Last month I shared my interview with award-winning jewellery designer Shaun Leane. The Londoner’s collaborations with fashion designer Alexander McQueen set the tone for his evocative work that blurs the boundaries between jewellery, fashion and art.
The opportunity for that interview came about through a mutual friend, André Marais (pictured, below). Their relationship started out as a professional one and over the last 20 years has evolved into a deep friendship.
André probably has one of the biggest private men’s collections of Shaun Leane jewellery. Below, in his own words, he shares some of his favourite pieces and why they have such special meaning for him.
MORE THAN A COLLECTION
I met Shaun Leane in 2001 when I was a member of the De Beers rough diamond sales team in South Africa and the De Beers Shining Light Awards and its empowerment initiative fell under my wing.
Alexander McQueen and Shaun’s fashion / jewellery collaboration was well under way when I asked a London colleague to introduce me to an edgy designer who could inspire aspirant jewellery designers in Southern Africa. To me, it seemed we had to look further afield to break the logjam of thinking local and to rather have the world as one’s horizon. With Shaun’s contribution to our design competition secured, the seeds were sown for an extraordinary 20-year friendship.
YOUR TREAT: Shaun and André at The Beaumont hotel in Mayfair, London.
It must be the greatest gift when one meets a kindred spirit with whom one shares a rhythm in one’s heart, soul and life aesthetic. In my case, to take it further, to a love of Shaun’s fine jewellery and everything it stands for: fierce, tribal, sometimes dangerous, yet pure, uncompromising, with an underlying thread of love, protection and beauty.
“It must be the greatest gift when one meets a kindred spirit with whom one shares a rhythm in one’s heart, soul and life aesthetic.”
It has been inspirational to see Shaun grow as a creator of exceptionally beautiful adornments and to see his growing success on the world stage.
Just think of the Sotheby’s auction of the McQueen collaboration pieces in New York in December 2017. And closer to home, in London, where Shaun has had designs displayed simultaneously in three different divisions of the V&A Museum: jewellery, design and architecture – the rarest feat.
A big connect is our shared space of Shaun always distilling the emotion and meaning of every piece that he designs. It’s amazing that he continues to achieve this within a broad commercial range which, on many levels, has been a diffusion of the McQueen catwalk pieces famously launched in London and Paris.
The appeal for me is that we can go to the dark and vulnerable places in our heart and draw out the symbols of adornment which resonate so strongly within ourselves. In this regard Shaun has created a bespoke 1.5 carat heart-shaped diamond piece for me called “Embrace My Shadow”, but that’s a discussion for another day.
With exquisite black diamond pavé work in white gold, this skull diffused from one of the McQueen catwalk pieces just draws me in. Featured here on the griffin statue, named Rose, at my front door. The toenails were painted by my sister Renée on one of her visits from London. My love of rituals – another story there.
There are days when you just must stack – love the lustre of silver.
Going through a heart stage – connects with my favourite word in the English language: LOVE. A ring in yellow gold with red enamel on the surface done the Shaun Leane way, with thorns around the heart for protection.
Iconic Shaun Leane jewellery: interlocking white and black diamond and gold rings, shown here on a page from the magazine for the fifth De Beers Shining Light Awards 2002 / 2003, which I had asked him to judge. Even in those early days Shaun’s visionary and passionate design aesthetic blew the students away as we travelled around South Africa inspiring aspirant designers.
My De Beers 25-year service award, a gold and diamonds earring, was converted by Shaun into a lapel pin. Diamonds, created before dinosaurs roamed this earth, have dominated my grown-up life.
Shaun understands me so well and captures the essence of who I am with this bespoke Forevermark (De Beers Trust Mark) stud in platinum. The Forevermark (FM) was originally designed to represent the romance and brilliance of a star in the South African night sky, while also mirroring the outline of a diamond. It is one of two diamonds that were cut and polished in the FM shape and only two where the shape is called “Forevermark”. Here, the stud rests on one of my favourite sculptures with the inscription: “Holding one’s other self”.
This trio in gold and diamonds symbolises who I aspire to be: the most beautifully executed cross for spirituality, the horn for edginess and amo ut invenio (Latin for “I love you for who you are” – how can it be otherwise) pendant. “Amo ut invenio” carved on a bench in my kitchen on one of Shaun’s first visits to South Africa – a powerful statement and core to my vision for my home, a haven for me and those close to me.
My all-time favourite concept of Shaun’s done for Valentine’s Day many years ago – Hook My Heart pendant, here in silver and red topaz . Whose heart wouldn’t melt with such a gift?! “HMH” and “SL” carved by Shaun on one of my kitchen benches.
For those edgy Joburg parties, a leather cuff with a sabre in gold and diamonds to fiercely grip the leather in place.
For more information on Shaun Leane jewellery, visit his company website.
I normally focus on fragrance in this blog, but when I got the opportunity to interview jewellery designer Shaun Leane via a mutual friend, how could I say no.
The Londoner first made his mark in the 1990s in spectacular style with his unforgettable pieces for Alexander McQueen’s visionary fashion collections, including Highland Rape, The Hunger, Untitled and The Overlook.
Image: Edwin S Freyer.
At the time, I was captivated by the visceral drama of these pieces in brass, silver and stainless steel, although I didn’t know about the person behind the creative and technical brilliance.
HIGH IMPACT: Shaun Leane’s works for Alexander McQueen pushed him beyond the realms of his training in goldsmithery. Images: Ann Ray.
Since then, the 51-year-old’s gone on to produce an oeuvre that’s unmistakably Shaun Leane, blurring the boundaries between jewellery, fashion and art. Founded in 1999, his eponymous company offers fine jewellery, engagement rings and bespoke services, among others. His clients have included Boucheron, De Beers, Asprey, Swarovski, Kate Moss and Sarah Jessica Parker.
PRICKLY PERFECTION: A bespoke Shaun Leane thistle brooch from 2006. Alexander McQueen commissioned a pair, one for him and the other for Sarah Jessica Parker, who accompanied him to the Met Gala.
The beauty of his work is best said by one of his clients, Daphne Guinness, on shaunleane.com: “Genius lies in his work’s paradox: at once tenacious and bold and technically intricate. There is beauty in the balance: that struck between alpha and omega, tribalism and sleek modernity. It seems born of and outside of time, simultaneously conjuring fairy tales and science fiction.”
Not bad for a boy who dropped out of school to learn jewellery design in a youth training scheme and then pursued a seven-year apprenticeship to become a classically trained goldsmith (with a focus on restoring Victorian jewellery).
LABOUR OF GLOVE: Shaun Leane took four years to create the white gold evening glove, Contra Mundum, for Daphne Guinness. It features 4 290 diamonds. Image: Nick Knight.
Congrats on your business anniversary last year. That’s a remarkable achievement. To commemorate this, a book was published, which is a huge undertaking in itself. How did that come about?
