smell. Whether you’re a fragrance aficionado or simply curious about the world of scent, prepare to be captivated by the wisdom, creativity, and passion of the world’s most remarkable noses…

 

We asked:

 

What can each of us do to enhance our appreciation of fragrance? What is your best tip for improving a person’s sense of smell?

The Noses Said…

 

 

 

Leading noses advise how to improve sense of smell

Alberto Morillas: 

‘‘If you train your nose, you’ll be able to make the difference between the main olfactive families. In fact, everyone has his own olfactive memory like a “library of scents”, made of smells you associate to people, places, travels, objects, food, moments of your life, etc. You can enrich this library by smelling fragrances in store or trying them on skin to live with them.

Some are fresher, some are more sensual, try to put words on what you smell to define the different sensations. Then repeat, repeat ceaselessly. Practice by smelling blind. Be spontaneous, say everything, feel free to write everything which comes to mind.

Time after time, you’ll have your own references and you’ll be able to classify fragrances by main themes, like woody, aromatic, citrus and ambrée. Memory. That’s the most important thing. You need to smell again and again and again the same thing and then mix it with other things and see how it changes.

Like cooking – you need to taste all the time to improve your palette and it’s the same with smell. I cannot say enough how important memory is, that act of memorising how something smells, what it means to you.’

 

 

 

Cécile Zarokian:

‘It’s often just a matter of paying attention, be focused by the smells around you. And another thing is usually you notice the smell but it’s difficult to express about it, you need to know the words.’

 

 

 

Olivier Cresp:

‘The best thing to do to enhance our appreciation of fragrance is to smell it! The more you smell more you develop your sense of smell. Smelling raw materials is also a good way to improve your abilities. The key is to focus and concentrate on what you smell all the time: a fragrance, a smell in the street, food, etc.’

 

 

 

Kevin Mathys, CPL Aromas:

‘Smelling, smelling and smelling again. There is no secret, I think it is a matter of passion and patience. Perfumery involves a huge amount of knowledge – like learning the raw materials, the big accords, the historical fragrances… 

To me it is like learning a language, it is not only learning words that allows you to speak, you have to understand the culture behind it and the history of the nation to become fully fluent.’

 

 

 

Marie Salamange:

‘Curiosity is a good thing to explore and develop a person’s sense of smell. You have to not be afraid of smelling things you think you don’t like at first sight.’

 

 

Mathieu Nardin: 

‘The most important thing is that people become more aware of what a great sense smell actually is. Taste and sight always seem to come first and people aren’t so focused on their nose. What perfumers do is to close their eyes and focus on that one sense a lot – I mean all the time, not just at work. There are so many studies that say the nose is so closely linked to memories and images, it’s incredibly intense. But you have to explore it deeply.

When you smell something – lavender, a particular perfume, a cooking ingredient – you have to forget what it literally is and instead link it a personal feeling, whatever it makes you feel. The more you analyse those emotions and link that to personal feelings, the better you become at smelling more and memorising those smells. This is how we learn at perfumery school. It has to be personal or it has no meaning.’

 

 

 

Caterina Catalani:

‘To truly appreciate fragrance, embrace smelling. Take in the everyday scents, from morning coffee to your favourite dish. Give importance to your sense of smell; it’s a powerful memory trigger! Don’t underestimate its impact, it holds the key to unlocking vivid recollections and enhancing your overall sensory experience…’

 

Written by Suzy Nightingale

Experimental Perfume Club: Luxe Blending Experience

I was over the moon to be asked to a blending experience at Experimental Perfume Club. You can book a free 20-minute session, where one of the excellent staff will take you through a selection of blends and combinations to find your fragrance. I had the privilege of the Luxe Blending Experience. This is a one-on-one session, rather than being part of a group, but can be booked for two people. For example, a couple looking for something special for their big day will get a fragrance each that will compliment, not clash, or one outshine the other.

In a curtained off section of the boutique in Monmouth Street, is a perfumer’s organ, where it’s possible to sniff various ingredients in their natural state. It may be surprising to find some have very little, if no smell, but a good place to start learning how fragrance is constructed. The fabulously knowledgeable staff will be happy to answer any questions you have on the perfume house.

Emmanuelle Moeglin, founder of Experimental Perfume Club, always had the intention of making fine fragrance as personal and available for as many people as possible. By sticking to the traditional, minimalist French approach to perfumery and sourcing ingredients from Grasse, from a trusted selection of suppliers, helps to achieve this goal. In working this way, sustainability is assured and once the raw materials have been processed, they are sent to London where all the blends are constructed. Cutting out the middleman also means these savings are passed on to the consumer.

Emmanuelle has created 9 Essential blends. Think of these as the building blocks of the fragrances – 3 top blends, 3 heart blends and 3 base blends. They can be worn as a perfume themselves, but they are expertly crafted to work together – blend – in harmony to create all the fragrances from the perfume house.

You would be forgiven for thinking that with 3 top blends, 3 heart blends and 3 base blends that there are 27 combinations. In fact, by adjusting the percentage used of the Essential ‘building blocks’, there are a myriad of concoctions. Some of the most beautifully balanced combinations are available as Signature Blends. Velvet Incense, for example, is 7 parts Bergamot Incense and 1 part Amber Iris, giving a huge dose of sparkling citrus, with a touch of warm amber and soft iris.

