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EDITORIAL
Scents of china* It has been a subject of discussion in the world of perfumery for many years: China is now a major player, due to its population becoming increasingly receptive to the notion of questioning, understanding and wearing perfume. While the big brands already figure on the landscape, there are others now striving to redraw the olfactory map of this huge country. There are now Chinese brands being launched, developed and exported, combining a unique cultural heritage with high creative expectations. Less well known French brands, who until very recently could not have dreamt of setting up in such a vast territory, are either preparing to venture in or have already taken the plunge. These successful initiatives have undoubtedly benefited from new distribution methods such as WeChat which, for the Chinese population, has significant applications in the real world. As part of the international China Beauty Expo event, Nez, the olfactory magazine, seeks to paint a new, up-to-the-minute picture of Chinese perfumery, which is constantly innovating and expanding, through encounters and exchanges with industry players who are more passionate than ever before. Mathieu Chévara, Dominique Brunel, Eléonore de Bonneval
*Scents of China is also a collection of 10 perfumes, created for centdegrés by Haohua Meng, perfumer at Firmenich.
EDITORIAL
REPORT
Scents of China
Mei-Hua a festival of colours
By Mathieu Chévara, Dominique Brunel, Eléonore de Bonneval P. 1 BLOOMING CHINESE SCENTS
RE Classified, empress of the niche market By Béatrice Boisserie P. 4
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Herborist, the legacy of Chinese botanical tradition By Sarah Bouasse P. 6
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Smile Gao 高朱玮 a perfumer in Shanghai By Béatrice Boisserie P. 8 ODORAMA
Florida water: tradition in a bottle —
By Béatrice Boisserie P. 12 FRENCH PERFUMERY IN CHINA
Perfume industry, how China is ready to break the rules By Matthieu Rochette Schneider P. 17
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Parfum d’empire, a sovereign affair By Mark Behnke P. 18
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Frédéric Malle puts perfumers on par with artists By Eléonore de Bonneval P. 22
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Diptyque, scents in all shapes and sizes
Traditional Chinese medicine: a medicine of balance
By Béatrice Boisserie P. 26
By Béatrice Boisserie P. 10
Alan Chan 陳幼堅 design without limits
CONNECTIONS
By Eléonore de Bonneval P. 30
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Blooming Chinese scents RE CLASSIFIED, EMPRESS OF THE NICHE MARKET Created in 2013 in Shanghai, the brand has already released around 50 perfumes and just as many cosmetic products. It is now moving towards affordable customisation, inviting you to do it yourself. By Béatrice Boisserie
RE Classified has everything to satisfy perfume lovers in search of refinement. With stylish bottles, radical formulas and minimalist design (deep black, summer turquoise), this young, up-and-coming house exudes luxury, artistry and timeless appeal. Born out of a desire to bring perfume culture to a country that has received no olfactory education – despite the abundance of fragrant products throughout traditional medicine – this brand shows a perfect understanding of niche perfumery codes. Through more than 50 perfumes, and as many hair mists, shower gels, hand creams and even car fragrances, RE Classified continues to whisper beautiful narratives into its customers ears. Artistic, poetic, philosophical, its olfactory reference points span the entire
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history of China through a series of characters and evocative moods. An added layer of depth that is welcome at a time when, in the luxury market, it takes more than just a logo. For instance, the company has released a collection that pays homage to the “four gentlemen” (plum blossom, orchid, bamboo, chrysanthemum), those noble plants that steer the Chinese through the course of the seasons. Created in honour of these flowers, the perfumes have names that sound like poems: The Sweetest of Winter evokes plum blossom, harbinger of spring in a land still numbed by winter’s chill. The others are called Orchid in Deserted Valley, Seven Sages of the Bamboo Grove, and Chrysanthemum Beneath the Eastern Fence (in reference to a poem by Tao Yuan Ming, 365–427). RE Classified has no intention of letting its bottles become a preserve of the elite. It has a democratic vision of perfumery, where quality and creativity are the watchwords. The label also promotes DIY and encourages its customers to get hands-on. In exchange for a few yuan it offers a unique scent that the customer creates by mixing a selection of the nine available bases with meticulously measured pre-blends. So does RE Classified represent a new kind of “Made in China” luxury? It has, at any rate, made a name as a global cosmetics brand with eco-friendly credentials: using ingredients that are respectful of the environment, recyclable packaging and candles made with natural soya wax. With more than 80 points of sale across the whole of the country, RE Classified has the whole of China within reach.
