Tag: Texture

Textures of Scent – The Fabric of Fragrance

September has always felt like a time of new beginnings, the turning of a perfumed page, as the fashion world steps out from its long summer pause and sweeps us straight onto the catwalks of New York, London, Milan and Paris. There is such theatre to it all – the flutter of fabric hems, the tactile delight of swishing silks and structured cottons, the way clothes move around the models who, in turn, set all of us dreaming.

Because fragrance is so entwined with fashion, here at The Perfume Society we anticipate this moment every year with particular joy. You’ll soon see our annual Fashion & Fragrance edition of The Scented Letter magazine – coming very soon, so do ensure you are signed up to receive your free digital copy the moment it launches!

One theme we’re exploring in the blog this month, meanwhile, is fabric and fragrance, and how often our language around scent borrows from the lexicon of touch and texture. A perfume can be velvety, suede like, cashmere soft, opulently plush, intricately woven like linen or taut with a leather-ish bite.

 

 

And just as, in September, we shift the textiles we live with – perhaps bringing a thicker throw to the sofa or swapping lightweight cottons for fondly worn but still lightweight woollens – so too do we begin to crave scents with a comforting weight, offering a touch of warmth without quite the enveloping density of winter perfumes.

We hope you enjoy this sensory plunge into likening perfume’s characters to the colours, density and feel of the following fabrics. And just imagine, the next time you reach for a favourite fragrance: what fabric might you liken it to? Do you even dress to ‘match’ your scent of the day – without having previously been aware of it – we wonder…?

 

 

AKRO Bake immediately conjures the simplicity of a favourite Breton striped jersey, the kind slipped on for a wander to the sanctuary of your favourite bakery. With fluffy tendrils of dark vanilla pods threaded through silky white musk and warm, doughy gourmand notes, it sits against your skin like that trusty striped top – casual yet stylish, deliciously effortless, and with a sweetness that feels unfussy and free spirited.

From £80 for 30ml eau de parfum thefragranceshop.co.uk

Fabric matched: Breton Stripe Jersey Dress Fabric – White/Vanilla by Higgs & Higgs

 

 

 

Granado Cedro, by contrast, wears its character as lightly as whimsical illustrations on a roll of cedar patterned fabric. Imagine a room dressed in charming, line drawn trees, their branches unfurling across the walls in a quietly playful rhythm. This fragrance brings that woody freshness into being, cedar wood made forever breezy, sketch like, graceful. It feels as though the fabric itself might ripple in a soft September wind, grounding and invigorating in equal measure.

Try it in the Granado Coleção Elixir Discovery Set £48 for 5 x 10ml in the Shop

Fabric Matched: Cedar in Slate Apple & Ivy by Scion

 

 

 

 

Connock England Kukui Noir drapes itself like a distortion of romance, a Gothic velvet in deepest rose and ink black shadows. The sensation is of brushing fingertips across velvet pile, that faint shiver of plush texture and silky darkness intertwined. Florals smoulder instead of blooming, petals painted in chiaroscuro light, while amber and woods cocoon the wearer in cinematic mystery. A perfume with presence and depth, but kept supple and inviting, as though beckoning you into a velvet curtained alcove.

From £25 for 10ml eau de parfum connockengland.co.uk

Fabric Matched: Gothic Rose Noir velvet by Foy & Co

 

 

 

 

Goldfield & Banks Ingenious Ginger is a weighted linen in a warm ochre tone, we feel, flung wide like a tablecloth joyously thrown to grab a languorous lunch in early autumn’s golden sunlight. House of Hackney’s glorious ginger hued fabric here exudes the fragrance’s flamboyance, glowing with radiant spices and an almost citrus tinted effervescence. It brings a lift and an optimistic crackle of brightness, ensuring that autumn need not be draped in solemn tones, but enlivened with bursts of sunshine rendered in spice.