The book was a celebration of 21 years of the House of Shaun Leane, it was my 50th birthday last year and also the 10th anniversary of the death of my dear friend, the late Alexander McQueen. These pivotal moments made me want to reflect on the beauty of the different facets of my career that shaped and helped me evolve to be the designer, craftsman and house we are today.
The book is a real demonstration of what can be achieved if the fear of the impossible is removed. It’s a visual journey of how I embraced my goldsmith training and skills and used that as a tool to push boundaries in the concept of jewellery design, whether that be in classical jewellery, fashion or architecture. I created a style and identity which I am proud to say I have carried through to this day and have adapted to the times we are in.
Over the years it has been incredibly flattering to speak with students who now reference my work. It fills me with pride to think that this book could become part of a blossoming new jeweller’s collection and inspire and provoke them, as much as I am by the beautiful books in my own library.
SCULPTURAL STATEMENTS: New works, all available on shaunleane.com.
How has the coronavirus situation affected business?
The advantage is that we are a multi-faceted company and have various channels ranging from retail and wholesale to online and bespoke. With the pandemic, retail and wholesale have been challenged, but online and bespoke are thriving, as in a time of uncertainty, people want to invest, financially and emotionally, in meaningful and sentimental jewellery.
BEAUTIFUL BUG: A bespoke Shaun Leane beetle brooch.
You’ve won the UK Jewellery Designer of the Year award four times. Does that come with its own pressure and expectations?
It is extremely rewarding and reflective. It shows me how grateful I am that I stayed true to my vision and aesthetic, and that I have a great team who also share the same vision. I have always had a passion, believed in the work I do and persisted with integrity. Receiving these awards make me proud of what my team and I have created over the last 20 years.
“These current times are allowing me to have space without noise – to focus on projects I have wanted to tap into for a while.”
What can we expect creatively from you this year?
These current times are allowing me to have space without noise – to focus on projects and collections I have wanted to tap into for a while, which will be revealed soon.
You’ve created many high-profile pieces over the years, which are great for publicity. But a boy still needs to pay his bills. How do you balance the more commercial side of the business with the more creative side?
When I first approached creating collections in 1997, I wanted to fuse the traditional goldsmithing skills I had learned in the previous 10 years with the energy and aesthetic of modern jewellery I was creating for Alexander McQueen. The works I created for McQueen on the runway portrayed a new woman, a new energy in jewellery which reflected the persona and confidence of an individual. I wanted to translate that same design and energy into pieces that were more accessible to be worn away from the runway.
ANIMAL INSTINCT: Shaun Leane’s Tusk Earring for Alexander McQueen’s spring/summer 1996 show The Hunger.
The theme of protection and contrasts between fragility and strength are common themes in your work. Do you still feel the need for armour of some sort?
My work demonstrates femininity and delicacy, and the energy of armour is to portray strength and protection. As we humans have many facets, I like my work to portray all our emotions.
Tell us more about your South African connection and how the country has influenced your work.
I have always celebrated the light, space and energy of Africa. I’m fascinated by different cultures and societies around the world and take great pleasure in having been able to highlight and celebrate so many techniques and aesthetics in my work.
SOUTH AFRICAN INSPIRATION: Shaun Leane used the porcupine quills that he found on a trip to the country in 1996 to create these earrings for Alexander McQueen’s spring/summer 2003 show. Image: Ann Ray.
Creativity is one thing. Running a business is another. Has the latter come easily to you?
When you are a young designer full of passion and drive, you want to create and create! Your business knowledge develops and is driven by the passion to execute your vision. So, for me, learning the business was a necessity and, fortunately, felt natural to me. There is creativity in all skills and running a business is one of them.
“There is creativity in all skills and running a business is one of them. “
What do you miss most about working and your friendship with Alexander McQueen?
Not only do I miss the adventure with my closest friend and all the fun that comes with that, but I also miss the passion, excitement and pure drive. I miss the camaraderie of two London boys who had a voice together to inspire and provoke. The platform McQueen had was one of creative freedom and a stage to have a strong free voice. It is an energy I still carry with me and feed into every piece of jewellery I make today.
CREATIVE ENERGY: Shaun Leane with Alexander McQueen. Image: Ann Ray.
In 2017, a Sotheby’s auction featured 46 of your bespoke works created for, among others, Isabella Blow, McQueen and Sarah Jessica Parker. Was it easy to “let go” of these pieces?
Yes, it was time for the pieces to be seen and shared, and to inspire and provoke new rising jewellery and fashion designers. My vision was for these pieces to be shown in museums all over the world to continue the energy Lee [Alexander McQueen] and I created, not to collect dust in an archive storage room.The pieces are celebrated in some of the world’s most prestigious museums such as the Metropolitan Museum of Art and the Fashion Institute of Technology in New York and the V&A in London.
FASHION MEETS JEWELLERY: The Coiled Corset for Alexander McQueen’s The Overlook show sold for $807 000 at the auction. Image: Ann Ray.
You designed Princess Beatrice’s engagement and wedding rings. That must have come with all sorts of protocols working with the british royal family…
I have worked with royalty and celebrities for many years, so privacy and protocols come to me naturally. Bespoke projects should always be experienced under a blanket of privacy and mystery and then a beautiful unveil. Working with Beatrice and Edo [her husband] was like working with any other couple who are in love and excited for what’s to come. It was a complete joy to be able to be part of their memorable occasion.
As a perfume blogger, I was fascinated to read in the book that fragrance has also played a role in your life, from emptying your mother’s favourites as a child. Is that still the case?
What I love about jewellery is these fine precious sculptures hold memories and emotions throughout our lives – they touch one of our deepest senses. Fragrance also holds this beautiful connection for us. In a second, a scent can fill your mind with memories and associations of a place, person or time.
For more info on the book Shaun Leane (ACC Art Books), visit his company’s website.
It’s intriguing to see buzz (as opposed to hype) develop around a perfume brand. And there’s plenty of that when it comes to Maison Crivelli. Founded in 2018 by Thibaud Crivelli, the Paris-based niche company focuses on fragrances inspired by his experiences.
When Thibaud Crivelli moved to China in 2006 and lived in various Asian countries, he was exposed to raw material plantations. This has given the entrepreneur / explorer unique insights into perfumery.
Maison Crivelli arrived at South Africa’s leading niche retailer Skins Cosmetics late last year, just when I was starting to see it more on Instagram. I knew I had to interview Thibaud Crivelli after trying four of his fragrances. Please see my reviews of these at the end of this post.
Before I emailed him the questions, I had an intro Zoom chat with Thibaud Crivelli. He came across as being approachable, articulate and passionate about his company and perfume in general.
All images supplied by Maison Crivelli, except for Santal Volcanique, Bois Datchai, Absinthe Boreale and Papyrus Moleculaire, which are my own.
Travel is a popular source of inspiration in perfumery, but that’s not Maison Crivelli’s approach. How is your perspective different?
Perfume is a living experience and changes with time and different skin types. But more than this, our perception of perfume will also change depending on the environment we are in. All sensorial elements are connected and create a unique perfume experience.