After sitting down at the organ, you have an initial chat with your host, who will ascertain what fragrance you like or are looking for. You will then be given the three Essential top notes to try on blotters and be asked to choose one. This is repeated with the heart and base notes. There are no wrong choices as all the blends have been designed to work together. Your selection will determine which two Signature Blends your host will suggest. One will be sprayed on your right wrist, the other on your left. You can then opt for one. It’s no easy task. But once decided, a measuring tube is rinsed with ethanol and after you have donned lab coat and safety glasses, you are invited to pipette the desired measure of each of the Essential blends into the measuring tube. This is then decanted into a bottle for you. Oils are replaced every week and are poured at 28%+ concentration, so not only is the quality of the fragrance exceptional, but at extrait strength, the longevity is too.

Here comes another tricky part – naming your fragrance. A label is printed with your chosen name and applied to the bottle. The bottle is then boxed, with a card telling you your blend, the proportions of Essentials and the date. You can then contact EPC at any future time to reorder your own fragrance as all the details are stored on their database.

As Signature blends are rotated seasonally, they are not always commercially available, but can always be made to order. That way, you get an (almost) unique scent not available to others. Refills can also be purchased at a generous 40% discount. And there is a special refill nozzle for international customers.

The Luxe Blending Experience is £195 pp for an hour, but you do come away with a 50ml bottle of fragrance, worth £145. Knowing it’s a fragrance you love, why you love it, and that not many others will have it, is worth so much more.

If you are unable to get to the boutique in London, the EPC Discovery Set has the nine Essential Blends for you to wear and blend at home and is available to purchase here.

 

Written by Alison Pitcher

 

 

The Ledger Series – Floris dip into their archive for fabulous fragrant inspiration…

Reviving nine archival scents for their thrilling new collection, The Ledger Series is a fantastic opportunity to wear some of the most truly iconic – and timeless – Floris fragrances…

 

The long-distinguished history of Floris first began in the dreams of one Juan Famenias Floris, who in 1730 sailed from his native Minorca to set up in London. Marrying an English girl, he settled in business as a barber on Jermyn Street within the fashionable St. James’s area, first making hair combs and then assuaging his homesickness by blending fragrant oils he’d transported from Europe. Customers soon took to ordering bespoke blends, all recorded in leather-bound ledgers, enabling Floris to re-create them should further supplies be required in the future – and thus a fragrant dynasty was born.

Many of those original ledgers, order forms and letters of thanks are still in existence, preserved by successive generations of the Floris family, and offering a uniquely fascinating glimpse of British fragrant taste through the ages. Their books boast orders from Admirals serving under Lord Nelson, Florence Nightingale, George IV, through to Winston Churchill. In 1820, Floris received the first of 16 Royal Warrants, the most recent being the title: Perfumers to HM The Queen Elizabeth II and Manufacturers of Toilet Preparations to HRH The Prince of Wales. (Now, of course, King Charles!)

 

 

 

And now, Floris have returned to their archive to revive NINE stunning fragrances from their archives, as part of The Ledger Series. Floris explain: 

‘The Ledger Series stands as a testament to the passion and dedication of our perfumery team. This collection is a labour of love, bringing back nine fragrances from the Floris archive that were once discontinued. Meticulously delving into the original family formula books, our team studied and carefully revived these fragrances, ensuring they are preserving the timeless essence of Floris.
Utilising the authentic formulas and employing the finest available ingredients, our perfumery team diligently restored these classic scents within The Ledger Series. This exceptional collection includes Rose Geranium, Malmaison Encore, Sandalwood, Vetiver, Red Rose, Islay, Edwardian Bouquet, Soulle Ámbar and Stephanotis. Each scent, meticulously revived, encapsulates the essence of its historical roots, promising a sensorial journey through time and sophistication.’
You can read the full fabulous stories behind each fragrance in the links below, but for now, let’s explore the fascinating collection…

Floris Ledger Series: Rose Geranium

‘Rose Geranium was first introduced by Floris in 1890 when pink geranium was added to the existing Geranium fragrance. One of our most esteemed and loved clients was Marilyn Monroe, a star that has transcended time and captured our imaginations like no other. The characteristic notes of geranium are enhanced by the fresh citrus nuances of citronella and a hint of rose. A harmonious heart with an uplifting blend of palmarosa, the timeless beauty of rose, and the gentle touch of rosewood. A captivating heart that evokes elegance and grace leaves space to a simply woody base note accord of cedarwood. A grounded warm woody presence adds depth and sophistication to the delicate bouquet.’
£220 for 100ml eau de parfum

Floris Ledger Series: Sandalwood

‘Led by the legendary Sir Ranulph Fiennes, the historic Great Transglobal Expedition of 1979 embarked on a daring journey to the South Pole, meticulously tracing the Greenwich Meridian. Amidst this epic odyssey, Floris proudly supported the expedition with a suite of provisions, including our intrepid Sandalwood Eau de Parfum. Using the finest sandalwood oil from Mysore, the fragrance is enriched by a captivating blend of bergamot, rose, cardamom and black pepper in the top note, creating a harmonious and intriguing opening. Sandalwood reveals an enchanting heart with orris and star anise, infusing the scent with a mesmerizing blend of floral elegance and subtle spice. The smooth sandalwood scent is enhanced by warm musk’s and the allure of earthy notes of pachouli, creating a creamy and woody base.’
£220 for 100ml eau de parfum

