NEZ CHINA #1 / I
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EDITORIAL
Fostering olfactory culture We are constantly surrounded by odours. While we rarely have any control over the presence of the smells that reach our nostrils, perfumes are an exception to the rule: we can choose the fragrances we wish to wear and to permeate our daily lives. Beyond the brand ambassadors and vast international advertising campaigns that position various fragrances as deluxe products, what do we really know about perfume? For the last four years, Nez, the olfactory magazine has been deciphering the immaterial and invisible world of scents for everyone wishing to know more about perfume, exploring the history of perfumery, perfumers’ work and the question of what exactly constitutes a fragrance. Published in English, French and Italian and available in over 25 countries, Nez is now launching a Chinese-language version with issues appearing every six months. The magazine’s mission is to provide a variety of articles and reports written by journalists, perfumers, historians and scientists to help everyone interested in and passionate about perfume to build a solid olfactory culture. By Mathieu Chevara
Cosmoprof Asia &Nez, the olfactory cultural movement present
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EXHIBITION
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Nez China, the olfactory magazine: The launch of the first publication devoted to olfactory culture in China Cosmoprof Asia
SCENT
1+1, the new perfume collection by Nez Cosmoprof Asia
Perfumer Maurice Roucel (Paris) and designer Alan Chan (Hong Kong) Cosmoprof Asia
“Scented characters of China: Exploring Chinese memories through scent & characters”
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Chán by Alan Chan Space 27
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The 30 niche fragrances you have to smell before you die by Nez, the olfactory magazine Cosmoprof Asia
NEZ CHINA #1 / 5
E DITORIAL
Fostering olfactory culture By Mathieu Chévara P.3
A P PLICATION
Perfumable zones By Yohan Cervi P.6-7
OSMANTHUS
Once upon a time there was a fruity flower By Delphine de Swardt P.8-11
INTERVIEW
Jean-Christophe Hérault By Delphine de Swardt P.12
INTERVIEW
Frédéric Malle By Anne-Sophie Hojlo P.13-14
ODORAMA
Molecule: Hedione By Olivier R. P. David P.16-19
PORTRAIT
The voice of perfume Interview with Alex Lee By Sarah Bouasse P.20-22
FLASHBACK
François Coty : The history of an olfactory empire By Yohan Cervi P.24-27
ALAN CHAN
A tea-inspired tour de force By Aurélie Dematons P.28-32
I-EYE
Carte blanche for Alan Chan P.33
THE TEA MASTER
Yu Hui Tseng
By Béatrice Boisserie and Tristan Baldi P.34
NEWS
From Heritage to New S(c)en(t)sations By centdegrés P.36-37
PERFUMABLE ZONES
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ADVICE ON APPLYING PERFUME By Yohan Cervi
Each type of perfume is applied differently. For sprays, the dosage naturally depends on the perfume’s intensity, your personal tastes, the occasion, your mood and the desired effect. We have noticed that today’s sprays are often very generous, releasing a large quantity of perfume with each squirt in the hope that you get to the end of the bottle as fast as possible. On the question of where to apply your favourite fragrance, why choose between clothing or bare skin? When in contact with skin, perfume reacts in a more individual manner. If you have a tendency to sweat, you should keep in mind that moisture can seriously
alter the perfume’s scent and persistence. Clothes are ideal for spraying perfume onto, preferably those made from wool, cotton, cashmere or silk, but avoid synthetic materials as they develop an undesirable scent. Although non-spray bottles essentially disappeared in the mid-2000s, they are still used for perfume extracts, which are usually applied with the fingers or stopper. However, over time, dirt from skin and dust can accumulate in the bottle, which is somewhat unsightly and, more importantly, will accelerate the perfume’s ageing process. It is therefore advisable to opt for a single-use plastic pipette or gradually decant the perfume extract into a
small sample tube or travel spray. Because the less perfume is exposed to air, the longer it will last. Perfume enthusiasts make their way through the world of perfume, at times fraught with pitfalls, at their own pace, guided by their sensibilities, tastes and mood in the moment. These tips serve only one purpose: to encourage you to preserve and cherish the joyous space created by perfume, far from all influences and diktats. After all, is not the freedom to dream and wander at will the ultimate luxury?
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Osmanthus Once upon a time there was a fruity flower It is a small flower with, as is often the case, a big perfume. Its Western name, osmanthus, is derived from the Greek and means fragrant flower. The strain that is used in perfumery is called Osmanthus fragrans Lour. If we disregard the abbreviated name of Portuguese botanist Joao de Loureiro, who catalogued the flora in Cochinchina, its full title means “scented fragrant flower”. Without a shadow of a doubt, we find ourselves in an exponentially expanding olfactory world. By Delphine de Swardt Feature photos: Olivier Löser Photo of Jean-Christophe Hérault: Michael Avedon
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The shrub, a member of the Oleaceae family, is Native to Asia, which explains why it is sometimes referred o as Chinese olive. It generally grows to between five and twelve metres high with a span of nearly two metres. The tree blooms twice, once in September and then again two weeks later in October. Several cultivars produce fragrant flowers in colours varying from pale yellow to orange-red: they are graded variously as gold, silver or reddish, with gold the most sought-after grade in perfumery. The osmanthus flower, mostly cultivated in China around the city of Guilin (which literally means “osmanthus forest” in Chinese), was originally used only for cooking, featuring in biscuit recipes and drinks with the majority of production going into tea blends. Although the occasional illustrious perfume mentioned the ingredient, including 1000 by Patou in 1972, it was
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only in the 1990s that osmanthus became part and parcel of the perfumer’s palette, thanks to Monique Remy, who founded Laboratoires Monique Remy (LMR) which is now part of IFF, the global leader in perfume creation. During a trip to China in the early 1990s, Monique Remy came across osmanthus producers and processors. She fell in love with the flower and encouraged the export of its extract. Tocade, created by Marcel Roucel in 1994 for Rochas, was the fruit of her trip to China and the emergence of the osmanthus concrete supply chain pioneered by IFF-LMR and still led by it today. Osmanthus shares a characteristic with jasmine: it cannot be distilled because of the flower’s low concentration in components soluble in steam. Once harvested, the flowers are sent to a local factory to be processed. Extraction of its olfactory components requires volatile solvents which do not alter the fragrant components and are then separated through evaporation
“The absolute’s leathery animal facet is undoubtedly due to human intervention.”