£130 for 100ml perfume concentrate selfridges.com

Fabric Matched: Caspar linen by House of Hackney x Nickey Kehoe

 

 

 

 

EAUMG Amber Addict has the fluidity and drape of an amber toned twill. Twill always carries a sense of structure softened by pliability – the way the weave appears diagonal yet flowing. The amber in this addictive fragrance performs a similar balancing act: molten, opulent, richly hued, yet never too heavy, being shot through with piquant cassis and riven with roses. Instead, it folds around the wearer in waves of perfumed comfort, like being enveloped in the swish of a fabric that seems impossibly chic yet remains intimately wearable.

£95 for 50ml eau de parfum in the Shop

Fabric Matched: Amber Flow viscose twill by Pound Fabrics

 

September asks us to dress, and scent, in layers – not yet swaddling wintry drapery, but certainly with a hint of warmth, a painterly depth, an assurance of poise. Just as an outfit is completed with the perfect finishing touch of fabric, so a fragrance transforms the way we carry ourselves, swathing us in invisible texture we waft in our wake with every scented spritz…

 

Written by Suzy Nightingale

Scented Textiles: Weaving Fragrance into Fabric Inspirations

As London Fashion Week 2024 weaves to a close, we look back at how the vibrant interplay of fabric and fragrance took centre stage, making it the perfect time to explore how scents can evoke the textures and emotions of textiles.

In our first part, we delved into the luxurious world of fragrances inspired by silk, suede, and velvet. Now, we continue our exploration with three key fragrances that beautifully embody the essence of leather, tartan, and cashmere, revealing how these scents can transport us into the tactile realms of fashion.

In the tapestry of olfactory artistry, fragrances inspired by fabrics weave a sensory story that transcends the visual and tactile. These scents invite us to experience textures, patterns, and hues through the medium of aroma, creating a synaesthetic journey that blurs the lines between our senses…

 

Tartan Dreams

Sarah Baker Tartan Extrait, crafted by the ingenious Sarah McCartney, unfurls like a Highland mist. This fragrance captures the essence of a cozy fireside evening after a brisk walk through heather-clad hills. Notes of smoky whiskey and leather intertwine with the crisp freshness of pine, evoking the rich heritage and rugged beauty of Scotland’s iconic fabric. The scent’s complexity mirrors the intricate weave of tartan itself, each layer revealing new depths with every breath

£145 for 50ml extrait de parfum in our shop

 

Leather’s Exotic Journey

MEMO Indian Leather transports us to the bustling markets of Rajasthan, where supple leather goods mingle with exotic spices. This fragrance is a sensory expedition, blending the raw, animalic power of leather with the warmth of saffron and the sweetness of vanilla. Like a well-worn saddle infused with the essence of far-flung adventures, Indian Leather tells a story of journeys taken and memories etched into every crease and fold.

£235 for 75ml eau de parfum harveynichols.com

 

Cashmere’s Gentle Embrace

Guerlain Eau de Cashmere from their Les Matières Confidentielles collection is a masterclass in olfactory subtlety. This scent captures the gossamer-light touch of the world’s most luxurious wool against bare skin. Delicate notes of iris and white musk create an airy, almost ethereal fragrance that whispers rather than shouts. Like the finest cashmere shawl, it wraps the wearer in a cocoon of comfort and understated elegance.

£145 for 100ml eau de toilette selfridges.com

 

Written by Suzy Nightingale

Fragrance (but make it fashion!) – Scents inspired by fabrics

The trend-fuelled worlds of fashion and fragrance have been hand-in-glove for centuries – quite literally by 1656, when the perfumery and leather industry had become intrinsically linked, the fashion for exquisitely crafted gloves, popularised at court by Catherine de Medici, somewhat at odds with the disgustingly pungent reality of curing leather in urine. So, the Corporation of Glove-makers and Perfumers – the ‘maître-gantiers’ – (master glove-makers/perfumers) was formed in France, importing ingredients from all over the world to scent the gloves; with acres later given to growing and distilling them, such was Queen Catherine’s passion for perfume, and an entire industry was born in Grasse.