Floris Ledger Series: Malmaison Encore

‘Malmaison was a firm favourite of Oscar Wilde who used to visit the Floris Shop to see the Floris family, proudly wearing a green dyed carnation in his lapel. Malmaison Encore opens with a spicy blend of clove, cinnamon and zesty lemon, creating a warm and inviting top note. The floral bouquet of carnation, rose, and ylang ylang, build the romantic and sensual heart of the fragrance, while the base notes of cedarwood, musk and patchouli bring depth and sophistication leaving a lingering trail of captivating allure. The final touch of vanilla together with the spicy carnation, evoke the elegance and timeless beauty of this floral oriental fragrance.’
£220 for 100ml eau de parfum

Floris Ledger Series: Islay

‘The unisex scent pays homage to the flora of the romantic and isolated Islay and to the wonderful whisky that has lovingly been produced on the island, it is said, since the 1300s. Inspired by the tasting notes and deep flavours of the rich amber liquor, as well as the beautiful island itself, known as “The Queen of the Hebrides”, Islay is also a celebration of the time-honoured ritual of appreciating the deep complex flavours and subtle nuances of whisky.
Earthy green top notes of galbanum bring to mind the wild, windswept gorse hedgerows of Islay complimented by bergamot, highlighting the initial citrus character found in many of Islay’s whisky blends. Orris adds a smooth and soft floral note whilst adding balance to the rich, rugged peaty and smoky accord of prickly juniper oil and patchouli. Finally, just a subtle hint of vanilla with warm comforting musk’s in the base of the fragrance imbue a reassuring outro to the scent.’
£220 for 100ml eau de parfum

Floris Ledger Series: Stephanotis

‘One of the original Floris fragrances created in 1816. Stephanotis draws inspiration from the Stephanotis flower, also known as the “bridal veil” flower. The fragrance uses oil from the “Madagascan Jasmine”, a flower which symbolises “happiness in marriage”, a delicate beauty and sweet fragrance that embodies love, purity and devotion. Originally created as a bridal perfume for the high society weddings that often took place at the magnificent St. James’s church, built by Christopher Wren in 1684, Stephanotis soon became an established favourite to be worn by brides.
Stephanotis opens with a vibrant freshness of orange blossom, petitgrain, and a touch of green galbanum note. The heart notes of spicy carnation, aromatic coriander, delicate stephanotis and intoxicating jasmine create a floral symphony that captivates the senses with its elegance and allure. A velvety embrace of musk, the soft powdery notes and the soothing essence of sandalwood in the base gracefully concludes this fragrance, leaving a long-lasting warmth and sophistication.’
£220 for 100ml eau de parfum

Floris Ledger Series: Vetiver

‘Vetiver was a firm favorite of Legendary Actor and Director Sir Laurence Olivier who used to visit the Floris Shop to see the family. Originally inspired by the exotic aromas, vibrant colours and energy of India. The vetiver plant has been revered for centuries in the mystical land of India. It captures the essence of the rich cultural heritage, spirituality and natural beauty. The earthy and aromatic roots of the vetiver plant embody strength and a connection to nature, creating a captivating and sophisticated scent experience. A twist of bergamot and lemon lifts the distinctive and tenacious notes of vetiver from the heart of lavender, and geranium.
The Vetiver fragrance entices with aromatic heart notes of cinnamon, clove and invigorating coriander blending with the earthy and smoky essence of vetiver. The warm spices contrast with the deep and long-lasting base notes of amber, soothing frankincense, rich patchouli, and comforting sweet tonka bean, creating a captivating and inviting olfactory journey.’
£220 for 100ml eau de parfum

Floris Ledger Series: Edwardian Bouquet

‘Edwardian Bouquet is an expression of the good life; it’s the finest of town and country. Rooms perfumed with hyacinths in springtime, delicate blooms of jasmine in the garden and weekend forest walks, the autumn air heavy with woods and rich oakmoss. Edwardian Bouquet was first introduced into the Floris range in 1901 as a celebration of the new era. The fragrance was then reintroduced in 1984 with the rediscovery of the original formula while going through the family archives.
Opening with the sparkling citrus freshness of bergamot and mandarin combined with a distinctive green accord and the delicate allure of hyacinth. The heart reveals a bouquet of flowers, jasmine, delicate rose and sensual ylang ylang intertwine their floral beauty to create a timeless and elegant olfactory experience, while the fragrance resonates with a base of warm amber, velvety musk, and rich earthy notes of oakmoss and patchouli, creating a sense of elegance and nostalgia.’
£220 for 100ml eau de parfum

Floris Ledger Series: Soulle Ámbar

‘Sun-filled days and languid evenings where opulent sparks of pineapple and zesty citrus drift on the breeze. Inspired by Floris founder Juan Famenias Floris’s roots on the Balearic Island of Minorca, the fragrance embodies a leisurely Mediterranean spirit. The name Soulle, translates from Spanish as ‘sunlight and eastern wind’. A spirit of adventure, a statement of freedom, Soulle Ámbar excites the senses, anticipating new discoveries just over the horizon inviting you to embrace life and take a chance.
Soulle Ámbar opens with a fresh crisp vibrant note of pineapple capturing the senses. Lentisque and galbanum create an elegant, modern green accord balanced with fresh crisp fruity note of pineapple. A burst of invigorating bergamot creates a vibrant opening to the fragrance. The heart reveals the lush of jasmine, geranium and melilot. The spicy resinous notes are complemented by the tingling pink peppercorns. As it unfolds, the delicate sweetness of vanilla, amber and musk captures the essence of sophistication and leaves a sensual base to complete the fragrance.’
£220 for 100ml eau de parfum