and recycled once the process is completed. This method yields what we call concrete, a material that is waxy due to the presence of natural vegetable wax. IFF-LMR in France carries out a second procedure which rids the concrete of all wax, resulting in a product that is suitable for use in perfume: absolute.
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In order to preserve the plant material before its transformation into concrete, osmanthus flowers are placed in a brine and held in place by pieces of wood. Although this method protects the flower’s fragrant properties, it does not prevent fermentation. It is during this process that what is a truly delightful perfumery ingredient acquires its characteristic leathery and animal notes. Although it is the growing plant that emanates the exquisite floral and fruity notes, akin to juicy apricots or peaches, which give its flowers such an agreeable taste and which are the dominant tones in the absolute, the leathery animal facet is undoubtedly due to human intervention.
fragrances. Perfumers usually have to resort to synthetic products to create a fruity dimension. For the purpose of getting the very best from the ingredient, Bertrand de Préville explains that IFF-LMR’s osmanthus strategy aims to set up extractors near harvest points in China, in order to process the fresh flower and obtain an absolute that is true to the growing plant’s naturally occurring olfactory qualities. Previous developments springing from IFF-LMR’s research into the product include the standardisation of the type of wood used when maintaining the flowers submerged in brine, with the choice falling on oak wood. Another innovation has been to produce a less strongly coloured absolute. Osmanthus abBertrand de Préville, general manager solute is orange-brown, while brands of IFF-LMR, points out that osman- now tend to look for olfactory matethus is a natural ingredient that has rials that do not colour the final conbecome a vital part of the perfumer’s coction. IFF-LMR has therefore made palette since it is one of the rare natu- available to perfumers an osmanthus ral ingredients to bring fruity notes to absolute created using molecular
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distillation, fractionation and filtering of the absolute’s different components to obtain a clearer product and, in terms of aroma, a stronger fruity aspect, which closely resembles apricot jam, diluting the animal aspect.
1 Osmanthus flower harvest, Lugao, Jiangsu Province — 2, 3, 8 Osmanthus production, Jinhua, Zhejiang Province — 4 Collecting and salting osmanthus flowers, Lugao, Jiangsu Province
5 Water dam for crop irrigation — 6, 7 Harvest and collection of osmanthus flowers, Lugao, Jiangsu Province
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INTERVIEW
Jean-Christophe Hérault
Jean-Christophe Hérault, senior perfumer at IFF and avid user of osmanthus absolute in his compositions, tells us about how he employs in his work. In October 2018, he was in China to observe the flower’s harvest. The experience only heightened his love for the ingredient, which he placed at the heart of Alien Man by Mugler, created that same year. Jean-Christophe Hérault, could you give us an olfactory description of the osmanthus flower? Osmanthus is a delicate flower with a contrasting perfume that is subtle yet very powerful. The flower’s scent can be identified from a long way away, although its harmony is very delicate.
OSMANTHUS KEY FIGURES
Its bouquet contains the scent of peach, apricot and exotic fruits. Its floral heart evokes freesia – a white flower – and a green note which is similar to tea leaf. The absolute has a scent that does not feature in the flower, an animal scent, much like the smell of castoreum. What do you use osmanthus for in your compositions? Osmanthus’ olfactory profile is so complex that it can be used in lots of different scenarios. Generally speaking, I use osmanthus for its suggestion of juicy fruits, to create velvety accords. More specifically, I use it to soften certain leather accords. In Alien Man by Mugler, I used a high dose of osmanthus, like an amber-coloured jasmine. What are the special features of this material? Osmanthus absolute has the added advantage of being very substantive, meaning that its scent lingers on both blotter and skin. Its presence adds body and introduces some very interesting sensual qualities. It’s a natural extract that has many uses: fruity, floral and animal. It’s rare for a material to be so multifaceted. Now that I’ve seen it being harvested in China, I realise that when I’m using it, I’m calling upon an entire region and its expertise, or even mythology, like the wonderful legend of the gardener exiled to the moon who had the task of trimming the osmanthus that grew there every day.
15 % The percentage of osmanthus used for perfumery in relation to the total production in China. The rest is set aside for flavourings and food preparation.
YIEL D 1 000 kg de fleurs = 1 kg of osmanthus absolute, representing 0.1% Approximately €4,000 Average price per kilo for IFF-LMR osmanthus absolute (by comparison: similar to 1 kg of jasmine sambac absolute) — 1,200 kg of flowers = 1 kg osmanthus absolute MD (the grade of absolute that is less colourful and fruitier), representing 0.08% — Approximately €5,000 Price per kilo for IFF-LMR osmanthus absolute MD
SEP T EMBRE- O C TOBRE Osmanthus harvesting period when it flowers twice over two-week period
20 °C Maximum night-time temperature for osmanthus to flower
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FRÉDÉRIC MALLE An encounter between great creators and the very best materials
An encounter between great creators and the very best materials. The perfume editor shares his views on natural ingredients just as his brand is getting ready to enter the Chinese market. Interview.