“I chose not to reveal where I was to enable other people to connect with perfume and live their own personal journey.” – Thibaud Crivelli
Perfume is always personal, but sometimes it can be difficult to explain. So it was important for me to guide people into a deeper, more intimate and better understanding of perfume. The focus is not on myself, but on what other people will feel.
Each perfume is inspired by surprising experiences of discovery that I have lived. However, I chose not to reveal where I was to enable other people to connect with perfume and live their own personal journey. In addition, what matters to me is not where I am or where I go, but rather how I live each moment. The experience matters much more than the location.
When did you know you wanted to launch your own perfume house?
This has always been a childhood dream. I started to connect with perfume ingredients at a young age. I also grew up in a family of entrepreneurs as my dad is pharmacist and created his own cosmetic range.
And how did you go about it?
I started by myself and then gradually initiated collaborations with various partners (perfumers, suppliers, distributors, etc). For any entrepreneurial venture, the key aspect is to be fully aware of what we can do ourselves, and what we cannot do. For the latter, it’s vital to work with partners we trust and who understand our expectations and mission.
Have perfumes always appealed to you?
I have always had a strong connection with perfume ingredients, mostly thanks to a connection with nature across all seasons. My understanding of perfume became more accurate when I lived in Asia, as I got the opportunity to visit plantations and markets. The last step of my personal fragrance journey has been to discover more the aspect of creation.
Your wide travels have exposed you to the wonderful world of raw materials. Why are they so important to you?
Raw materials are a fundamental part of perfumery – they are the basis to work with. A deep understanding of raw materials is not essential to enjoy a fragrance. However, understanding raw materials is essential when it comes to creating and working with perfumers directly. Exploring areas where raw materials are cropped has helped me to discover them in a better and more sensorial way – not just in a technical way.
You describe your fragrances as “slow perfumes”. What do you mean by that phrase?
Taking time is an important aspect of perfume creation and discovery. We take the necessary time to remember the most surprising experiences of perfume discovery, find the best perfumers, create the scent, source the best raw materials (which are sometimes even hand-picked to preserve the best quality). Eventually we also invite everyone to take a bit more time than usual to discover perfume in a more qualitative way.
What’s been your greatest challenge since launching in 2018?
Increasing brand awareness, as there are lots of new launches every year.
You run the brand’s IG page and personally replied to my initial contact there. Is that a conscious choice? How large is your team?
We have a team of five people, but it is important for me to have direct contact with clients and the teams in the stores. I am happy to take the time to keep in touch with everyone.
“It is important for me to have direct contact with clients and the teams in the stores. I am happy to keep in touch with everyone.”
I love all the Maison Crivelli fragrances I’ve tried so far. Papyrus Moleculaire is particularly distinctive. Why did you choose Leslie Girard to create it?
Leslie understood our brief instantly and she is very skilled at creating woody notes with long-lastingness and sillage. On top she is a lovely person and the connection has always been incredible.
INCREDIBLE CONNECTION: Leslie Girard created Papyrus Moleculaire for Maison Crivelli. Thibaud Crivelli admires her deftness with woody notes.
How do your brief the perfumers you choose to work with?
I narrate the experiences I have lived and send a mood-board composed of photographs, videos, sounds, colours and textures. The objective is to translate all the sensorial elements of that moment and encapsulate them in a perfume.
IN THE MOOD: Thibaud Crivelli’s perfumers include, clockwise from top left, Bertrand Duchaufour, Stephanie Bakouche, Nathalie Feisthauer and Dorothée Piot.
As a self-proclaimed perfectionist, what would you like to improve on Maison Crivelli?
We always do our best to work on the originality and the balance of the perfumes. The most difficult aspect is to reach the moment when the perfumer and myself both know that we have finalised the creation.
You have launched a new fragrance in February 2021. What can you tell us about it? Any other developments we should be aware of?
The new creation is named Osmanthe Kōdoshān. It is inspired by a discovery of osmanthus flowers on the slopes of a mystical mountain shrouded in mist. We will also soon launch a new collection of perfume extracts in collaboration with Quentin Bisch.
MAISON CRIVELLI REVIEWS
One would expect a fragrance inspired by “the experience of the scent of scorched sandalwood on the slopes of an erupting volcano” to be unusual and intriguing. And that’s exactly what the brand’s 2018 debut and current best-seller created by Richard Ibanez delivers in abundance. Warm spiciness (ginger and cardamom) mingles with a rich, uncompromising and almost burnt take on sandalwood that mellows with coffee absolute and musks as it develops sensually on the skin.
Maison Crivelli Papyrus Moleculaire EDP
Papyrus is a surprisingly common note in perfumery, but there’s nothing common about its treatment in this 2020 release. Leslie Girard successfully translates inspiration – “discovering papyrus root powder with a group of tattooed women smoking cigarillos” – into vibrant reality. Fresh spiciness (coriander and elemi) gives way to cuddly tobacco while the headline note is powdered and leathered to perfection.
Maison Crivelli Absinthe Boreale EDP
Absinthe’s reputation precedes it, but there’s no danger of hallucinating under the influence of this friendly 2019 release created by Nathalie Feisthauer. There’s no missing the artemisia (wormwood), the herb used to give flavour and aroma to the notorious spirit, but it’s softened with a clean mix of lavender, mint, lemon, balsam fir and musk. A beautifully cool composition that deftly balances its herbal and aromatic aspects.
Maison Crivelli Bois Datchai EDP
I often associate tea with comfort and relaxation, and that’s just what I get from this 2018 release created by Dorothée Piot. The piquant fruitiness of blackcurrant meets the spicy warmth of cinnamon, without overpowering the smokiness of the tea with sweetness. The woody forest inspiration of this scent comes through in the form of fresh cedar and earthy patchouli. Another cuppa please!
For more info on Maison Crivelli, visit the brand’s website.
Launching a perfume company at any time takes balls. Launching a perfume company in 2020, of all years, takes balls of steel. And dollops of optimism and a strongly defined vision. All of which Anselm Skogstad of Der Duft seems to have in abundance.
The visual artist / photojournalist-turned-perfumer / director kindly sent me a bottle of Der Duft Bubble, one of the fragrances from the Germany-based company’s launch collection. If this EDP created by Alexandre Illan (Rammstein Kokain and Thameen Noorolain Taif) is anything to go by, the company is set to find its own space.
BUBBLE BOY: Alexandre Illan, creator of Der Duft Bubble. All images, except Der Deft Bubble, supplied.
Luxurious and uplifting, the bubbly stuff happens to be my favourite tipple. And it’s always intriguing to see how it’s translated olfactively. Unfortunately, it’s often given the girlie fizz treatment. No such issues with Bubble.
The EDP opens with a distinctive and slightly fruity take on Champagne. It already feels like a glass of the best. It’s infused with a liberal dose of cassis, its green sharpness balanced by a note of fruity rose. There’s also a hint of slightly spicy chamomile in the mix.
A clean combo of white musk and ambrette (the naturally derived musk) meets sandalwood in the drydown. The pear-ish characteristics of the ambrette and the creaminess of the sandalwood perfectly complement the intro and give the composition complex continuity.