Since then, where fashion has led, so fragrance has followed – and just as hemlines go and up down, and silhouettes dramatically alter from era to era, so too do scented ‘shapes’ change with time. And perumers have long been inspired by fabric in their creations – a peculiar thing, you may think, as most fabrics don’t have their own distinct smell. Yet as we imagine a white sheet drying in sunshine, or the plush eroticism of velvet stroked beneath our fingers, we can also imagine the scent these textures might have. Such is the alchemical magic that fragrance can create – an overlapping of the senses, and in this first of two parts looking at fragrances inspired by fabrics, we pay homage to scents evoking satin, cashmere, leather and cotton…

Satin drapes. It clings to the body. It moves in the most sensuous way… And you definitely need to try draping yourself in this from prolific and gifted ‘nose’ Francis Kurkdjian. We’d call this an after-dark fragrance, one for oudh-lovers, for sure – but busting any prejudices against that ultra-woody material, for in Francis’s hands it never, ever overwhelms. We’re getting Turkish delight – a sugar-dusted rosiness that blends Bulgarian rose essence with Turkish rose absolute, while genuine Laotian oudh melts into benzoin from Siam, and the sweetness owes much to a soft, powdery accord of violet and vanilla in the heart. There’s almost a chocolate-y element swirling seductively around the patchouli, while the oudh underpins everything with its animalic smokiness. Mesmerising.

Maison Francis Kurkdjian Oud Satin Mood £200 for 70ml eau de parfum
harveynichols.com

 

 

Tom describes Iridium as ‘the fragrance equivalent of charcoal coloured cashmere.’ We always enjoy a description that makes you imagine a smell from a texture and colour, don’t you? And this really is a cool-toned cashmere, exuding effortless chic with all the powdery sophistication of precious iris concrète, but granted a strong silvery spine. The iris is dosed with carrot seed to amplify the dry, root-y yet so-refined character, and the synthetic note of Iso E Super wafts forth a deliciously grown-up gourmand ‘your skin but better’ dry-down – the kind that has people asking ‘what’s that delicious smell?’ and a secret smile is stifled when you know it’s you… Now also available as an extrait formula, poured at 71% strength, for even longer lasting enswathement.

Tom Daxon Iridium £105for 50ml eau de parfum
tomdaxon.com

 

 

Reminding us of our beloved leather jacket, a stack of books or the wood-panelled, boozily infused surroundings of a members’ only club, leather fragrances evoke a particularly voracious and luxurious sensuality, favouring deep base notes that linger the whole day long. Russian leather fragrances have a long heritage, the intense smokiness of birch the vital scent ingredient giving ‘Russian’ leather it’s characteristic smell. Here, Molton Brown curl swirls of smoke through a Siberian pine forest, infusing leather-bound books with a campfire’s glowing ember scent. Magnificently done, it’s an especial pleasure in colder weather, though I love layering it at times with a rose that needs some extra oomph.

Molton Brown Russian Leather £60 for 50ml eau de toilette
Buy it at moltonbrown.co.uk

 

 

Like burying one’s nose in sunny-day line-dried linen, a gust of pure, clean ozonic notes greets us at this fragrance’s first spritz, only made more refreshing by a rush of watery notes and pinch of ginger. Mint and green accords carry this clean and fresh feeling into the fragrance’s heart accord, which then softens into florals, cushioned by skin-like musk and vetiver. Magically capturing the comforting sensation of crispness, and featuring elegant white lilies, floral cotton accords and a vanilla-speckled, benzoin-infused amber glow in the mix: this is one to spray when you need to be reminded of home, of lazy sundays and lie-ins and snuggling up in bliss. (See below to get a luxury try-me size!)

CLEAN Reserve Warm Cotton [Reserve Blend] £82 for 100ml eau de parfum
spacenk.com

 

 

Warm Cotton was the perfect addition to the Luxury Layering Discovery Box – featuring THIRTEEN layerable scents and three fragrant body treats to try at home for £19 (£15 for VIPs) – use it to freshen up a perfume without resorting to the usual citrus, to soften a scent you feel is too harsh or simply to luxuriate in the sebsation of that clean, soft white fabric dried in the sunshine.

Whether vintage or modern – evoking an era or an archetypal fabric – the fingers of fashion are still firmly within those fragrant gloves, and together they work their alchemical magic to embolden us: seducing several senses while enhancing our own sense of who we are – or whomever we want to be that day…

By Suzy Nightingale

Fragrance – a conversation through design

We often liken a fragrance to texture – ‘velvety’, ‘smooth’, ‘suede’ – or colours, temperatures and emotions. With so few words in our language dedicated to smell alone, we must reach out with our other senses and make a connection between them and what we are smelling.