By Anne-Sophie Hojlo
How important are natural raw materials in your perfumes? I grant total freedom to my perfumers, with no regard to cost, and we are the company that uses the best and widest range of natural ingredients. The quality and origin of materials obviously play a major part in a perfume’s beauty. I’m curious and love working with new and special natural ingredients, like the Timut pepper that Jean-Claude Ellena discovered thanks to chef Olivier Roellinger, and which he used to develop an essence with Laboratoires Monique Remy (LMR) for our Rose & Cuir. But let’s not be too categorical and forget that synthetic materials also play an important role in modern perfumery. They offer precision, whereas natural ingredients bring sophistication.
vetiver, stripped of its medicinal facets thanks to molecular distillation and transformed into an ideal material. Those undesirable facets had thus far prevented it from being used in formulas in any great quantity: never more than 10%. Thanks to the new process, we were able to create Vétiver extraordinaire with 25%. How do you think the Chinese market will receive your perfumes? China is opening up to perfumery to a degree I find extraordinarily touching. What’s incredible is that the consumers have no preconceptions, contrary to what some brands believe. Granted, they enjoy fresh and innocent compositions, but they are also extremely curious and happy to try out lots of different things. For example, in our range of fragrances, perfumes like Une Rose, Portrait of a Lady and Promise are a big hit with people in China: they’re powerful creations with a lot of character and, usually, a rose facet. Chinese consumers are looking for beauty, and I believe that they’ll take a liking to the encounter between great creators and the very best materials which defines Éditions de parfums Frédéric Malle.
Above Frédéric Malle © Brigitte Lacombe
Have any of your favourite natural ingredients ever been a starting point for a creation? For Vétiver extraordinaire, which we created with Dominique Ropion, we used a prototyped molecular distillation of a Haitian vetiver that also came from LMR. It’s a sort of miracle perfume. I was with Dominique and thinking about ideas for a new men’s perfume. Back when we both worked for the Roure company [now called Givaudan], he’d come up with a woody base for a women’s perfume I liked wearing, and which we wanted to use as the starting point for the new creation. That’s when his lab technician brought him a new material to be assessed. It was a total coincidence, but it was immediately clear to us that this was the perfect complement for our woody base. It was the finest Haitian
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hedione ODORAMA
All perfumes are composed of molecules, either natural or synthetic. How do laboratories discover and produce these compounds? Next up, the story of Hedione and how it has been enriching the perfumer’s palette for over half a century.
LISTENING NOTE While you read this article, you can listen to the Balsamus et munda cera motet by Guillaume Dufay, performed by the Huelgas Ensemble and Paul Van Nevel (O gemma lux, Harmonia Mundi label, 2011).
Methyl dihydrojasmonate or 2-((1R,2S)-3-oxo-2-pentylcyclopentyl) methyl acetate
By Olivier R.P. David
OCTOBRE 1957
1955 Édouard Demole is 23 and beginning his thesis in Paris.
After having purified, separated and analysed 5 kg of Egyptian jasmine, he discovers the magic molecule he was looking for, only present in small quantities (less than 0.8%) but with a powerful olfactory impact. He names it methyl jasmonate.
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Quality variations by year and manufacturer with percentages of methyl dihydrojasmonate (+)-cis.
1961
Secret jasmine Between 1899 and 1950, chemists successfully identified and analysed 87% of all molecules present in jasmine absolute, the aromatic substance which is extracted from the flower. But some of them proved elusive and perfumers could not accurately convey jasmine’s olfactory beauty. In the 1950s, Roger Firmenich, one of the first directors of the fragrance business that now bears his name, commissioned a series of studies and sent a young student named Edouard Demole to work on a thesis in Professor Edgar Lederer’s lab in Paris.
Success story Hedione began to rise in popularity in the mid-sixties. It started out as a very expensive molecule: a kilogram cost around 1,000 Swiss francs, representing half of a chemist’s annual salary! However, over the past 50 years, manufacturing developments and widespread use of the molecule have multiplied production by a factor of 100,000 and divided its retail price by 100. Today, Hedione is an essential perfumery ingredient.
Hedione Firmenich 5 %
1980
Claigeon Zeon 5 %
1989
1995
1994
1999
Cepionate Zeon 15 %
Hedione HC Firmenich 40 %
Paradisone Firmenich > 90 %
2010
Jasmodione Takasago 35 %
Kharismal IFF 30 %
Quest for purity From a technical viewpoint, Hedione is a combination of four near-identical molecules that chemists call isomers (“similar parts” in Greek). Yet only one of those molecules is truly fragrant (the form called (+)-cis), as our noses are not fine-tuned enough to pick up the other three. Unfortunately, the fragrant molecule is also the most challenging to synthesise, which is why the original Hedione only contained 5% of it. Firmenich, owner of the Hedione brand, and several competing companies which sell methyl dihydrojasmonate under another name, were actively looking for new procedures that would enable them to produce higher quality products, which meant with a
1958–1959 The young chemist starts to try and manufacture it by synthetic means. First, he prepares a simpler compound with a very similar scent, methyl
dihydrojasmonate, before finally synthesising methyl jasmonate in 1959.
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higher concentration of (+)-cis. After years of intensive research with European laboratories, Firmenich discovered a way of producing something close to perfection: Paradisone, containing over 90% of the aromatic molecule. Olfactory properties The molecule is usually simply described as the scent of jasmine, but it is so much more. On its own it seems delicate, somewhat timid, maybe even a little vague and far removed from the flower it comes from. Perfumers describe it as a floral note with tea aspects: transparent, luminous, animal, soft, white, feminine, sensual,
airy and ethereal. Hedione is not so much a scent as an aromatic effect, a radiant emanation that transforms the perfume’s other notes. When added to a composition it is not easily detectible. Rather than giving it more of a jasmine feel, it acts as a booster that embellishes and brings depth to the entire formula, much like a song that is mastered and engineered in order to deepen the overall sound while balancing the notes.