I asked Anselm Skogstad about the launch of his company, his approach and working with perfumers.
“I purposely chose to stay away from adding any additional stories or explanations.”
Why did you decide to launch your own fragrance company?
I envisioned a fragrance company where the unique quality of perfumes, the style and aesthetic transcend time. The collection invites people to feel inspired by the scents and names of each perfume. I purposely chose to stay away from adding any additional stories or explanations.
I was aware of my fascination in collaborating with perfumers. It became clear that my brand would have to include both my own creations and perfumes created by selected perfumers I admire.
I strive for Der Duft to become a representation of a carefully selected collection of perfumes of outstanding quality. The concept is very clean and minimalist, which is also reflected visually in the product design.
How long was the launch in the making? And how did the Covid situation affect IT?
I was brainstorming the idea since 2018, simply calling the brand Der Duft (German for “The Scent”). Covid certainly affected the launch, as it created uncertainty and fear worldwide. Retail had to close their doors and high-end perfumes were less of a priority to people. Understandably so!
What’s your background and has perfume always played a big part in your life?
My love for perfumes started when I was a child and enjoyed smelling fragrances while admiring the fancy packaging and advertising. For many years this passion did not play a big role in my life. Instead, I focused on my career as a visual artist and photojournalist (anselmskogstad.com).
“For many years this passion did not play a big role in my life. I focused on my career as a visual artist and photojournalist.”
FULL OF SURPRISES: Anselm Skogstad with Miguel Matos, creator of Der Duft Cinematic.
The inspiration and motivation to change my career focus also needs to be credited to a dear friend of mine, a perfume expert based in Hong Kong. I am forever thankful to have found my love for perfumes again, this immensely beautiful and powerful art form.
You’re also a perfumer and created Der Duft Monopteros and Der Duft Grasse. Where did you study perfumery?
I studied at the Grasse Institute of Perfumery. This was a humbling experience and a substantial help in working as the director of Der Duft.
“Each perfumer should feel free in their creation process, so I give little to no direction. In fact, I am thrilled if they surprise me.”
Using Der Duft Bubble as an example, tell us how you approach the creation of a fragrance with your perfumers?
Each perfumer should feel free in their creation process, so I give little to no direction or guidance. In fact, I am thrilled if the perfumer surprises me. The goal is also to understand and respect the perfumers’ olfactive language and talent. Although I make the final choice which of the perfumer’s proposed creation is selected for Der Duft, the actual working process itself remains their own.
Finding a suitable name for each perfume is a distinctly exciting part of the creation process. This goes hand in hand while creating, perfecting and discovering the best new creation together with a perfumer.
Do you have any new releases planned for 2021?
Yes, I am excited about the new creation by Prin Lomros, called Act. Visit derduft.com for additional information and to subscribe to our newsletter.
For someone who comes from a family of voracious readers, I’m almost ashamed to admit, I’m a v-e-r-y s-l-o-w r-e-a-d-e-r when it comes to books. However, I flew through Perfume Paradiso by Janey Jones. But that’s probably because the latest novel from the Edinburgh-based writer best known for her Princess Poppy series is breezy, page-turning rom-com stuff with interesting characters and keen observation.
Image courtesy of Janey Jones.
A plot summary. A triple-S (successful, stressed and single) Charlotte Alexander travels to Montecastello, Italy to seal a lavender farm deal when she sells her artisan perfume company to a multinational. There she meets Alessio Rossini under awkward circumstances. Of course, she hates him at first, but the more time she spends in this romantic (and complicated) place…
Janey Jones was quick-quick in getting back to me on the questions I emailed her.
“I devoured information then let go of it, so that the story sounded natural.”
Why did you decide to set Perfume Paradiso in the world of perfumery?
I’m intrigued with the world of perfumery and always have been. It is glamorous and exciting, even more so than fashion. Successful artisan brands can be snapped up by bigger companies and I thought that was an interesting angle. Idealism versus realism. Purity versus commerciality. If I wasn’t a writer, I’d love to design perfume. I love the bottles, packaging, adverts and the evocation of romance.
What research did you do in this regard?
I read about many perfume makers and watched interviews. I researched articles from The Perfume Society. Especially, I read about Jo Malone, Azzi Glasser, Christine Nagel, Calice Becker, Sophia Grojsman, Olivia Giacobetti, Daniela Andrier, Annick Menardo, Cecile Matton and Josephine Catapano.
NOSE HOW: Janey Jones read about Josephine Catapano and Azzi Glasser (below) as part of her research.
I devoured information then let go of it, so that the story sounded natural. Azzi Glasser read the completed story and found it authentic, so I figured that technique did work.
Are you a perfume-lover? Any favourites?
Yes, I like florals best. Jo Malone’s Red Roses Cologne. Dolce & Gabbana Dolce Garden. Chanel Chance Eau Tendre. Diptyque Fleur de Peau, Gucci Bloom Acqua di Fiori. Acqua di Parma Peonia Nobile.
The main character, Charlotte Alexander, is conflicted. Head vs heart. Real vs synthetic lavender. Regarding the latter, what did your research reveal?
Yes, Charlotte has been seeing the world in absolutes to focus, then comes up for air and realises there are many perspectives.
Regarding real and synthetic oils in perfume, my reading revealed that there are many plus points for synthetics, which shook me a little. They can be more environmentally sound in some cases. Problems about real ingredients include: over-harvesting, which can be detrimental to the environment, as with sandalwood. Regulations for allergens can be worked around with synthetics. Also, synthetics can avoid harm to species, for example, musk. Finally, synthetic oils can lower the cost for the consumer and achieve a wider variety of scents and varieties.
I was astounded to read that 10 000 pounds of rose blooms are required to create one pound of rose oil – so not sustainable. All that said, it sounds more authentic to use natural ingredients! It’s all about perception and the fact that perfume is luxurious and exotic in our mind.
I thoroughly enjoyed reading your book. The only thing I found incongruous was that for someone from the world of perfume, Charlotte hardly picked up on the fragrances others were wearing…
That’s a good point. She does note the fragrance of Alessio, but I guess it would be nice to see her note the scent used by Diana, Lucia and Lily [other main characters in the novel]. I will bear in mind for the TV version! Thank you.
What’s next for you?
I’m writing a TV series for this novel. I’m also planning to write a romantic crime story set in a glamorous world. I prefer escapism to kitchen sink drama.
Perfume Paradiso by Janey Jones is available at Waterstones, Amazon and independent book shops.
Anyone who follows The Black Narcissus will attest to the knowledge and passion of Neil Chapman for all things perfume. Based in Kamakura, Japan, the self-proclaimed “perfumista” and teacher has created a dedicated following with his highly expressive and often personal writing.
So it was no surprise when his debut book, Perfume: In Search Of Your Signature Scent, was published in early 2019. Featuring over 700 fragrances (from vintage and niche to classics), this “scent atlas” is a joy to read from cover to cover. Apart from its reader-friendliness (scents are categorised according to their dominant note), his incisive style is present throughout.