Floris Ledger Series: Red Rose

‘Worn by many well-known names over more than two centuries and particular cherished favourite of legendary Vogue Editor Grace Coddington writes in her memoirs: 1959 – “I was probably 19 or 20 when I moved to London with a friend to go to modelling school. We rented a room in Notting Hill Gate, which is an incredibly smart area now, but in those days it wasn’t like that at all. I met people in the coffee bar who signed me up for the Vogue modeling contest, which I won, and who introduced me to the photographer Norman Parkinson. My first picture was a nude for him! [With the money I made] I went to all the old arcades with all the old shops, because I loved old, traditional things—I will, always—and Floris was one of those stores. I didn’t go in with the intention of buying a perfume. I went in because I was responding to the visuals as much as a fragrance I found there called Red Rose. I just loved the idea that it was pretty much crushed rose petals and that was that.”
Red Rose opens with sparkling leafy green notes before the balanced, enigmatic rose character gradually reveals itself. The fragrance blooms with the warmth of cinnamon leaf and clove bud intertwined with the delicate embrace of palmarosa, and the essence of Rose Absolute at its heart. The base notes of vetiver, cedarwood and sandalwood create a comforting effect, while the sensuous depth of musk create a captivating and enduring fragrance.’
£220 for 100ml eau de parfum
Written by Suzy Nightingale

Inspiring Scents for International Women’s Day

This year for International Women’s Day, we’re focusing on four fragrance houses founded / run by fabulous women who continue to inspire us all year ’round. Think of these scents as a way to wear your strength (and celebrate theirs) with perfumes to meet your every need; and they all come in handy discovery sets to try before you decide which ones to buy in full size. Which ones will you choose…?

 

 

Maya Njie (pronounced ‘Maia N-Jai’) has uniquely diverse familial and artistic roots to bring to her fragrance creations. Being born in Västerås Sweden, with a West African heritage, and later moving to London in her teens, Maya went on to study at the University of the Arts. Weaving together these threads via the medium of the senses, Maya began experimenting with smell alongside the the visual mediums of colour and photography. The result? A stunning, soulful, and so-artistic selection…

Within Nordic Cedar, for example, we may never have visited the Swedish Forest it was inspired by, but we feel a sense of towering trees, the reassuring comfort of cedar and earthy patchouli enclosing us as cardamom gifts brightness, ambergris adds a touch of mist.

For Vanilj, the traditional Swedish note of cardamom is used again, the comfort intensified by addictively dark vanilla that swirls boozily amidst ambered musk.

In Tobak, addiction is ramped up via the honeyed smokiness of the tobacco leaf, a trail of animalic musks and leather resonating many hours later.

Incorporating music as another inspirational medium, Les Fleures is named for Minnie Ripperton’s 1970 song, a green floral scent that ripples with bergamot’s brightness, magnolia and sweet fig, an ‘unbound celebration of life, love and creation.’

Those longing to escape might yearn for Tropica – an invitation to imagine ‘trading in a dark, bleak and cold setting for a warmer climate far away, with flourishing green vegetation and remote beaches’ with tropical fruits lushly layered on sandalwood and coconut.

And in Voyeur Verde, nature claims an abandoned car, leaves and creepers entangling the leather seats, a wonderfully verdant burst of rebirth and ‘balmy cypress trees shadowed by the Sierra Bernia mountains.’

 

Maya Njie Discovery Set £34 

 

 

 

 

Jasmine is at the heart of the majority of Sana Jardin‘s scents, and formed part of founder Amy Christiansen Si-Ahmed‘s fragrant inspiration to launch the house. As Amy explained to us, for her, the smell of jasmine is a scent memory that will linger forever:

 

‘The scents I’d encountered on my travels over the years were enchanting to me: the pure and golden shimmer of orange blossom, the mystical, enveloping depth of sandalwood, the seduction of jasmine blooming at night. I felt I could never find that captured anywhere on a department store shelf.’

‘Sana Jardin is the world’s first socially conscious luxury fragrance house created primarily as a vehicle for social change and the economic empowerment of women through The Beyond Sustainability Movement ™. Sana Jardin believes in the sacred and ancient power of scent to heal, transport and inspire.’

Savage Jasmine Night-blooming jasmine, wrapped around intoxicating musk. 

Sandalwood Temple Moroccan neroli oil, enveloped it in Atlas cedarwood, Haitian vetiver, creamy vanilla and East Indian sandalwood.

Tiger By Her Side Showcases Moroccan rose alongside Somalian incense and Indonesian patchouli.

Berber Blonde Filled with the light of Sana Jardin’s signature orange blossom, alongside Moroccan neroli oil and musk.

Celestial Patchouli Exotic aromas of patchouli, leather, cinnamon bark and Australian Sandalwood give way to the abundant warmth of rose, jasmine, osmanthus and Moroccan orris.

