It’s a small world, even more so in perfumery. I recently interviewed Antoine Lie about Puredistance Ysayo. And then I interviewed Guillaume Flavigny, who mentioned that he trained under Antoine Lie. After studying at ISIPCA between 1998 and 2000 and Givaudan’s Perfumery School until 2003, Guillaume Flavigny joined the Givaudan Paris team, where he worked with Antoine Lie for two years.
No doubt, the master was a key figure in Guillaume Flavigny’s career development. And in the more than two decades since then, Guillaume Flavigny has gone onto become a highly respected creator himself, as evidenced by the list of some of his creations below:
+ Pierre Balmain Ambre Gris EDP (2008)
+ Guess Seductive Homme Blue EDT (2012)
+ Moschino Cheap & Chic Chic Petals EDT (2013)
+ Comme des Garçons Black EDT (2013)
+ Initio Divine Attraction EDP (2015)
+ Commodity Tonka EDP (2017)
+ Elizabeth Arden White Tea EDT (2017)
+ The Harmonist Yin Transformation Parfum (2018)
+ Valentino Uomo Born in Roma EDP (2019)
+ Tom Ford Rose Prick EDP (2020)
+ Sisley L’Eau Rêvée D’Isa EDT (2023)
+ Yves Rocher Bouquet Ambré EDP (2026)
I’m familiar with most of these perfumes, but it’s his 2025 creation for the Japanese designer brand, Comme des Garçons Max Richter 01 EDT, which reminded me just why Guillaume Flavigny has notched up several awards over the years.
This composition displays the creativity one would expect from CDG and a fragrance inspired by the music of Max Richter (a 2026 Oscar nominee for best original score for Hamnett). The brand has displayed synthetics in striking ways since its entry into fragrance in the 1990s. And Max Richter 01 EDT continues in that vein.
You might scoff at the listed notes on the bottle: graphite, vetiver, piano soundboard cedar, Vn bow rosin, transistor and magnetic tape. But in this case, the artistic licence pays off with a fragrance that unmistakably evokes music instruments.
And while I don’t normally comment about performance, this EDT lasts an incredibly long time, a much-needed counterpoint to all those who look down on this concentration in the extrait de parfum era. More importantly, however, Comme des Garçons Max Richter 01 EDT is memorable in all the right ways.
You studied chemistry before going to ISIPCA. Has that technical background given you an advantage in perfumery?
You need chemistry to enter ISIPCA, but it’s not necessary for Givaudan’s Perfumery School.
“Like a musician puts sounds together, I mix different raw materials together to create a new story.” – Guillaume Flavigny
A perfumer doesn’t need chemistry, just passion, a great nose, an amazing memory and creativity. Perfumes are all about emotions and not chemistry. Like a musician puts sounds together, I mix different raw materials together to create a new story.
Elizabeth Arden White Tea EDT (2017) is a fragrance I keep coming back to. Is it the kind of fragrance you’d wear yourself?
I love to take “a shower” with this perfume – it’s clean, easy and genderless, with a soft amber and a touch of orris. It’s one of my daughter’s favourites, along with Montblanc Signature EDP and Tom Ford Cherry Smoke EDP, which I also created.
You co-created Montblanc Signature EDP (2020) with your Givaudan colleague Natalie Gracia-Cetto. Do you find these collaborations easy, or do you prefer working on a composition by yourself?
It’s great to share, as you always learn from others. For Signature, it was my idea and Natalie came in at the end to fine-tune the perfume. I was working in New York at that time.
One of the things I love about Sisley L’Eau Rêvée D’Isa EDT (2023) is the big hit of oakmoss in the drydown. How did you get that effect without contravening the IFRA standards?
The chypre structure offers lots of elegance. To replace a part of the oakmoss, I played with Evernyl [the synthetic], amber, dry amber and vetiver.
Let’s talk about Comme des Garçons Max Richter 01 EDT specifically. How did you go about creating it?
The idea was to translate music instruments, the metal of violin strings, the wood of a piano, the synthetic smell of a vinyl disc, the mood of a concert.
This perfume is a surprising and very rich mix – dark and luminous, black and white like a piano. I was very inspired because I love the music of Max Richter. I play the piano and I’m always working with music.
Were you familiar with the work of Max Richter before you started the project?
Yes, because of my father, who had a strong passion for music.
You also played with synthetics in Tom Ford Black Lacquer EDP to great effect. Is the fundamental value of synthetics getting lost in the push for more natural ingredients?
There is no conflict between naturals and synthetics. A good perfume is a mix of both. Some synthetics are much more expensive than many natural raw materials. I need synthetics for modernity, creativity and sometimes for their performance.
“There is no conflict between naturals and synthetics. A good perfume is a mix of both.” – Guillaume Flavigny
Max Richter 01 EDT is not your first fragrance for the brand. That would be Black (2013). Can we expect another collaboration with Comme des Garçons in the future?
Oh, I hope so, yes. I’m working on it.
You’ve won quite a few awards in your career so far. Is there one that has particular significance for you?
Yes, the first award I received when I was still in Givaudan school in 2002, the international prize for the best young perfumer [Prix International du Jeune Parfumeur Createur].
And where do you keep your awards?
I keep the awards in my office. The last ones were for Rochas Eau de Rochas Citron Soleil EDT [Best Fragrance at the 2023 Prix Vénus Version Femina] and Valentino Born in Roma Donna EDP Intense [2024 Fragrance of the Year in the Women’s Luxury category at The Fragrance Foundation Awards].