I was quite intimidated when I approached Neil Chapman about this interview, as his level of writing is something I can only aspire to in my next life. He was most obliging in providing such characteristic detailed insight. While his use of long, free-ranging sentences has been edited to an extent in the book, I’ve kept much of that intact here.
Pics note: All the fragrances (my own pics) used to illustrate this post are featured in Perfume: In Search Of Your Signature Scent by Neil Chapman. I’ve gone overboard, in my customary style, to show the diversity of fragrances in the book.
Image courtesy of Neil Chapman.
What fragrance are you wearing today? And how does it make you feel?
I am wearing a Javan vetiver essential oil on the body (which is grounding and evolves nicely on skin), as well as some Zegna Haitian Vetiver sprayed on a sweater for contrast. They complement each other well.
How long was this book in the making? And how did it come about?
I had a lot of material in my vaults I had written over the years about all kinds of perfumes that I could use, so it was a question of putting it all together like a tapestry of my life in scent, sniffing new things wildly (the house was a bombshell) – and trying to decide what to include from the classics of the past, given the page number limits I was allowed. I managed to stitch it all together just in time….
In terms of the larger arc, I started writing about perfume in 2008, just privately, having been sent the original French guide by Luca Turin [Parfums: Le Guide] by a friend and which I found completely poetic and inspiring. I remember I then just picked up a pen and paper one day while in the teachers’ room and started writing my first review, of Guerlain’s Mitsouko.
I found that I loved doing it: trying to “nail” a scent in words. And so I started writing more and more perfume descriptions and then came up with the basic idea of this book. A note-by-note “atlas” of the olfactory landscape that would help both the “lay person” new to the topic, as well as be of interest to perfume lovers.
I sent off the proposal to various literary agents in London, but was told that I probably needed to build more of a profile first to get publishers interested, and so I started my blog The Black Narcissus in 2012, which is now the main passion in my life. Winning the Jasmine Literary Award in 2013 helped me to get noticed, and then a few years later I was lucky enough to get a publishing deal.
When I first saw the title of your book, my response was, “Isn’t the concept of a signature perfume out-dated?” But having read your book now, I think your take on the idea of a signature perfume is different to the conventional one…
I would love to know what your own take is on this, and how our ideas might differ in this regard, but I agree that for obsessive perfume lovers who collect and wear a lot of different fragrances, the idea of a monogamous “signature” might seem very limiting – even impossible.
At the same time, I grew up with friends, family members, people I fell in love with, who all wore certain scents that suited them perfectly, and there is no doubt in my mind that having an association of one person with one particular perfume is extraordinarily powerful. With such a scent, you are sealed in the minds of others for all eternity.
“With such a scent, you are sealed in the minds of others for all eternity.” – Neil Chapman
The key to my book is in the title “In Search Of Your Signature Scent”. It is not intended to be a be-all and end-all definitive guide (impossible, given the number of fragrances out there), but rather the beginning of the search; a way of entering the world of perfume, like Alice Through the Looking Glass (or rather, the “rabbit hole”, a term that a lot of people with a budding fragrance obsession use when they realise there is no way out once you have begun).
To a lot of people, perfume is completely mysterious and opaque, so I thought that by having some of the language demystified – for instance, explaining the origins of patchouli or vetiver and then describing what those ingredients actually smell like – while hopefully simultaneously not crushing any of the mystery, the heart of perfume itself could become more illuminated. My goal was for the book to hopefully be poetic, immersive and to take people out of reality – precisely what a good perfume itself does.
Your book does a great job at making the often-mystifying world of perfume more accessible. Why is the industry so often guilty of obfuscation?
Because it relies on people not having a clue what they are wearing in order to make them buy that scent based on visual and cultural associations in advertising, rather than on being scent literate themselves and choosing a scent purely based on its olfactory merit. People need to be kept in the dark for the major brands to continue making money!
Does writing always come easily to you?
When I wake up in the morning, I normally know whether I am going to be able to write or not. If not, I don’t even attempt to do it. Otherwise, it comes insanely easily. I just sit down and it comes out.
The way you experience perfumes and write about them is vivid and distinctive. What advice would you give to anyone who wants to improve their understanding and appreciation of perfume?
Thank you for the compliment. For me, perfume is not just about smell, but about a fusion of sensory pleasure with life itself – memories, people, aesthetics, time – which is why I have evolved my own quite emotional style of writing.
“Perfume is not just about smell, but about a fusion of sensory pleasure with life itself – memories, people, aesthetics, time.”
In terms of understanding and appreciation of perfume, although it might seem contradictory, given that I write about perfume myself, to say that I am not sure a person necessarily needs to “understand” it (studying music and school and film at university, I found that neither added to my enjoyment of the medium; if anything, the opposite was true, as at heart I really do love mystery).
On the other hand, if someone does want to go deeper into the world of perfume to get more out of it, there are several things you can do. One is to become familiar with the notes and ingredients in question by trying out essential oils in a high-level apothecary or aromatherapist’s. Only then will you truly understand what exactly is meant by ylang-ylang essence, and how it works so brilliantly in a perfume like No 5 by Chanel. You can then see how it fuses with jasmine and rose (both of which you can also try in essential oil form) to begin to see the brilliance of a genius perfumer’s art.
Also, by comparing different perfume writers’ opinions about a perfume – as everyone, of course, has their own viewpoints and objective takes, and by seeing how you personally respond to the scent in question on the back of your hand – you can begin to come to your own conclusions and trust your own instincts. Perfume is directly connected to pleasure – and we all know how differently that is experienced in each individual.
Apart from being an essential guide, what also comes across in your book is your belief in the mood-altering power of perfume and aromatherapy. Where does your love of aromatherapy come from?
To me, perfume and aromatherapy are intimately connected – for obvious reasons, given that originally, before the invention of synthetics, perfumes were made exclusively of natural essences. That aside, because I have a great love of beautiful smells per se, it was natural for me to gravitate towards aromatherapy, to just get my hands (or rather, nose) on the building blocks, but then amazing to discover the true power that they have on the body, mind and nervous system as well, way beyond their aesthetic appeal.
Bergamot really is a mood-lifter; lavender genuinely healing and relaxing; rosemary libido-enhancing; frankincense otherworldly, almost trance-inducing.
I use essential oils as medicines, but the scientifically documented effects of essential oils on people’s mood and emotions also make their way into the impact of the perfumes they are used in. True jasmine perfumes are inherently erotic.
Have you been keeping up with the reviews on your book?
This will probably sound like false modesty, but I haven’t really. I find both criticism and praise quite embarrassing.
Are you working on another book already?
Yes. I have a possible idea for another perfume book and have already started writing a memoir about my life in Japan. There is so much to write about sometimes I am not even sure where to start….
If you had to recommend three other essential perfume books, what would they be?