Nubian Musk A sensuously inviting blend of musk and vanilla, rose, jasmine, Moroccan grapefruit flower, Haitian vetiver and Australian sandalwood.

Revolution de la Fleur This is a sultry, sun-filled melody of Madagascan ylang ylang, Moroccan jasmine, frangipani, rose, vanilla and sandalwood.

Jaipur Chant Heady & Seductive Tuberose. Indian tuberose, the goddess of flowers, blooms in the still of night.

Incense Water Here rose is refined to a soft shimmer; an effect brought about with Moroccan May rose.

Vanilla Nomad A gourmand fragrance that coaxes out the sensual side of vanilla.

Sana Jardin Discovery Set: £30

 

 

 

 

Take a powerful raw ingredient pioneer (Elizabeth Gaynes), one of the world’s most famous former supermodels and trailblazing female entrepreneurs (Helena Christensen!) and a perfumer-provocateur (Christophe Laudamiel), and what do you get? STRANGELOVE – which has achieved cult status for its utterly addictive, opulent scents…and we’ve fallen in love with all of them!

Now you can try the ENTIRE NICHE COLLECTION at home with this decadent discovery set. Each strangelove scent showcases stunning raw materials: with sustainable oudh as the precious catalyst for the collection – from deadofnight, with euphoric Indian champaca and creamy gardenia enfleurage to lostinflowers, the surprising (and oh-so-addictive) dark chocolate and orris butter fragrance. We can’t wait to hear which one really gets your heart beating.

Built around a subtle base of precious oudh [also spelled ‘oud‘], carefully blended with other precious ingredients gathered from all over the world, this is a house that refuses to compromise on quality, and with the very best (meticulously, sustainably sourced) materials at their fingertips. Christophe Laudamiel, punk rock star of the scent world, has created all the fragrances – so read on to delve deeper into each beguiling scent…

deadofnight – empowers its devotees to take risks and dive into their desires.

fallintostars – propels a mystical experience of boundless wonder, as lovers transcend time and space to journey into a parallel universe.

lostinflowers – evokes the thrill of new love, capturing that electric moment of discovery when two destined wanderers finally collide: lost in time, lost in romance, lostinflowers.

meltmyheart – inspires romance and indulgence for devoted lovers.

silencethesea – captures the intimacy of the lover’s gaze: soundless, eternal, profound.

 

Strangelove Discovery Set: £92

 

 

 

 

Contemporary artist Sarah Baker’s photography, sculpture and films are inspired by ‘fashion, luxury and celebrity’ (particularly high camp 80s feisty female stars); but little did she know that when she created a fictional fragrance house as part of her artwork, her passion for the project (and the public’s reaction to it) would result in a real-life fragrance house. Having recently ramped up the ravishing longevity of their fragrances by adding Extrait to their collection, these bold, genre-defying and yet still utterly wearable scents are stronger and more provocative than ever.

The entire Sarah Baker collection is clever, characterful and cheerfully takes up place in your fragrant world. Now, you can try them in a discovery set and change your own character at will…

Atlante: A mermaid emerging from the sea. Real beach vibes.

Charade: Big white flower with a cutting edge of rustic leather. Sophisticated and contemporary.

Jungle Jezebel: Bombastic banana bootylicious beast. Love it or hate it? We love. Join us.

Gold Spot: A spotlight on filmstars who love their luxuries, indulging themselves in bed all day with broadsheets and butterscotch bonbons.

Greek Keys: A yacht ride in the Greek Islands. Fresh, Oceanic, Luxurious.

Tartan: After a long walk in the Highlands, enjoy your first sip of whiskey next to the fire in the library.

Leopard: Power fragrance that must be worn with shoulder pads. Not for children.

Loudo: Playful and sweet, yet nostalgic and serious. Deliciously woody.

 

Sarah Baker Extrait Discovery Set: £45

 

Thameen Insignia – a Masterclass with perfumer Alexandra Carlin

It’s a rare opportunity to sit in on a masterclass with a perfumer, so when we were invited to hear Alexandra Carlin explain her creation of Thameen Insignia, along with the brilliant Christopher Chong – now resident as Thameen’s Creative Director – we veritably leapt at the chance!

Part of Thameen’s Sovereign Collection (all of which are inspired by the Crown Jewels) Insignia evokes the magnificent Garter Star (the late Queen Elizabeth II’s beloved insignia jewel, which she often wore in memory of her grandfather, and is now owned by King Charles). The Garter Star represents honour, loyalty, charitable work – sentiments that meant so much to the late Queen, and continue to resonate through the work of King Charles. 

Christopher Chong explained as we began the session that the project was the first he’d worked on in his new role with Thameen, and so it was already special – a project that took on even greater significance with the Queen’s passing, and respectful silence they kept during the period of mourning. ‘That’s the reason we’re only really starting to talk about Insignia now,’ says Chong. Describing how they collaborated on the fragrance, he continues: ‘I proposed that to Alex, to look into heritage from her perspective. She loves doing extensive research. We create today thinking of tomorrow.’

 

 

 

 

Alexandra Carlin: ‘What I like with Christopher is he always gives me a lot of freedom of expression and interpretation. I wanted it to be for sure a very elegant fragrance. Talking about heritage & transmission I knew I wanted to use a base from De Laire – a fragrance house started in the 19th century now owned by Symrise. They specialised in bases, a mix of synthetic and natural. Now we also make new bases – this is one of them, an incredible cognac oil.’