RE Classified in 5 perfumes SHENG, CHOU, JING, DAN, LONG TAO, MO Perfumer
Philippe Paparella-Paris
Launch
2016
A collection of six fragrances based around tea, dedicated to the traditional figures of Peking Opera.
THE WESTERN REGIONS Perfumer
Nina Li
Launch
2014
A woody, spicy oriental that pays tribute to the mountainous, desert region of Xinjiang.
RED WEAPON Perfumer
Quentin Bisch
Launch
2017
A fruity, vanilla perfume, celebrating courageous and all-conquering femininity.
A THOUSAND SUNS Perfumer
Nadège Le Garlantezec
Launch
2017
A floral reference to the “thousand suns” of the H-Bomb, where oakmoss is illuminated by apple, cedarwood and muguet.
THE BEIJING DREAM Perfumer
Carine Certain Boin
Launch
2017
A spiced tobacco accord with jasmine to evoke the Chinese capital.
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HERBORIST, THE LEGACY OF CHINESE BOTANICAL TRADITION By Sarah Bouasse Photo by Grégoire Eloy
Founded in Shanghai in 1998, Herborist is the first cosmetics brand on the Chinese market that draws its inspiration from botany. From day one, it has been carving out a new path for itself, driven by a holistic approach to beauty. Bridging the gap between traditional Chinese medicine and innovations within modern biotechnology, the brand’s high-end skincare offers women the promise of radiant beauty on the outside and complete wellbeing on the inside. A kind of perfect harmony, in short, made possible by its in-depth knowledge of plants. Although it sounds like an avowal of faith, the name Herborist actually signifies the immense inspiration that the brand takes from Chinese botanical lore which is amongst the oldest in the world. In China, the herbalist’s shop is one of the five pillars of traditional medicine, which seeks not only to treat but also to prevent illnesses by promoting balance in body and mind. Following these
millennia-old teachings, Herborist sources ingredients from China’s natural resources, from the hills of Guizhou to the peaks of the Himalayas. Selected primarily for their intrinsic properties, the efficacy of these plants is increased through the process of composition which places them in a strict hierarchy – another legacy of traditional botany. Be they moisturising, balancing or even anti-aging, the brand’s products all have their own application techniques that have been developed alongside expert practitioners in traditional medicine in order to boost the benefits of the product while also aiding the flow of vital energy. As the flagship brand of China’s leading cosmetics group Jahwa, Herborist now has an ever-increasing network of shops and spas. It is now launching its first perfume, Mon Instant, imbued with the same values of wellbeing and naturality that have set the brand apart from the very beginning.
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Three questions to Emilie Coppermann Symrise Paris
How has your collaboration with Herborist been? Long lasting, as we have been working on this perfume for five years. The teams liked my first idea, but we spent a lot of time refining it together. It is very rare to see such perfectionism from a brand. I was also able to consult with Elie Papiernik, who designed the bottle, and I think this shows in the end result as it is a really coherent product. I am very proud of it! How would you describe your composition? I was fortunate to have the freedom to create something very unique: in both its character and its sophistication, this fragrance has the feel of a niche perfume. But it will have the advantage of a massive distribution network, with the brand having seen such huge growth in the last few years. It’s a winning combination. How would you define Chinese women’s tastes in perfume? I see these women as being particularly open to Western olfactory codes. They are curious and highly educated consumers. And yet, their main references still come from Asia: for example, we cannot overlook their appetite for scents that are inspired by nature, which the Chinese have a strong affinity with in everyday life.
MON INSTANT Perfumer
Emilie Coppermann
Launch
2018
From the organic shape of the flacon to the name which hints at a moment of peace all to yourself, every part of Mon Instant is crafted to echo the world of Herborist. Emilie Coppermann has come up with a wonderfully natural floral bouquet that seems to give body to the ubiquitous white tones of this world of health and beauty. Following the fresh opening where we get a kick of pink peppercorn, gardenia, magnolia and orange blossom unfold with an aquatic feel, as if their petals are heavy with dew. A crystalline white tea note marries with the woody base notes where the dry cedar is softened by musks giving remarkable tenacity to this truly feminine sillage, which envelops the skin in a cocoon that is both comfortable and elegant.