2 5 F É V. 1 9 6 0 Roger Firmenich files a patent for methyl dihydrojasmonate, far easier to manufacture than jasmonate, and names it Hedione, from the Greek hêdonê (“pleasure”). The patent is kept a secret until 15 December 1964 for the sake of industrial confidentiality.
Side effects Neurology has shown that Hedione activates the pheromone receptors, though atrophied in human beings, and induces a stimulation of the cerebral areas associated with memory and behaviour. Surprisingly, response to Hedione is significantly more intense in women, with their cerebral stimulation three times greater than in men. Researchers have not delved into the social implications of this effect, but Roger Firmenich certainly chose the right name for the molecule.
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EAU SAUVAGE
No 19
FIRST
Brand
Dior
Brand
Chanel
Brand
Van Cleef & Arpels
Perfumer
Edmond Roudnitska
Perfumer
Henri Robert
Perfumer
Jean-Claude Ellena
Launch
1966
Launch
1971
Launch
1976
Presence
2,5 %
Presence
13 %
Presence
20 %
CK ONE Brand
ODEUR 53 Calvin Klein
Brand
Comme des garçons
Perfumer
Martine Pallix and Anne-Sophie Chapuis
Perfumer
Alberto Morillas and Harry Fremont
Launch
1994
Launch
1998
Presence
20 %
Presence
65 %
1961 The first 50 kilograms of Hedione are produced. Firmenich employee Ulrich Säuberli creates jasmine 74 D, an artificial reconstruction cheaper to produce than the absolute. The composition, called the base, is made commercially available to perfumers.
1966 Dior launches Eau sauvage by Edmond Roudnitska with 2.5% Hedione. The perfumer began working on it after Roger Firmenich sent him a sample of pure Hedione.
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PORTRAIT
THE VOICE OF PERFUME Interview with Alex Lee, perfumer at Mane By Sarah Bouasse Photo by Matthieu Dortomb
Alex Lee always wished to help people, which is why he initially wanted to be a doctor. But perfume can also have a very salutary effect. As the young man, born of a Taiwanese mother and Singaporean father, found out for himself during his childhood in California. “I was a sociable child, good at theatre, and I was traumatised by a presentation that went wrong,” he recounts. “I became shy and very harsh on myself. And it was perfume that saved my life.” Already passionate about the world of fragrance – in the playground he liked to chase after girls and smell their freshly-cleaned hair –, he began visiting perfumeries and online forums during his time as a student. “In the world of enthusiasts, I had no issue talking to strangers. Perfume gave me a voice.” And armour to face the world: from Shalimar to Musc ravageur, Chergui to Kouros, Alex Lee collected bottles and got his
confidence back when wearing a fragrance. All it took was an article by Chandler Burr in the New Yorker, discussing the creation of Un jardin sur le Nil (2005) by Jean-Claude Ellena for Hermès, to really set things into motion. “I understood that perfume was at the junction between science and art. I wanted to make it my profession.” In 2007, Alex Lee left San Diego to study French in Lyon. He went on to study at the Grasse Institute of Perfumery (GIP) before earning a master’s degree from the ISIPCA in Versailles. In 2011, he joined the Mane School of Perfumery where he became a fully-fledged perfumer and now cultivates a style characterised by unexpected combinations, including an Oreo-rum accord for Sillages Paris, green pepper-tuberose for Ferragamo and jasmine-essence-milk for Penhaligon’s. At his office in Paris, Alex Lee displays his creations neatly on a shelf along with an assortment of drinks and delicacies from China, a market he works for regularly, even communicating in Mandarin. However, he takes a thoughtful tone when discussing this particular market. “China is so vast! Each region has its traditions, climate, tastes, and therefore specific expectations when it comes to fragrance. It’s important to keep that in mind.” Humble and respectful with an enquiring
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“I understood that perfume was at the junction between science and art. I wanted to make it my profession.”
a tea note must smell like tea leaves.” He shares further insights: “The Chinese aren’t interested in notes that are too camphorated because they have a strong medicinal connotation. But things are slowly changing, notably thanks to Coco Mademoiselle by Chanel, which succeeded in winning the Chinese public over with its chypre silage and contributed to a newfound acceptance of patchouli notes.” Taste is also a matter of education. Speaking of which, Alex Lee remembers his first glass of wine: “It was in France, I was 22 and knew absolutely nothing about wine. Over time and thanks to all the people I’ve met who mind, Alex Lee regularly visits his grandparent’s have taken the time to explain it to me, I’ve learnt homeland, where he spends lots of time in local to recognise good wine. You can’t change somerestaurants and talks to flavourists. “It’s very one’s culture, but it really is possible to acquire important to understand the culture and olfac- another cultural layer.” Alex Lee is certain that, tory references of the Chinese market, like any in terms of perfumery, the Chinese are eager to other market in fact. It’s the key to offering au- learn. And he urges industry players to provide thentic products people can identify with. For this education, which will benefit everyone. He example, what we Westerners understand as feels that it is only a matter of time before China ‘tea’, the bergamot and spice accord that was develops its own perfume industry – as the Unitpopularised in Bulgari’s Eau parfumée au thé vert ed Sates eventually did – after spending many doesn’t smell like tea to the Chinese! And for years observing France. There is no doubt that good reason: they don’t drink Earl Grey. For them, he is part of this thrilling adventure.
ALEX LEE IN 3 PERFUMES
FIGUES & AGRUMES
AGARBATHI
RINASCIMENTO
Brand
Maison Lancôme
Brand
Penhaligon’s
Brand
Salvatore Ferragamo
Launch
2019
Launch
2017
Launch
2018
“Patricia Choux and I came up with this luminous blend of green figs, citrus and jasmine to evoke a Mediterranean orchard.”