The Turin / Sanchez guides [Perfumes: The A-Z Guide and Perfumes: The Guide, because even though they can be quite critical sometimes (to put it mildly), they can be incredibly incisive and have their finger on the pulse of what is going on. Luca Turin, along with Michael Edwards, is the Godfather of perfume writing: before them, perfume was much more unfathomable to people.
I love Dariush Alavi’s book Perfume, as his writing is immaculate and concise in a way that mine could never be (I hope he does another book on perfume sometime soon). The Mandy Aftel books – Essence & Alchemy: A Book Of Perfume and Fragrant: The Secret Life Of Scent – are essential reading for anyone who wants to understand the art of perfumery from the perspective of the perfumer. She delves deeply into what each essence’s role is in a perfume, and her sheer enthusiasm and zeal for the subject is infectious.
What depresses you most about perfumery in 2020?
Mainstream perfumes are on the whole not exciting and tend to smell all the same (very chemical and cheap and along clichéd gender lines). Too many niche brands are overpriced and are weird for weird’s sake. I like innovation and new ideas, but also balance and integrity: in the end, the perfume should smell nice, not only “interesting” or audaciously conceptual. That’s why I like niche brands like Rogue Perfumery and Parfums Dusita – they have found a fine equilibrium.
Many perfume bloggers are active on YouTube and Instagram, but you aren’t. Any particular reason?
Although in some ways I wish I could be more active on social media, I have a sponge-like hypersensitivity, and there is only so much stimulation and interaction I can take in one day while also doing a teaching job (preparing Japanese students for top-level university entrance examinations). I need quiet and mental space, which is why I live up here on a hill in the zen capital of Japan, Kamakura. There are only so many hours in the day, and I need to wake up with a “blank slate” to be able to write anything spontaneously that is sincere and of decent quality.
Can we expect a range of Neil Chapman perfumes?
I wonder….
Perfume: In Search Of Your Signature Scent by Neil Chapman is available on Amazon.
2020 has affected us all in many ways. For perfumer Christèle Jacquemin it’s been one of highs (her debut perfume, Christèle Jacquemin Impermanence, was nominated in The Art and Olfaction Awards 2020 in the Artisan category), frustrations (postponed plans and travels) and adapting to the new normal.
Christèle Jacquemin returned to France after 18 years in Spain and is now based in Valliguières, a village near her hometown of Avignon. Since the launch of her company almost a year ago, the 48-year-old has started making a name for herself with her multi-sensory approach to fragrance.
Her debut collections – Impermanence, Meandering Soul and Underworld – feature photographic artwork (the starting point of her creative process), an EDP, home fragrance oil and artisan soap. Look out for my review of Christèle Jacquemin Impermanence on my Instagram page (@richgoller).
Image: Supplied.
In this interview, Christèle Jacquemin talks about inspiration, running a business and the award nomination.
How and why did you get into perfumery?
By accident. I was working in France for a consulting firm, with all my colleagues travelling mainly to Africa, and my job made it difficult for me to travel. So I looked for another job that would make that possible.
I found a job opportunity in southern Spain where they were looking for an area sales manager for Africa. This company is in the fragrance and flavour industry. I was lucky enough to be hired.
Image: Supplied.
Where did you train? And what was the most important thing you learned there?
I have been in this industry for the last 20 years. I trained first with all the customers I met. I knew nothing about perfumes. What I learned is that it is quite a complex product to sell. Actually you do not sell, customers buy from you. There is no way to convince them when they do not like a smell. We all smell differently, and that’s okay.
“There is no way to convince customers when they do not like a smell. We all smell differently, and that’s okay.”
After spending 17 years in the same company, I quit my job and trained at Cinquième Sens in Paris to learn how to make perfumes. It was quite a thing to add this knowledge to my ground experience.
MULTI-SENSORY EXPERIENCE: Meandering Soul III is one of Christèle Jacquemin’s photographic artworks. Image: Supplied.
When did you officially launch your company? As a creative soul, do you enjoy running a business?
I officially launched my brand in October 2019, which corresponded with my first multi-sensory exhibition in Avignon. It took me a couple of years to get everything set up. I trained to get basic knowledge in running a business. The idea behind all this is to keep on travelling. I really focused on starting in the best possible conditions to make that possible.
Image: Supplied.
How has the coronavirus situation affected you, personally and professionally?
Personally, I have not been affected hopefully. But professionally, all the olfactive workshops and exhibitions scheduled from March to September have been either cancelled or postponed. But in the end, all this available time has been quite productive in a different way.
Travel is a popular source of inspiration in perfumery, but you also bring photography to the mix. How do they inspire you?
Photography is a means of expressing my mood. I might be in China, but what I photograph is how I feel at that precise moment. It’s also a way of removing myself from the present. I can be elsewhere in an imaginary world. I love to feel this way.
“I can be elsewhere in an imaginary world. I love to feel this way.”
You were so generous to send me your award-nominated Impermanence. I chose it as the name spoke to me in the current Covid situation. Using it as an example, tell us more about your creative process. Are you more of a technical or intuitive perfumer?
I am an intuitive perfumer. What I try to transmit in the fragrance are my travel sensations. I travel with my camera and a notebook. They are the base of my inspiration to create the scent of the travel. For Impermanence, I wanted to convey a state of well-being I felt while there [Jinze, a town in the suburbs of Shanghai], as well as important smells that remind me of the trip like ginger and green tea.
Congrats on the Art and Olfaction Awards 2020 nomination. Who was the first person you shared this great news with?
My father. I was amazed by the news and incredibly happy at the same time. It gave me energy to keep on working hard.
Are you able to share some of your plans with my readers?
I am currently working on three new collections based on my travels before Covid-19. Ideally, I’d like to release them in November.
For more information on Christèle Jacquemin, visit the company website.
Many niche fragrance brands flirt with the idea of art and perfume (the “is perfume art?” debate won’t be explored here). M.Micallef have made it a core part of their ethos, and the recently launched M.Micallef Art Collection 2020 epitomises their approach.
The company was founded by Martine Micallef and her husband Geoffrey Nejman in 1996 in Grasse. Since then it has released a steady stream of luxurious fragrances without compromising on quality, in close collaboration with perfumer Jean Claude Astier. Collections include Les Exclusifs, Ananda, Jewel, Mon Parfum and Secrets of Love (pictured below).
Images: Supplied.
For M.Micallef Art Collection 2020, self-proclaimed “artistic soul” and the brand’s creative director, Martine Micallef, worked with Azerbaijani artist Ruh Zadeh. The result? A work of art, from the exquisite box to the bottle. Inspired by his artwork, Martine hand-painted all 2 000 bottles for this true limited edition.
Artistic Collaborator: Ruh Zadeh. Image: Supplied.
The scent itself was something of a surprise when I first started wearing it. When I received my vividly coloured bottle (it was sent to several other bloggers too), my brain said, “Hot florals”, for some reason.