Arrayed before Alexandra were tantalising rows of raw ingredients, little bottles that hold the scented secrets to Insignia’s composition, and which we were now going to smell. Oh, that cognac oil! How to describe it? A dusky, aged oak barrel discovered in an ancient cellar, the wood and contents made one with time; a smoky, supremely smooth kind of booziness that swirls warmly, but so mellow – never overwhelming.

Alexandra: ‘The clove is obtained by SymTrap technology from clove leaf. You do a distillation and then a second distillation and capture the scent. Its note ethereal and horse like, leathery. This one is from Brazil.’

Again – a revelation. Coming from the leaf, this is no ‘Christmas spice’ of a scent, instead the sun-warmed hay notes shine, revealing an unexpected softness and intriguing levels of complexity.

 

 

 

 

Alexandra next passed us blotters of the new (and extra special) geranium they used for Insignia, telling us: 

‘This geranium from Madagascar is the most refined quality, one you just can’t usually get these days. When I first went there to smell it at the place they distill it, with perfumers like Maurice Roucel, I I knew how great it was even before I smelled it myself, as I saw him well up, almost cry with how it reminded him of this supreme quality you cannot get anymore, which we thought had been lost forever, but we can use again.’

A note called Sandalwood Dreches was next, which Christopher explained was actually upcycled, and has been ‘…distilled from sandalwood chips that are leftover to create an edible note but not milky. It’s toffee, almost salted caramel but not overly sweet. Insignia was the first perfume on the market using it.’

 

When we finally smelled the base note of Cuir Velour – an accord masterfully blending notes of raspberry, violet, velvet, leather – it left our group gasping. A caress of a scent, it’s something we’d be happy to wear as a fragrance in itself. Of course we were then champing at the bit to smell the final fragrance, and goodness it was worth waiting for…

 

Top Notes: Whiskey, fig, bitter orange

Middle Notes: Bay Leaf, geranium, Damask rose

Base Notes: Sandalwood, vetiver, suede

 

Thameen Insignia is the perfect example of how a perfume is always so much more than the list of its notes; though these are intriguing enough on paper, it truly comes alive on the skin. There’s a sparkle to this scent, a radiance that seems to hover above the skin like a fragrant aura. Having smelled the notes in turn, you could definitely recognise them in the composition, but because they’ve been so seamlessly blended, they feel suffused with a dignified subtlety. There’s nothing gaudy or showy about Insignia – a silky, dry powdery-ness adds hushed glamour, the equivalent of candlelight refracted in a foxed mirror.

What an honour to have attended such a masterclass, and have the privilege of talking to the very perfumer and Creative Director who worked on the fragrance itself – and to smell such quality of raw materials, which normally would only get to be sniffed by other perfumers. We so hope Thameen repeat this experience, and that our recounting of it adds to your enjoyment of trying Insignia on your own skin…

 

 

Thameen Insignia, £235 for 50ml Extrait de Parfum harrods.com

Written by Suzy Nightingale

Olivier Pescheux R.I.P

It was with great sadness we learned of Master Perfumer Olivier Pescheux’s passing. A loss made deeper still by the fact he was just 57, and should have been making fragrances long into the future. Many of us have Pescheux to thank for our most treasured fragrances – scent memories that will live on indefinitely.

We might spend many hours listing and talking about all the fragrances Olivier Pescheux created (and we hope you wear them and will talk about them within your own circle of friends in the coming weeks, to honour his legacy), but of course the focus often goes on the best sellers – incredible blockbusters such as Paco Rabanne 1 Million, which has consistently been one of the best selling fragrances in the world since it was launched, and should be on every perfumista’s list to try.

Pescheux also made some of our favourite Diptyque fragrances – including Tempo (one of the finest patchouli fragrances you can buy, no question), and Eau Capitale, which is a modern classic rose in every sense of the phrase. He also created Montblanc Explorer, and Versace Eros Flame – further fragrances which became legends in his own lifetime. And yet, according to all his colleagues and friends, he remained incredibly humble, full of generosity and good humour.

 

Just some of Master Perfumer Olivier Pescheux’s creations

 

Givaudan, the fragrance creation house Olivier worked for, released a moving statement, honouring Pescheux on their Instagram, alongside a handwritten formula which, it turns out, was the very first he’d created for them. Givaudan said:

‘It is with deep sadness and profound emotion that we announce the passing of Olivier Pescheux, on July 10th in Paris, France, at the age of 57, after fighting against a long disease.

Well-known for his elegant and luminous olfactive writing, Olivier Pescheux has been at the origin of countless successes such as Paco Rabanne 1 Million, Dior Higher, Lacoste L1212 Blanc, Diptyque Eau des sens, Fleur de peau and Orphéon.

“Olivier immensely contributed to shape today and tomorrow’s perfumery. He was loved for his warm and friendly character, his generosity and his boundless artistry. Olivier will be deeply missed.” said Oriol Segui, Head of Fine Fragrance Europe.

We found one of Olivier’s fragrance formula dating from 2009, published in Les Echos Série Limitée, which was about imagining the fragrance of the future. We share it with you on this occasion as a symbol of his creativity and his poetry.

Rest in Peace
We love you!’