“The scent of an Indian temple, with its jasmine garlands, burning incense and a milky note, reminiscent of offerings.”
“The Florentine lily, which is actually an iris, is combined with lily and tuberose. A modern note of green pepper produces a contrasting bouquet.”
Photographer Didier D. Daarwin Getty Images/Tetra Images Getty Images/John W Banagan.
E X T R
U N I A
Q C
U T
E I N
P G
R E S E N C E
FLASHBACK
Franรงois Coty The history of an olfactory empire By Yohan Cervi
NEZ CHINA #1 / 25
A look back at the unconventional career of the young Corsican who became one of the pioneers of modern perfumery.
Joseph Marie Francois Spoturno was born in Ajaccio, Corsica, on 3 May 1874 into a family of high standing in the local area. The young man, brought up by his grandmother, did not seem predestined for a life in perfumery. Pursuing his goal to become a journalist and key political figure, he left his native island for Paris at the age of 26 and became a parliamentary attaché. A true selfmade man, he discovered the world of perfumery by chance when helping a pharmacist friend prepare an eau de cologne in Doctor Jacqueminot’s dispensary. He developed a taste for it and very soon developed his critical faculties and aesthetic sensibilities. Self-taught perfumer In the early 20th century, perfumery was a highly lucrative and luxurious sector, no longer an artisanal activity and well on its way to becoming an influential industry. This era was marked by many big names, including Guerlain, the most famous of all, and Houbigant, L.T. Piver, Violet, Bourjois, Lubin, Dorin and Coudray. These perfume houses were held
in high esteem and garnered the and even Latin America via subsidloyalty of many a wealthy patron. iaries. The reputation of the luxury Perfumers offered a wide range houses thus extended far beyond naof perfumes, soaps, scented talc, tional borders, although their prodpowders and vinaigres de toilette. ucts remained exclusive, accessibly The development over the course of only to the elite. In order to target a the 19th century of synthetic produc- larger audience, Coty offered more tion methods applied to perfumery affordable products than the comand new extraction techniques was petition without ever compromising revolutionary, further expanding the on quality. The success of La Rose perfumer’s palette. New olfactory Jaqueminot allowed Coty to rapidforms emerged, more abstract and ly launch more products: L’Origan primal, far from the figurative floral and Ambre antique in 1905, Jasmin compositions then in fashion. At the de Corse and Violette pourpre in 1906 time, there were two capitals of per- – perfumes conducive to dreaming, to fume: Paris and Grasse, in the south letting the spirit wander far and wide. of France, where a great number of companies supplying raw materials and bases were located. In order to perfect his olfactory culture and learn the perfumer’s techniques, François went to Chiris in Grasse for an internship, where he learnt Opposite page : the art of composition and how to © Albert Harlingue/Roger-Viollet memorise different scents. He fell Bottle of antique by Coty, in love with synthetic materials and Ambre 1910 Lalique model © Coty bases. After several months, he returned to Paris and opened a small laboratory funded by the money he inherited from his grandmother. He then began producing his first perfume, La Rose Jacqueminot, a tribute to Grasse’s fields of roses under the spring sunshine. This was when he changed his name to Coty, after his mother’s name, Coti. Perfumes for everyone Luxury perfumes began to arrive on the shelves of Parisian department stores like Le Bon Marché and Les Grands Magasins du Louvre in the 1880s. They were also exported to the rest of Europe, North America
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“In order to target a larger audience, Coty offered more affordable products than the competition without ever compromising on quality.”
In order to meet exponentially growing demand, he built a large, modern factory in 1909 near Paris. Lalique then became the brand’s official glassmaker, producing a great number of bottles that gradually changed in style, moving from Art Nouveau to Art Deco. In addition to selling to department stores, Coty had his own spacious Parisian boutique at 23 Place Vendôme. In the rest of France, he opted for an extensive network of retailers. He was also keen to export his products and met with success in such highly promising markets as Russia, the USA and Latin America. The Great War and the Roaring Twenties The Belle Époque and its economic dynamism came to an abrupt end in 1914 as the First World War broke out, but the Coty company managed to successfully navigate these
hazardous times and decreasing French consumption, mostly thanks to its export business. François Coty created his greatest masterpiece, Chypre, during the war, in 1917. In the wake of the Great War, during the Roaring Twenties (1920-1929), couturiers also began launching their own perfumes, with Gabrielle Chanel, Jean Patou and Jeanne Lanvin leading the way. Coty resisted this new kind of competition with Émeraude (1921), which was to be his last major success. At the time he was a billionaire and one of the world’s richest people. He collected works of art and prestigious houses and even became an influential presence in the media business when he bought Le Figaro in 1922 and founded L’Ami du Peuple in 1928. Coty factories were then producing 100,000 bottles per day. But as time went on, new perfumes were launched at a slower pace and proved to be less inspired. Francois Coty stepped back, leaving room for other perfumers such as the young Vincent Roubert who created L’Aimant (1927). He shifted his focus to selling spin-off products like make-up, creams, soap and, especially, powders. Posterity While the Great War did not hamper his success, the stock market crash in 1929 and ensuing crisis brought it to a halt. Destabilised by a costly divorce, Francois Coty died, penniless, at the age of 60, on 5 July 1934. His ex-wife took over as the head of the company but soon handed it over to her new husband, who in turn sold it to the Pfizer group in
1963. New perfumes, like Le Vertige, Muse, Météor and Le Muguet des bois, continued to be launched under the Coty name until 1974. The Coty Group concentrated on acquiring a portfolio of brands, developing, producing and selling perfume, make-up, skincare and professional hair products. The company that now carries the name of this perfume visionary is an American multinational (belonging to JAB Holding), the global leader in perfumery which owns the perfume licences for brands like Gucci, Chloe, Calvin Klein, Burberry and Balenciaga. Although Francois Coty’s perfume has disappeared, his legacy is impressive and his influence on perfumery can still be felt to this day.