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SMILE GAO 高朱玮 A PERFUMER IN SHANGHAI Inspired by diversity, perfumer Smile Gao’s creative modus operandi is never set in stone. She seeks only to create harmonious compositions. Perfumer profile. By Béatrice Boisserie Photo by Olivier Culmann
When she was little, Smile Gao wanted to become an English teacher. She even gave herself an English name at the beginning of her career, at her husband’s suggestion. Then she trained for three years as a perfumer at the Institute for Research on Aromas and Fragrances, a department of the Shanghai Institute of Technology. A Shanghai native now in her early forties, Smile initially worked in the field of flavourings, but didn’t want to limit her career to making yogurts taste of passion fruit. She says she became a perfumer “by accident” around the age of 30, when her talent and drive were spotted by a Symrise chemist. “I got into this profession one step at time,” she says. “We use the same materials in food flavourings, homecare and fine perfumery, but the way of formulating them is different.” Her mentor taught her that she could create anything as long as she did so with brio – and advised her never to limit herself to a single approach when tackling a project. The first fragrance Smile created for Symrise was for a verbena candle. Now there’s
no stopping her, with creations including an osmanthus–oolong tea accord inspired by Hey Tea, a very popular chain of tea rooms in China; a home fragrance built around the woody notes of mahogany, for Taiwan; and a powdery floral shower gel for the Korean market. “Everything inspires me,” she says, when asked what drives her work. “Feelings, emotions, flowers, food, and even certain atmospheres. It’s all about harmony.” Her favourite raw material is Chinese jasmine, which is quite distinct from its cousins grown in India and Egypt. It reminds her of the tea she likes to drink. She enjoys wearing Lancôme’s Miracle from time to time, and the classics she admires include J’adore by Dior and Vent vert by Balmain. Though very reserved when we met her, Smile showed a more playful side of her character as the day went by. She ended up posing happily for photographer Olivier Culmann – dancing among blossoming plum trees, or jumping in the air by the edge of the Amanyangyun swimming pool. And always with a smile, naturally.
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MINOR IMBALANCE OF YIN AND YANG Refreshing as a cool breeze, Florida Water plays the health and wellbeing card. Given its soothing and antiseptic properties, its uses cover a broad spectrum of minor imbalances of yin and yang: preventing heatstroke, keeping mosquitoes at bay, relieving pain caused by their bites, but also getting rid of a headache, washing laundry or cleaning the floor of a room…
FLORIDA WATER: TRADITION IN A BOTTLE In China, the demand for freshness during the summer months can be summed up in two words: Florida Water, a seasonal aromatic product that has more to do with Chinese tradition than it does a true fragrance manifesto. By Béatrice Boisserie Illustrations by Lou Rihn
A CURE-ALL FOR WELLBEING
TRUE-FAKE COLOGNE It looks like an Eau de Cologne, is formulated like an Eau de Cologne, but when Westerners use it as such, the Chinese find it rather amusing. Each year from April to September, Florida Water, which has been China’s all-time favourite refreshing tonic for over a century, floods onto supermarket shelves and into the nostrils of consumers aged from seven to 77. Its aroma comprises extracts of lavender, peppermint, bergamot, cinnamon and clove. Among its principal notes is a terpene called borneol, a molecule notably found in thyme, in its natural state.
Florida Water can also act as an aftershave and a deodorant, and may be applied with a towel to refresh the body (but never the face!). A relaxing bath soak, an energising body-splash, a thirst-quencher for the skin, the tonic is a real cure-all when it comes to wellbeing. Several brands compete amid the summertime appetite for freshness, among them Two Girls, China’s first domestic cosmetics house launched in Hong Kong in 1898, and Liushen, which has updated the 100-year-old product for contemporary tastes. And also Murray & Lanman, a company with a long history which invented the name and has marketed its Florida Water since 1808. Based in New Jersey, USA, its website describes the versatile water as a cologne, extolling its floral and lemony notes.
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TRADITIONAL CHINESE MEDICINE: A MEDICINE OF BALANCE WHAT IS IT?
HOW DOES IT WORK?
AND PLANTS?
A holistic medicine that focuses on prevention rather than cure, by establishing the harmonious circulation of energy through the body.
Sickness is a sign of imbalance between yin and yang. The practitioner’s job is to restore the body’s harmony. After having asked the patient about their medical history, they will carry out abdominal palpation, observation of the tongue and fingernails, and also smell the patient’s breath to assess the condition of their internal organs.
