BE AU T Y
Senses working overtime
Five of the world’s most successful perfumers reflect on the people, places and memories that have inspired their fragrance genius BY FLEUR FRUZZA FRAGRANCE ILLUSTRATIONS JESSICA MAY UNDERWOOD
CHRISTINE NAGEL
CV: Jo Malone Peony & Blush Suede Cologne; Eau de Cartier; Narciso Rodriguez For Her; Dolce & Gabbana The One Describe the moment you realised you wanted to be a perfumer. I’m unusual in the industry; I don’t come from a family of perfumers, and I didn’t start working until I was 37. Years ago, I was working in organic-chemistry research at Firmenich. I observed the perfumers there and realised theirs was the job I wanted. I left to train under Michel Almairac. He was inspiring. From him I learned the art of simplicity: to use few pure, raw materials, with each one being essential. What do you consider to be your breakthrough fragrance? Probably Eau de Cartier in 2001. It’s an eau de cologne with the values of a perfume. After that, Narciso Rodriguez, which I co-created with Francis Kurkdjian in 2003. And, more recently, Jo Malone; working with that brand has changed my life. Is perfumery a science or an art? For me, it’s both. I’m not an artist but an artisan. It’s a process of expertise that I adapt creatively depending on who I’m working with. What has been your latest project? Jo Malone Peony & Blush Suede Cologne. I started with a Cecil Beaton photograph of a debutante; it made me want to create a fragrance with peony. I created a few variations and presented them to the team. Jo Malone doesn’t do mass-market testing – decisions are made on instinct. It gives me a creative freedom that is rare in perfumery today. What fragrance do you wish you had created? That’s easy. Féminité du Bois by Shiseido. Christopher Sheldrake, who now works with Chanel, created it in 1992. It’s beautiful. What’s the hardest fragrance commission you’ve ever had? All those I’ve lost out on! It’s really tough to see a brand go with a different scent, especially if you believe you’ve found the perfect accord. What’s the most exquisite thing you have ever smelled? My children’s skin when they were babies.
FRANCIS KURKDJIAN
CV: Carven Le Parfum; Elie Saab Le Parfum; Jean Paul Gaultier Le Male; Lanvin Rumeur; Lancôme Miracle Homme Describe the moment you realised you wanted to be a perfumer. At 14, I read a piece about perfumers in a glossy French magazine. It was a true revelation. I found out that the couturier was not the one creating his perfumes. There were people, and a very special craft, behind it. Perfume is the ultimate emotional accessory; it builds so many memories. After that, I decided I would become a perfumer. What do you consider to be your breakthrough fragrance? Le Male, by Jean Paul Gaultier. I was 25 – it was my first assignment out of school. It became a worldwide success within two years. What is it about your approach that has made you successful? I’m passionate about what I do. My creations tell the truth. They’re genuine. They don’t lie to people. I believe it’s my strength. Is perfumery a science or an art? It takes the art of science and the science of art to be a good perfumer. If money were no object, what is your ultimate ingredient? Orris absolute is the most expensive note in the world. It costs about €75,000 per kilo. It’s important to differentiate iris (the flower) from orris (the root of the plant). Perfumers use the roots as the flowers have barely any smell. The one traditionally used is from Florence and is, weight for weight, more expensive than gold. What’s the most exquisite thing you have ever smelled? Last week I smelled a new mimosa extract from the French Riviera. Divine! I’m already looking for the fragrance to use it in.
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