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LA ROSE JACQUEMINOT
L’ORIGAN
Brand
Coty
Brand
Coty
Launch
1904
Launch
1905
Coty’s first perfume was a soliflore, a type of perfume in vogue in the early 20th century, in homage to the Rose de Mai, which the perfumer discovered during his first visit to Grasse. To push the sense of realism as far as possible and bring more body to the composition, Francois Coty employed synthetic materials and bases, particularly geranium-scented rhodinol and ionone (a molecule that smells like violets). The name is a tribute to Doctor Jacqueminot and his laboratory where Coty discovered the world of perfumery.
CHYPRE
Coty wanted to distance himself from a certain formalism and free perfumery from its constraints. L’Origan was structured around powerful synthetic bases that were added to floral absolutes. With this creation, the perfumer inaugurated a sub-class of flowery spiced ambers, or florientals. A full and lively floral bouquet (orange blossom, violet, rose and jasmine) is spiced up with powerful notes of clove. The perfume gradually mellows thanks to coumarin, vanilla and musk. L’Origan’s success lasted until the 1930s and it became one of the world’s best-selling perfumes. L’Heure bleue by Guerlain (1912) has a similar olfactory profile, although it has a rather more delicate and sophisticated approach. As was often the case, it did not take long after Coty’s launch of a new perfume for Guerlain to respond.
ÉMERAUDE
Brand
Coty
Brand
Coty
Launch
1917
Launch
1921
An icon in modern perfumery! Before 1917, many creations bore the name “Chypre” which leads to some confusion. However, it was this creation which is the real source of the long and prolific history of chypre perfumes. It offers an interplay of light and dark, a luminous, airy opening contrasting with the unfolding shade of the undergrowth. Classic bergamot is juxtaposed with earthy notes while a rose and jasmine floral heart brings depth and sparkle. Animal notes, patchouli and oak moss characterise this original and fascinating perfume. Two years after its launch, Jaques Guerlain drew inspiration from this founding fragrance, adding a fruity peach note to create Mitsouko.
Though it was not his final creation, Émeraude was Francois Coty’s last masterpiece. Once again, the perfumer innovated, devising an all-new olfactory form based on warm and intense notes, vanilla-scented, balsam-like, powdery. The amber accord (or oriental) is balanced by a large quantity of citrus, particularly bergamot, in order to achieve a complex and contrasting fragrance. The perfume also had a major impact on the industry, inspiring, most notably, Guerlain’s famous Shalimar (1925).
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Alan Chan A tea-inspired tour de force What happens when a Hong Kong designer teams up with two French perfumers? A poetic collection is born, allying the oriental aesthetics of Alan Chan, designer and collector, with the sensibilities of two virtuoso perfumers, Maurice Roucel and Emilie Coppermann. By AurĂŠlie Dematons Photos by Mathieu Chevara
An air of concentration reigns in Alan Chan’s design studio. The agency employs more than 40 people working on some 20 separate projects combining architecture, design and photography. In a light suit and an impeccable white shirt, round black glasses emphasising a pair of piercing, laughing eyes, the head of the agency happily welcomes us into his world to introduce us to his new trilogy of perfumes centring on tea. Surrounded by his impressive collection of objects, Alan talks about his career and his love of tea. The collection features busts of Mao, Buddha figurines, a sculpture of someone doing tai chi, photographs and all kinds of things he’s found throughout the world, from precious antiquities to a soda bottle. He began buying up antiques in the different countries he visited, fuelling
his imagination with inspiring artefacts gleaned from his travels. During his forty-nine-year career, Alan Chan’s company has won over 600 local and international prizes. Thousands of brands in a dizzying variety of fields have called on the company’s services, including Coca-Cola, Disney, Four Seasons, Salvatore Ferragamo, Seiko and Hong Kong’s international airport. We sit around a tea set specially designed by Alan Chan as he explains how the beverage became an indispensable part of his life. “I’m always fascinated by the complex relationship between people, tea, objects and space. This rich culture serves as a basis – an inspiration – for my projects and art exhibitions relating to tea.” The designer mixed business with pleasure when he founded the Mr Chan tea brand with the Japanese group Kirin in 1990 before opening a series of tea shops: Chan in Hong Kong, Cha Yu
in Tokyo and TeaSite in Osaka. Collaborations with big names like Alessi, Louis Vuitton and Cha Ling led to a contemporary approach that redefines the art of tea tasting. “Tea allows us to explore the nature of the six senses: sight, hearing, smell, taste, touch and extrasensory perception. Smell is the sense that is most closely connected to memories, conjuring up images of childhood, a loved one or a pleasant feeling.” The world of tea and the world of luxury gradually fused, sparking a new idea. “For 50 years, I’ve been drinking my tea and perpetually seeking the deep wisdom contained within it – this Chinese custom established 2,000 years ago. To associate this age-old practice with fragrance – a Western product – was a way of combining our two cultures.” So he began his new project by sending samples of tea leaves to perfumer Maurice Roucel. The poetic chemist who has worked with countless brands,
including Hermès, Rochas, Guerlain, Gucci and Lancôme, was given carte blanche. “I wanted Maurice to distinguish the tea aromas for himself, based on his perspective and emotions as a Frenchman.” Two varieties provided the starting point for the first scented creations, as did the encounter between the two men. Maurice Roucel spent a few days in Hong Kong with Alan Chan to immerse himself fully in the designer’s world. A series of tea tastings gave Maurice Roucel a feel for the subtle universe of the flavours tea releases as well as for the philosophy of life Alan Chan taught him: “To quote The Book of Tea by the Japanese author Okakura Kakuzō [published in 1906], ‘A man with no tea inside him is incapable of understanding truth and beauty.’ There’s something in tea that elevates a moment in life and transports you into fleeting silent contemplation – brief but profound, in the same way smelling a fragrance can do.” The two
first creations were like yin and yang, producing harmony in diversity with the different light they shed: one of them joyful and fruity, conjuring up osmanthus tea, the other darker, more animal, drawing on the power and smoky character of pu’er tea. Alan Chan is visibly excited: today he is presenting his new collection of three brand-new perfumes. Maurice Roucel is of course on board, reflecting the bond that has grown up between the two artists. Their partnership has highlighted some astonishing similarities: the same star sign, a fondness for Dior’s Eau sauvage and a background in chemistry studies. They each even have a lucky date. While Alan’s favourite number is 27, a date marking important times in his life, the perfumer has always changed jobs on the 1st July. For the second round of the adventure, Maurice Roucel found inspiration in Oolong tea, won over by Alan’s beguiling description: “Oolong tea goes well
“I wanted Maurice to distinguish the tea aromas for himself, based on his perspective and emotions as a Frenchman.”