 

Olivier Pescheux’s first formula for Givaudan

Givaudan also included a message from all of their perfumers and teams who worked with Pescheux, saying:

 

‘Dear Olivier,
We all shared and loved your sense of humor, your light-hearted yet profound approach to life, a style and elegance that we also find in your marvelous creations.
We’ll always remember your humor, your smile, your luminous gaze.
We all send our love
The Givaudan Perfumers and Teams’

 

 

 

Elsewhere on social media, perfumer Mathilde Laurent replied with her own memories of Olivier Pescheux, recounting the fun she had spending time with him and (as she put it) ‘playing perfume’. Nathalie Feisthauer was among many fellow perfumers posting pictures of Olivier, saying: ‘Olivier Pescheux a friend and a Colleague. Sad day (will miss you).’

Hugely prolific, immensely talented, already much-missed, Olivier we add to the messages from perfume lovers pouring in from around the world, and say:

Thank you for the scent memories…

 

Written by Suzy Nightingale

 

An in-depth, exclusive interview with Master Perfumer Olivier Cresp…

One of the perfumery world’s most distinguished figures, Master Perfumer Olivier Cresp has composed hundreds of your favourite creations, including Christian Dior’s Midnight Poison, Penhaligon’s Juniper Sling, Dolce & Gabbana Light Blue, Givenchy Gentleman and, of course, the utterly legendary Thierry Mugler Angel – a perfume which became all the more poignant this year with the passing of Manfred Thierry Mugler on 23 January.

Named a master perfumer in 2006, Cresp joined the Firmenich team in 1992 and was honoured with the title Chevalier des Arts et des Lettres from the French Ministry of Culture in 2012. In 2018 he was announced as the Fragrance Foundation’s 2018 Lifetime Achievement Perfumer Award recipient, and far from slowing down, he’s now launched his own fragrance house of AKRO with his daughter, Anais.

Suzy Nightingale recently had the privilege of sitting down with this paragon of perfumery and in an exclusive interview originally for our magazine, The Scented Letter (which you can also buy a gorgeous print copy of) and discovering exactly how he works…

 

When does your day start?

Olivier Cresp: I like to play tennis in the morning, then go to the beach in the afternoon… [laughs] No, seriously, I never really feel like I’m working because it’s my passion, that’s why I’m still working within Firmenich, and then my own projects with AKRO – that’s pure pleasure because we have no limits, we can dare. On a normal day, I get to the office around 9:30. I love that you’re interested in this! The other day I had someone filming me all day long, for a short video that will be edited down to three minutes. It’s interesting that people want to know how perfumers spend their days, now. The first thing I always do is talk to the other perfumers – ask how their evening was, have a coffee. Around 9:45 or 10am I open my laptop and then start working.

Where do you work?

I have a double job, in fact: working for them as Master Perfumer, based in Paris, and working for my own house, AKRO. I have assistants, FDMs (Fragrance Development Managers), sales teams, managers, any number of colleagues depending on the project.

How does your day break down? 

My office is open, so I have the FDMs come to see me, followed by the evaluators and the salespeople. After that some customers call me. A new thing is the number of Zoom and Teams online meetings we do throughout the day – a few years ago this just didn’t happen, but since lockdowns, it can be three hours a day of talking to colleagues through this connection. When I’m working on my laptop, I try to concentrate myself on the projects I have open at that time.

How many fragrances might you be working on at any one time?

In the past, when everything was done by hand, I could only work on eight or ten fragrances a day. Now, with computer technology, I can send fifty formulas a day, sending them all over the world. There are perhaps twenty projects I’m working on at once, sometimes more. I prioritise the fragrances by dates and even hours for deadlines. I can be fast. You have to be! Depending on how quick you are, you can win or lose a project. To work fast you must have the experience and use your time well. Instead of doing hundreds of experiments, like I did at the beginning of my career, I now only need to do four or five – then I know exactly what to move in my fragrance formulas and it just works.

Do you compose fragrances mostly in your head? Do you write by hand or use a computer?

It’s a good question – perfumers are like writers, some prefer handwriting or dictating, others like writing straight on a computer. Twenty-five, what, even thirty years ago now, I used to do everything by hand and my calculator. I’d handwrite the ingredients and work out the percentages and the price for them, because you have to know that. Those days are long gone. Now we have special programmes that work those bits out for you. When I’ve written my formula on my laptop I send it straight to the robot, the robot compounds about 80% of the formula. Then I have my assistants who weigh and compound the missing 20%. As soon as I get the idea for my fragrances, I know exactly what ingredients I want to use.

The next step for me is to discover the correct type or best quality for that fragrance. In two or three hours it’s fixed in my head. From that point I think about what else it needs to create the atmosphere I want, so I might think about what could create some smokiness or an animalic note, for example. Sometimes the idea is easy, but then it’s not easy to find the right molecules to match that smell in your head. I try to be figurative, to catch the profile of what I want. The other day I had to create the smell of a marshmallow. I’d never done that before really, but in two or three experiments I had it. I knew I wanted orange blossom, I used some violet and some rose-y elements, then some praline and vanilla to make it smell edible. It must be logical. It’s a chronological story, and then I’m never lost that way – it’s kind of a red thread I’m following.

 

 

What kind of other inspirations do you look for, during your day? 