Powders, decoctions of whole plants, balms to apply to the skin… Of the 300 plants available to Dr Fan, whose practice is in Shanghai, only around 20 make it into his recipes and he modifies them very carefully according to the patient’s constitution.
WHERE DOES IT COME FROM? It is founded upon Taoist principles, as defined by Laozi in his Tao Te Ching (c.600 BCE). This philosophy is based on the idea that everything in the universe is interdependent, and puts forward the view that the purpose of life lies in the search for balance.
WHAT TECHNIQUES DO THEY USE? Acupuncture, qigong, tuina massage, self-massage, dietetics.
DR FAN’S ADVICE? “In winter, stuff your pillowcase with mugwort leaves to warm the body.”
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REPOR T
MEI-HUA A FESTIVAL OF COLOURS The flower of the plum tree is an emblem of China. It blooms in the depths of winter, a moment that is honoured by the artist’s brush and the poet’s verse, and also celebrated during festivals, notably around the Hangzhou Bay area, close to Shanghai. By Béatrice Boisserie Photo opposite by Olivier Culmann Photos on the following pages by Mathieu Chévara
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Mei-Hua daintily displays its myriad colours while the other flowers are still sleeping, and then lets them make their entrance once spring has begun to show its face. It gives a little twirl and then disappears. Prunus mume is the first tree of the year to come into flower, with the blossoming beginning in January, before even the new leaves appear, and lasting for two months. The painter, poet and calligrapher Wu Changshuo (1844–1927) described the blossoming as a “fragrant ocean” because Mei-Hua’s perfume is not as delicate as its petals might suggest. Honeyed, rose-like and at times narcotic, the aroma varies depending on the colour of the flowers; the yellow blossom smells something like narcissus, pink has a lychee scent and red gives off cinnamon notes.
Along with orchid, bamboo and chrysanthemum, the plum blossom is a perennial favourite, symbolising winter and heralding the coming spring. It is thought to represent the entire universe in miniature, according to Tchong Jen who wrote a treatise on painting plum blossom in the 11th century. For a thousand years the tree’s gnarled trunk, its slender branches and its multicoloured blossom have also inspired works of calligraphy, poetry and music. Today, it is said that the painter Nan Lingmei (born in 1938 in Meizhou, Guangdong province, a town that has adopted the flower as its emblem) is able to make the flowers smile beneath his brush.
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There is a martial art named after it (meihua quan); testament to its hardiness as it is resistant to wind, frost and snow. Given its extraordinary ability to withstand extreme cold, it has come to symbolise those fine human qualities that we all aspire to: perseverance, strength, integrity, resilience – even resistance in the face of adversity, inspiring hope of better days to come. Mei-Hua has even passed into the Chinese language: the expression “to search for plum blossoms in the snow” means to look for a source of inspiration. There is no shortage of those in China: a whole host of festivals celebrate the first blossoming of the year, particularly in the Bay of Hangzhou and around Shanghai. For the last 16 years, the
Shanghai Haiwan National Forest Park has hosted an annual Plum Blossom Festival that runs from January to March. Further afield in Hangzhou, Chao Mountain is one of the best places to admire the most beautiful winter varieties. The site is home to more than 200 varieties of plum tree with successive blooming dates which means that the spectacle can be admired every day throughout the duration of the festival. Among the mountain’s 500,000 plum trees, there are two that are at least a thousand years old, out of only five in the whole of China. They were planted during the Tang (618–907) and Song (960–1279) dynasties.
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french Perfumery in China The Chinese fragrance market is changing. Wearing perfume is becoming more democratic, a way for customers to assert their identity and their need for individuality. French brands have spotted an opportunity amid these evolving consumer practices. Analysis.
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PERFUME INDUSTRY, HOW CHINA IS READY TO BREAK THE RULES By Matthieu Rochette Schneider, centdegrés China General Manager
Forecasted to have a value of $1,084.7 million in 2020 by Marketline, the fragrance industry in China is surely becoming an expanding niche market. This fact is not surprising given China’s long history as an exporter of spices. This is testimony to the fact that China and its consumers have been well-attuned to the idea of scents and smell. Scent and fragrance have been a vital part of Chinese people’s daily lives in different forms for centuries. Now, perfume has started to be a part of their daily life. Today more than ever, China has to break the market rules to stand out from international competitors. Talk to millennials China would have the third largest population in the world if we counted all Chinese millennials as one country. This is the consumer superpower of the world because they will soon overtake the older consumers to become the biggest spenders in mainland China! The world has seen a significant shift in how brands and companies approach people, today it has become largely consumer-centric and
thus the strategic focus of businesses should be on how they are able to build consumer engagement and distribution on the basis of consumer needs and demands. Chinese millennials are looking for innovation, interactivity and customisation.