with everything. Its aroma projects a succulent sensation. It’s like a kindred spirit who knows you well and will always be there for you”. An artist with a strong sense of aesthetics, the perfumer took pleasure in juxtaposing his interpretation of tea with the specificities of oolong. “I thought about what it is in tea that gives pleasure and
“I drew on Alan Chan’s very pared-back universe, which is modern, urban and minimalist.”
comfort. So I built the composition around musky notes, which reveal themselves generously, like the long finish you get with a mature tea,” describes Maurice. “Spicy inflections reproduce the warming effect of a hearty mouthful with sandalwood and Tonka bean providing a milky sweetness. The green, floral oolong note emerges gently with hints of jasmine, honeysuckle, while the leather base brings out its fermented character.” The adventure continues with two new varieties of tea, bringing the final touches to the designer’s extensive collection – “There’s a tea for every situation, one for waking up, one for digesting and so forth,” he explains with a laugh – along with new inspirations and new interpretations, and this time a woman is involved: Emilie Coppermann, the multi-award-winning creator of fragrances for such prestigious clients as Paco Rabanne, Givenchy and Karl Lagerfeld. Emilie
is an upbeat perfumer who infuses her creations with poetic light: “I drew on Alan Chan’s very pared-back universe, which is modern, urban and minimalist.” For the second perfume, Emilie came up with an icy, mineral mint tea inspired by salt deserts. “The vast spaces and colours suggest freshness but they inhabit an extremely hot landscape. Hot and cold rub shoulders, enveloped in a gently muskiness. As for the third perfume, it brings out the splendour of Hojicha tea, a Japanese variety Alan is particularly fond of because of its malty flavour, produced by caramelised hazelnut, and earthy taste.” Delicacy and elegance are the rule here in a quest to embrace Japanese-style aesthetics. Emilie took a fresh approach to the subtle tea with a woody accord sprinkled with puffed rice and toasted sesame. An enchanting treat to be savoured deeply and mindfully over a cup of tea.
I-EYE
CARTE BLANCHE
for Alan Chan
Starting from 2010 Chan started to use iPhone to create his photographic series “iEye-ai”. It started incidentally but the spontaneous action of photo-taking creates such freedom and satisfaction that stimulates his hectic business trips and becomes a committed practice.
It also led to exposures in different c ities and a new attempt on video installation. To him it is a project of goodwill that establishes new connections with different cities and cultures. During his frequent travel, there were instantaneous moments, either when he was wandering in the street or stuck in traffic, an interesting scene or beautiful composition would flash by so quickly that he would then capture those moments with his iPhone. The title “iEye-ai” actually means the process of using the iPhone camera to capture things that Chan loves (‘ai 愛’ is the Mandarin/Japanese pronunciation of ‘love’). Not only it is a documentation of Chan’s life out of home, through repeating the same image to form patterns that a new visual effect is created, “iEye-ai” brings the image of a single photo to another level, thus, creating new possibilities of reading the visual structure and context.
From the first launch of “iEye-ai”, all photos are mostly kept in its original form except minimal retouching. The photography series capture the rapid change of the contemporary society, by using a compact photo shooting tool and a twist through exquisite design language, becoming an encapsulation of photography, design, documentary and narrative. According to Chan, “Ever since working in the advertising industry back in the 1970s, I have already been taking photos to create storyboards for print and TV advertisements. Photography has been the most direct way for me to tell stories. I have always been very sensitive to images, and photo taking allows me to document my vision quickly. Nowadays I am purely photographing for inspiration and take it as an expression that represents our contemporaneous lifestyle.”
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Yu Hui Tseng, The tea master By Béatrice Boisserie and Tristan Baldi Photo by Pablo Nùñez
Born in Taiwan and resident of her adopted city of Paris, Yu Hui Tseng has been tasting tea since she was two. She is the first ever woman in the history of China to be recognised as a tea master.
Later on she took part in creating alliances of dishes and teas for top chefs, adapting her selections to different spices and cheeses aged over varying periods. The guardian of the temple of Chinese tea production now teaches in schools, trains growers as well as sommeliers Gagnaire, Robuchon, Petrus, Dom and organises tastings at her establishPerignon… The thousands of products ment where, unlike tea ceremonies, tucked away in the Maison des Trois the ritual does not take precedence Thés cellar in Paris have been bowling over product quality: we can only fulover a whole host of illustrious chefs ly understand the extraordinary aroand sommeliers for a quarter of a centu- matic complexity of the best teas by ry. But over and above the vintage teas, developing our sense of smell and our the real attraction lies in Master Tseng’s palate. Master Tseng feels that by optprecious advice, palate and nose. ing for a balanced tea rather than vulYu Hui Tseng has always lived guided gar tannins that assault the palate and by her nose, which means she sees her expertise not as a profession, but as a way of life: “Tea is a sort of inner perfume, a perfume we drink and which ends up inhabiting us. Gradually, one cup at a time, it takes up residence in our bodies.” In 1990, on a mission to save the tea market in France, she got involved in Chinese plantations, reintroducing quality standards and improving production processes. At the same time, she developed a terminology for describing tea in similar terms to wine: terroir and vintage for pu’er tea as well as colour and length on the palate.