However, what I’ve been getting from the opening is a crisp green take on mandarin orange, star anise and bergamot notes. The coolness keeps on coming in the form of fresh and powdery violet, with a hint of earthy nutmeg in the background. Then there’s a slight shift to a warmer, more sensual mood when cashmere wood comes through. Its muskiness is complemented by a leather, patchouli and oakmoss accord in the woody drydown. It’s a minimalist composition, in which Astier’s creative and technical skills are evident. Having spent a month or so enjoying this EDP, Zadeh’s artistic interpretation of it makes more sense to me now.
5 QUICK QUESTIONS FOR MARTINE MICALLEF
How do you and your husband work together?
I oversee artistic and olfactive development, and Geoffrey is in charge of finance and administration. The best duo team!
How did you meet Ruh Zadeh and what made this collaboration different from previous ones?
I met him during a M.Micallef event in Baku [the capital of Azerbaijan]. There was an immediate liking for each other and artistic admiration. I was seduced by his work and culture.
PERFUME COUPLE: Geoffrey Nejman and Martine Micallef. Image: Supplied.
Jean Claude Astier (pictured below) is almost your in-house perfumer. Why does this relationship have such longevity?
From day one, he was our perfume mentor. We both developed a passionate collaboration to create an international signature for the brand. He has always been wonderfully receptive to my intuitions, a great interpreter, and writes a formula like a music composer. This challenging friendship is for ever.
Have you started planning the Art Collection for 2021?
Yes, I have already signed a new feminine collaboration. It’s innovative and, at this stage, secret…
The company turns 25 next year.How you will celebrate that achievement?
With a major launch named Edenfalls. Our intention is to share a happy celebration with all our distributors and clients throughout 2021.
M.Micallef Art Collection 2020 retails for €245 on the brand’s website.
I recently had the opportunity to interview natural perfumer Douglas Little about his work. There was also a lively discussion on Undina’s Looking Glass about natural, synthetic and “mixed media” perfumes. All of which prompted me to get going on an interview with Frank Voelkl, which I’d been wanting to do for a long time.
Something told me he would be helpful in providing valuable insights on the role of synthetics in modern perfumery. The New York-based senior perfumer at Swiss fragrance and flavour company Firmenich took time out of his busy schedule to answer the questions I emailed him.
Image: Firmenich.
Before we get to those enlightening answers, a quick overview of the work of Frank Voelkl. He has earned major respect for creations and co-creations such as:
Alfred Dunhill X-Centric EDT (2001)
Kenneth Cole Reaction EDT (2004)
Sarah Jessica Parker Covet EDP (2007)
Zirh Ikon EDT (2008)
Oscar de la Renta Esprit d’Oscar EDP (2011)
Ermenegildo Zegna Indonesian Oud EDP (2012)
Paris Hilton Dazzle EDP (2012)
Dolce & Gabbana Velvet Amber Sun EDP (2017)
Hugo Boss Hugo Now EDT (2020)
Image: Fragrantica.
Of course, Frank Voelkl is most famous for his work for Le Labo. He has produced the decade-defining Santal 33 (2011), Iris 39 (2006), Ylang 49 and Thé Noir 29 (2015), among others, for the NYC-based niche fragrance company.
Image: Le Labo.
Where did you study perfumery and what was the most important thing you learned there?
I did a bachelor in Chemistry in Germany and then got a degree at ISIPCA in Versailles. I always remember what the legendary Edmond Roudnitska [creator of classics such as Dior Diorissimo, Hermès Eau d’Hermès and Rochas Femme] told me during his class: “Never lose track of where you want to go with your creation and always keep the goal, what you want to achieve in mind.” It’s easy to get “distracted” when you create.
NICHE PARTNERSHIP: Frank Voelkl has created several fragrances for Le Labo.
Would modern perfumery exist without the use of synthetics / molecules?
Absolutely not. The introduction of molecules in perfumery in the late 1800s launched modern perfumery. Just think about Chanel No 5 (1921), which wouldn’t exist without its aldehydes. Dior Eau Sauvage by E. Roudnitska (1966) wouldn’t exist without Hedione. The use of molecules really allowed us to discover new paths in modern perfumery.
Image: Fragrantica.
What role do synthetics play when you’re creating a fragrance?
Molecules have always co-existed in my creations together with natural ingredients. They are equally important and both add beauty to a fragrance.
“If you were to compare perfume creation with the art of painting, using a molecule is comparable with drawing a precise line.” – Frank Voelkl
If you were to compare perfume creation with the art of painting, using a molecule is comparable with drawing a precise line. The use of a natural, which typically is a more complex and faceted ingredient, is similar to the use of a large brush stroke. Which means that molecules often have a more linear character and are more singular in smell. I use them exactly for that reason – to introduce a very particular note into my creation. Molecules also allow us to introduce notes that do not exist in nature and to explore uncharted olfactive territories. They are essential for innovation.
For example, when creating Gucci Bamboo, I used a particular molecule which added a very delicate green note recognisable throughout the fragrance, which I could not have achieved in the same way with a natural ingredient.
Image: Fragrantica.
You’ve created a number of fragrances for NYC-based niche house, Nomenclature, including Adr_rett, Holy_wood and Psy_Cou. What was the attraction of working with the founders, Karl Bradl and Carlos Quintero?
Karl and Carlos had approached me a while back, inviting me to work on their new brand Nomenclature. Given my enthusiasm for molecules and the fact that Firmenich has a large number of captive molecules, it made a lot of sense to me.
Karl and I actually met a few years earlier working on a project together, and we immediately seemed to understand each other well. Of course, the fact that Karl and I both have our roots in Germany is an added bonus. It has been a great pleasure working with Karl and Carlos since the beginning, and am happy to collaborate with them on their beautiful brand.
ARTIFICIAL INTELLIGENCE: Carlos Quintero and Karl Bradl of Nomenclature, which showcases exclusive molecules in perfumery. Image: Nomenclature.
Referring to Nomenclature Psy_Cou, which showcases coumarin. tell us about the beauty of this molecule and its influence on modern perfumery.
I still remember smelling coumarin for the first time in my life when it was presented to me as one of the first raw materials from the ingredient training at ISIPCA. It’s creamy, almondy and, to me, immediately triggered a sensation of comfort.
First used in Fougère Royale by Houbigant, it has since had an important role to play in men’s fougère structures, but has also made its way into many women’s fragrances. It is present in nature as well, in many aromatic essential oils or in hay extract, for example.
Image: WorthPoint.
Which recently created molecule are you particularly excited about and how have you used it?
We have a few recent captive molecules at Firmenich that are very exciting olfactively, a new floral aldehydic one, in particular, that I use for an aquatic transparent, yet powerful women’s fragrance. Sorry, but I can’t tell you more about it than that.
In recent years, there’s been increasing consumer demand for natural ingredients in beauty products, including fragrances. Is this a good thing for perfumery? And ultimately for the environment?
I’m glad you ask this question because I think that there is a really important message that consumers need to know. As much as anything natural is perceived to be good for you and anything synthetic as inferior, the use of molecules in most cases is way safer and more sustainable than naturals.
“The use of molecules in most cases is way safer and more sustainable than naturals.”