Arun Sispal is an artist and designer who sought to explore these connections in a tangible way, translating them into fragrant form with the help of British indie perfume house 4160 Tuesdays. You can now experience the results at his exhibition within the Royal College of Art – which is FREE but ends 1st July 2018, so we urge you to make haste before you miss it!

Scroll down for full details of how to get there, but for now we caught up with Arun, and asked him to explain the concept in his own words…

Arun Sispal: ‘The sentence I use to summarise what the work is about is -“If you were unable to experience the qualities of fragrance through the olfactory system, how could you experience its qualities through senses of touch and sight?”

Essentially, this project is to be viewed as a ‘conversation’ and ‘enquiry’, as opposed to a design piece with a final end outcome. The work discusses notions of ‘Interpretation’ and ‘blended senses’, and how the senses can influence one another. The conversation is made up of 3 stages:

Stage 1– I created a bespoke scent
Stage 2– I responded to the scent created through design and material creation
Stage 3– The design work was taken to 4160 Tuesdays, where Sarah McCartney created a fragrance response to the design work.

Stage 1– I created a scent at 4160 Tuesdays with a perfumer named Harry. We had several attempts and I described the type of scent I wanted. I needed the scent to have body and definition, as opposed to being something that was very silent and undefined – this was to allow for a successful material interpretation of the scent; because if it was quiet and did not have many facets, I don’t feel the design response would have been engaging or understandable.

In the end, we created a super heavy, dark and dusty scent, with a veil of Dorinia rose that glistens on tops, eventually drying down to something quite powdery. It is a scent than keeps changing, and shows new sides, and that is what I wanted- for it to fleet between these quite dramatic moments.

Stage 2– I then spent time responding to the scent. Thinking about the colours it evokes, the journey of the scent and how it develops over time, its weight, texture etc. (all of these elements that are both tangible and intangible, but once sprayed and in liquid form, this sense of physicality is no longer present). I also got those around me to tell me what the scent evoked for them and any memories, and the responses were so varied and unexpected- depending on their age, location etc.

In terms of the colours… Initially these super dark charcoals and blacks, quite scratched on surface, as the scent isn’t forgiving or a wallflower, but it shouts, and these tones reflected the intensity of the smoke. Also, a refined selection of bitten pink and metallic blush, reflecting the Rose when it is both shrouded in smoke and at its most brightest, clean stage. An abundance of mid tones that do not necessarily sit under the ‘pink’ or ‘grey’ heading, but instead are quite unsure of their identity, and shift between the 2, reflecting the transiency and ephemerality of the scent, and how it develops so much.

And in terms of the materials, using heavy wool felts in super flat, monotone charcoal and gunmetal coloured metal aspects, to reinforce the weight of notes like the agarwood, karmawood and white birch, and then contrasting this with delicate degrades of embroidery in metallic pink that shimmer on the surface, like the softness of the rose.

Stage 3– The design work was then taken to Sarah McCartney of 4160 Tuesdays, who spent time understanding and looking and touching the materials, and trying to create a connection between their physicality, and the array of ‘ingredients’ at the facility. One of the most prominent and interesting elements that Sarah picked up on was the use of gunmetal coloured wire that lay on top of the wool felt in a regimented, slightly aggressive way, and how its edges ‘poked’ out of the surface.

She wanted to use a note that had the same ‘pokey’ feeling – eventually opting for pink and black peppercorn- due to their instant ‘hit’ that knocks your head back when you smell it. This was such an exciting part of the project, as it was great to see the way that a professional perfumer is able to interpret the visual and aesthetic, which is the job of a designer.

The work was an experiment that had materials at the heart, how to tell a story in a multisensory way. It is about sensitivity, and it is also quite romantic…’

Royal College of Art, Kensington Gore, Kensington, London, SW7 2EU
12-6pm, 28th June- 1st July (closed 29th June)
Located in ‘Textiles’

Written by Suzy Nightingale