I can be inspired by anything, but conversation is really important to me. I buy loads of magazines on all subjects, I really enjoy reading Figaro, but I get lots of feminine magazines especially. I also love walking, being in the forest, foraging, fishing, smelling the seaweed. I always carry blotters with me, so during the day I tend to jot down ideas on those, just in a few words.

Do you break for lunch – or eat at your desk? 

After meetings and working on those, I like to meet colleagues for lunch around midday to 1pm. We always go out because there’s no canteen or anywhere you can food in the office. Perhaps a few times a year if I’m in a hurry I grab a snack and eat that at my desk, but that’s not funny to me, I hate it. I could also go to my house for lunch, because my house isn’t far away, so that’s always a possibility. I might walk there and stay an hour, make myself some nice food, have a change of scenery, then I come back and feel revived by that.

After lunch, how long do you work for – and what will the afternoon be spent on?

I always feel more energetic in the afternoons than I do in the mornings – probably helped by the lunch, inspirational conversations with colleagues and simply the change of scenery – so I feel I can tackle more difficult things then.

What time do you go home? Is that the end of the day, for you? Do you continue to think about the fragrances when you get home?

In the past I used to stay until 9pm, when I was younger I’d work at least twelve hours a day, but I don’t do that any longer. So, let’s say after lunch, from around 2pm I usually stay in the office until 7:30pm minimum, then I go back to my house and do some sport. I never work at home, not ever, otherwise my head would explode. Well, okay, sometimes when I’m fed up, I take my laptop and work from home instead of the office, but on these occasions I’m with my wife and we stay maybe a week in Paris and a week in the South of France, where we have a nice flat.

Seeing the sea, the luminosity of the area – being in Cannes, visiting the islands, the harbour, watching the boats coming in and out – it gives me such inspiration. My nose doesn’t switch ‘off’ as such, but we’re not going around smelling things all the time as a perfumer, not in the same way as when we work, I think it would be impossible to have a life.

Do you need to be in a particular mood, to create?

Not especially, but I do need to feel energised I suppose, I must feel passionate about what I’m doing because otherwise what’s the point?

How long does it take from concept to finished fragrance, in general?

I mean my initial concept can be done in two or three hours, but how long it then takes to come out as a finished fragrance might be two or three years! Ideally, a year and a half is enough to create a great fragrance. You see you have to wait until the year after that to be on the market. There’s one project, I don’t want to say for whom [he chuckles], but I’ve been working on it for eleven years. And it’s still going on!

Do you listen to music while you work, and if so, what kind – pop, jazz, classical…?

No, I can only concentrate in one thing at a time when I’m working. So I couldn’t even read a book or magazine with the radio on in the background, for example, I don’t do that thing of watching TV while you’re on your phone and half reading something else… I do find most of the perfumers like to have music on the radio or stream it from their smart phone, but for me the key is to focus.

 

 

Is a visual moodboard of inspirational pictures / colours helpful for you to create?

More and more clients send me pictures to look through. Before, I’d be sent a few piles of pictures a year, in hardcopy. Now it’s mainly digital they can easily create a moodboard, it’s a visual language. To see on the screen what they want is useful. But often they can turn out the same. You know: it has to be strong but easy to wear, pleasing to the market, something different, long lasting, another unique fragrance…

When I’m gathering inspiration for myself, I read through all the magazines that I buy, I like to first of all flick through in about ten minutes to get an overview and see the colours, colours really drive me. I like to keep my eye in, see what people are interested in. Sometimes I then see these images again in moodboards clients then send me, because they often use images they’ve found in magazines, so I like to know the context. Sometimes the inspiration they send is really good, it helps give me ideas more quickly.

What is the most number of modifications you’ve ever had to do, on a fragrance? And the least?

Some just happen really quickly. Dolce & Gabbana Light Blue, for example, I did in forty experiments, but I have some that are painful – the longer you’re working on something I feel it’s the worst for creativity because you can get lost. I’m lost, the client is lost. The entire concept can change, the name, if it’s feminine or masculine in style, literally everything.

How many materials do you have at your fingertips, to work with? And how many tend to be in your regular palette?

Out of 1500 main ingredients I have access to – though it’s what we call a ‘living palette’ and that can always be added to – I’m usually working with the same 400. This means I don’t have to smell them all the time, which might sound strange to some people, but I know them so well I know all the outcomes and possibilities of them. It takes you ten years to get to know them that well – to see, to feel, to touch, then just to know.

How much of your day (or perhaps week) is spent on your own work – creating new accords, working with materials that may have been offered to you by the ingredients houses, to ‘store up’ and use for future finished creations?

I don’t have that time generally. The only trésor time I have, to do exactly what I want, is with AKRO. The thing is, I don’t get to actually smell materials all day, I don’t need to do that anymore to write a formula, I will only then smell them to create a big step in that formula or change it somehow. When we get new molecules or ingredients and extractions to smell, that is always exciting, because I don’t know them!

 Is there one fragrance you WISH you’d created, and why is it so special?

[Without hesitation] Shalimar. It’s what I’ve smelled in my family for years, I love the richness of the bergamot with the leather and vanilla, the benzoin. It’s magic! I created Champs-Elysés for Guerlain – with musk, mimosa, you know, very different. I loved it but it didn’t go so well. [He laughs] I created for them, anyway, and it was a great time. For a masculine, I’d loved to have created Dior’s Sauvage. Another all-time classic. What more can you ask for?