If all fragrances were made only of naturals, our world supply would be exhausted quite rapidly. In addition, any ingredient used in fragrances, naturals or molecules, is tested before use and has to pass the same standards.
Image: Ermenegildo Zegna.
What will be the major trendS in perfumery this decade?
Starting a decade with a major pandemic has certainly had a great impact on perfumery trends. Consumers have an increased desire for comfort, safety and feeling clean. They’re increasingly looking for fragrances that make them feel good and like to know the source of the ingredients used in fragrances. Sustainability and social impact are also important factors influencing consumers in their choices. Olfactive trends will align with these criteria.
Le Labo and Nomenclature fragrances are available in South Africa at Skins Cosmetics.
Douglas Little achieved a level of infamy Oscar Wilde would have approved of in January 2020. The “This Smells Like My Vagina” candle he created for Gwyneth Paltrow’s lifestyle portal, Goop, got mega media coverage ranging from indignant outrage to ecstatic approval – and sold out along the way (it’s now back in stock here). Such notoriety shouldn’t come as a surprise for a perfumer who named his natural fragrances company Heretic, which he launched in 2016.
Of course, there’s more to Douglas Little than being known as “Gwyneth Paltrow’s perfumer”. After studying at Syndicat National des Fabricants de Produits Aromatiques in Grasse, he founded D. L. & Co.: Modern Alchemists and Purveyors of Curious Goods. It focused on perfumed candles, jewellery and lifestyle products. He later went on to create installations for luxury brands such as Van Cleef & Arpels, Barney’s New York and Bergdorf Goodman. The Californian has also worked with celebrities such as Dita Von Teese, Lady Gaga and Bette Midler.
When I was contacted by Douglas Little’s PR to interview him, his latest collaboration with Gwyneth Paltrow, the “This Smells Like My Orgasm” candle, hadn’t been launched yet. So this interview predates the controversy this new product will undoubtedly create.
I’d like to state that while I haven’t smelled any of the products featured in this blog-post, I get the strong impression that Douglas Little is a highly creative perfumer with a knack for harnessing the power of sensuality, provocative marketing and humour.
So let’s get that question out of the way first. How did the “Smells Like My Vagina” candle get its name?
When I develop fragrances with Gwyneth Paltrow we start with several different essential oils. I also love to show her things that are more radical and experimental.
I was sharing an ingredient with her and she said, “This smells like my vagina”, and of course we laughed hysterically and it became a joke. Gwyneth is the perfect collaborator because she is always open to new ideas.
“Gwyneth is the perfect collaborator because she is always open to new ideas.”
When I first brought the candle to Gwyneth it was intended as a limited release for Goop Summit and it sold out within about 45 minutes. That’s how the vagina candle story got started, in this very humble and innocent way. We certainly didn’t know what the response would be and it’s been exciting to see how people have fallen in love with it.
STAR POWER: Douglas Little with Gwyneth Paltrow.
Are you worried this candle will overshadow your other achievements?
Not in the least. “This Smells Like My Vagina” is an interesting product, because it’s one that provokes curiosity. Any stigma that was wrapped around anything relating to the vagina is being felt and this candle encourages healthy conversations and humour.
When did you start working with Goop and are there future projects in the works?
I started working with Goop in 2017. I was hired by Gwyneth to be the nose for her four fragrance editions, Number 1, 2, 3 and 4. We have two really exciting releases coming out this year.
How has the coronavirus affected your work?
It’s been devastating for everyone. It was hard because we had to restructure our team, but we are trying to look at the glass half full. The coronavirus has forced us to look at the important aspects of the business and what makes us unique. We are a fragrance company that creates fragrance made from naturally derived materials.
We’re radically transparent about what we do and are excited to share the healing and functional elements of how fragrance can enhance people’s lives. That’s been a really important conversation during this time.
How do you think the coronavirus is affecting our attitude towards fragrance?
People are paying much more attention to the effects of fragrance and the way it can influence your state of mind. Many of us have gone through various stages of isolation/depression, from being sad to angry to frustrated. These emotions can be altered with fragrance.
Being at home and self-isolated, you miss going out and having a walk on the beach, in the park or in the forest. A candle or a perfume can help shift your point of view for a minute.
“People are looking for the little bits of normality and pleasure, and fragrance has the ability to transport you.”
People are looking for the little bits of normality and pleasure, and fragrance has the ability to transport you. It can help you to relax or to go to sleep, it can transform the room that you’re stuck in all day by lighting a candle or putting on perfume. It’s a very small action that can have a big effect.
You’re known for your love of natural fragrances. Many of my favourite fragrances are defined by their use of synthetics. How would you sell natural fragrances to me? And what do you mean by “natural?”
Natural fragrance is made from 100% naturally derived materials. “Naturally derived” is a term that’s specified by an agency called the ISO, meaning that the product is from a natural source. All of the materials we work with are naturally derived. In other words, they actually have to start out as a natural product.
The difference between natural and synthetic fragrances is that synthetic fragrances last longer. They can have a lot more of what I would call softer nuances to them. But they can also be overwhelming. Synthetics are engineered in a laboratory to be very fragrant, whereas with naturally derived materials, the fragrance is a by-product of the natural material itself. As a result, the fragrances are going to be more subtle, more alive and have more of a real quality to them. It’s easier for people to identify the fragrance notes in naturally derived fragrances than in synthetic fragrances.
“Naturally derived fragrances are going to be more subtle, more alive and have more of a real quality to them.”
The other important reason for naturally derived fragrance is that they are free from the aroma chemicals that are used to make synthetic fragrances. About 90% of the aroma chemicals that are used to make synthetic fragrances are petrol derived.
I wanted to create a product that was dramatically different from anything else that was currently on the market. The main reason people don’t use naturally derived materials on a more regular basis is because of their cost and they don’t necessarily appeal to everyone, whereas synthetic fragrances appeal to a broad audience. They are inexpensive, but can also be toxic.
How do you approach the creation of fragrance? Is it a technical or artistic process for you?
It’s both. I start with a concept. I build off of an idea and then start to figure out how to work with naturally derived materials to create that idea. It’s a two-part process and part of the reason I love fragrance so much is because it is equal parts art and science.
Do you have a philosophy as such? Is your company’s name “Heretic” a reflection of that?
Yes. The reason I chose the name Heretic is because when I first started this company, I wanted to do a line of fragrance derived from 100% natural materials. I was told that I was insane, that it was impossible and would never sell. I was also told that the work of natural perfumery was nothing more than the work of housewives and heretics from a very astute perfume company. It was my mission to prove them wrong.
“I was told that the work of natural perfumery was nothing more than the work of housewives. It was my mission to prove them wrong.”
What will be the key trends in fragrance this decade?
Going back to the basics. As a consumer and watching the habits of consumers, we are all inundated with information. We are moving at such a rapid rate and we’re expected to perform at such a high velocity. There is a need for more simplicity.
For more info on Douglas Little, visit douglaslittle.com and Heretic Parfum. All pics of Douglas Little and associated products supplied.