“catching surrounding odours”, we enrich our memory and sharpen our vocabulary. From one sip to another, the tasting process releases a thousand scents: while a wulong brings to mind mock orange, lilac, privet, acacia honey along with artichoke, courgette, coconut and vanilla notes, a pu’er offers notes of fresh mushroom, peat and dead leaves. From visits to tea plants, whoseleaves she explains are “marked by everything the tree experiences” to tastings at her tea palace, Yu Hui Tseng has a global influence on the world of a truly exquisite beverage and the language used to describe it.
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NEWS
FROM HERITAGE TO NEW S(C)EN(T)SATIONS By centdegrés
The end of 2019, marked by the 70th anniversary of the RPC – which was highly celebrated by Chinese and international perfume houses – is giving us a glimpse of what to expect in the next seasons. And it all goes back to celebrating China. Its culture, colors, raw materials, expertise, crafts and creations. Tributes to its rich heritage, that is no longer assimilated to mediocre quality and low creativity, but quite the reverse. Made in China is now making Chinese proud and giving a new momentum to generation aspiring to reveal a new and inspiring side of their country.
Millenial Men The interest in perfume – which Skincare and beauty products was still very low no longer than have become commonplace two years ago (2017) with Chinese in the Chinese man’s beauty consumers accounting for a mere routine, yet perfume has remained 1% of the global perfume market a relatively silent category. – is growing and it is interesting Millenials’ obsession with masks, to notice that in contrary to face creams and serum, and their most of the trending topics in beauty is no longer a secret and China, men are showing a true has been a huge trend making and deep interest, eager to get the industry need to adapt and information on the compositions offer relevant products to this and stories behind scents. Back target a big challenge. in July (2019), male perfume was This generation care(d) about their one of the highest trending topics appearance, influenced by a flow on Little Red Book, reflecting a of advertisements and social great exposure of perfume brands media representations. But it is and confirming the trend. Among now time to a more subtle and the topics, ‘what smell sexy on a connoisseur trend appearing man’ was largely discussed with among Chinese men. hashtags like “Bad boy scents (渣男香)” and “Girl-slaying scents (女香)” being used over 50.000 times in a month.
Similarity with the spirit industry in China, the brands and fragrance makers will need to find an adequate way to communicate with this rising target, which might push the industry leaders limits for new innovations and/or content to share with their audience. New experts in the making!
From ‘Made in China’ to ‘Created in China’ Chinese have been dominant luxury customers, including in the perfume industry, with home fragrance also growing rapidly and significantly. Now perfume enthusiasts are also intrigued by niche brands, offering a different approach and experience. And this single fact gave a huge opportunity to local fragrance houses to arrive on the market and compete with international giants. More impressive is that they have a shot and it would be indecent to under-estimate them in a near-future. Especially with these local brands becoming conscious of the potential of the ‘Made in China’ label, supported by both the government and citizen, proud of the local savoirfaire and scents.
A kind of beautiful tribute to their country, now at the edge of innovation and creativity that is winning its place among the industry makers. Key takeaways from the olfactory industry in China are too complex to already get conclusions for the months left before 2020. From heritage symbols of the past to artificial intelligence machines that we can imagine taking part in the fragrance industry sooner than later, one thing only is certain: China has just started surprising us and what it might bring to the perfume industry in terms of innovation, scents and trends will be exceptional.
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Publishing directors Dominique Brunel Mathieu Chévara Jeanne Doré Art direction Atelier Marge Design Direction d’ouvrage Mathieu Chévara Jeanne Doré Editorial coordination Lucile Rives Marion Salort Contributors Tristan Baldi Béatrice Boisserie Sarah Bouasse Yohan Cervi Olivier R. P. David Aurélie Dematons Delphine de Swardt
Translation Philippa Bowe Smith Production Marianne Ménager centdegrés Graphic design Manon Guerillot Sheng Cao Patrick-Axel Fagnon Photography Michael Avedon Mathieu Chevara Matthieu Dortomb Olivier Löser Pablo Nùñez Illustrator Jeremy Perrodeau Advertising and partnerships Dominique Brunel
Publisher Nez éditions 29, rue des Orteaux 75020 Paris contact@nez-larevue.fr Sales and distribution in China Emma Chateauneuf Matthieu Rochette-Schneider centdegrés China www.centdegres.com With thanks to… Juliette Allaire (Mane) Alan Chan (Gallery 27) Ava Chan (Gallery 27) Nelly Charriot (IFF) Judith Gross (IFF) Ting Shao (centdegrés)
Nez, the olfactory magazine www.nez-larevue.com www.nez-larevue.fr All reproduction, translation and adaptation rights reserved worldwide. Involuntary errors or omissions which may have occurred, despite the efforts of the editorial team, in the contents of this magazine will not engage the responsibility of the publisher.
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Published biannually, Nez explores the world around us via our sense of smell. It provides an insight into the vital role that olfactory sensations play in our lives in a novel approach that encompasses art, literature, science, history and perfume. Our publication reinforces the voice of a cultural movement aiming to foster olfactory culture and broaden the world’s knowledge of fragrance. Created in Paris in 2016, Nez is available in three languages – English, French, Italian – in over 20 countries.
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