1,084.7 MILLION DOLLARS IN 2020 The rise of perfume Scent Library as a brand has found the best way to illustrate and combine these three expectations into its ethos and design a unique fragrance retail experience, pioneering the push into China’s budding fragrance market. Reinvent the past Chinese consumers have always been proud of their rich culture spanning centuries – even if this is something they don’t show outwardly, it is always in their
subconscious. To change this trend, perfumers have endless opportunities to re-invent elements of the past and Chinese culture. Traditional Chinese Medicine beauty expert Herborist has gone ahead and done just that by creating its first perfume. Herborist has revealed a magical combination of scents, a culmination of ingredients to rediscover the emotions and journey of China. A bottle that is designed to invite consumers to travel back in time. The smell of exclusivity Chinese consumers are seeking unique perfumes and experiences to align with their moods and personalities. They are looking for something different. This is achieved either through creation of personalised distinct fragrances or through niche perfumery. The goal is for the perfume to reveal the uniqueness and exclusivity. Minorité has understood the consumers perfectly and created an iconic and unique space to test rare and niche perfumes in an old Parisian salon-inspired store in the M50 design district of Shanghai.
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A DREAM
PARFUM D’EMPIRE, A SOVEREIGN AFFAIR Marc-Antoine Corticchiato, the man behind Parfum d’empire, is a doctor in chemistry with an unconventional career path. Many of his creations build on the richness of Chinese olfactory heritage. The brand’s signature notes – Tonkin musk, osmanthus and magnolia – are also without doubt the ingredients that give his perfumes their expressive, radical and distinctive style. The house has won two Fifi awards. Brand profile. By Mark Behnke Photo by Romain Bassenne
Parfum d’empire is one of only a handful of niche brands to have its own perfumer. At the helm of the laboratory is Marc-Antoine Corticchiato who founded the house in 2003, when this corner of the market was still in its infancy. Today the landscape is greatly altered. Since 2014, industrial groups have taken over some independent brands, driving them to up their pace to meet expectations in terms of distribution, while not everyone in the market has access to the same resources. “There is less and less space for the artisan, in the truest sense of the word,” the perfumer observes. “It is increasingly becoming a sport for the rich.” Parfum d’empire has kept its independence and remains “a laboratory brand, rather than a brand with solely commercial concerns,” according to Marc-Antoine Corticchiato. This freedom allows him to compose without having to concern himself with issues around targets or the marketplace. “Various perfumer friends have made me realise that I approach
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“These days, ‘niche’ no longer means that much and does not indicate either quality or creativity.” creation with just my own narrative in mind, without thinking for one second about a particular consumer bracket.” In other words, the opposite of what happens elsewhere. And this approach appears to bear fruit: for two years in a row the house has won the French Fifi award from The Fragrance Foundation for the best niche perfume, in 2015 for Corsica furiosa and in 2016 for Tabac tabou. “I also have the pleasure of being invited onto other projects. So, I operate by following my heart,” the perfumer explains. He can compose for other independent brands, develop signature scents for luxury hotels, but he can also get involved in humanitarian or artistic projects. Jumping hurdles From his parents’ orange groves in Azemmour, Morocco, where he spent his childhood, to the maquis wild shrubland of Corsica, the French Mediterranean island from where his family originally came, via the world of horses – he used to compete in show jumping – where he learned about animal scents, his atypical career path has always been oriented around
raw materials. “I envisaged a career in horse riding but I was also eager to understand plant scents, which eventually led me down other paths. I was drawn to the chemistry of fragrant plants,” recounts Marc-Antoine Corticchiato. After receiving his doctorate, he continued his research in a laboratory that focused on the analysis of perfume plants and extraction methods. While working there he dissected natural raw materials, acquiring an intimate knowledge of their properties. “I then started to create formulas for aromatherapy, which meant there were dual parameters to consider, therapeutic and olfactory,” says Corticchiato. Meanwhile, he set up a production plant for essential oils in Madagascar. “I split my time between the lab and long stays in the bush. This deep intimacy with the land allowed me to get even closer to plants and to rural life, from which I learned a lot.” After completing his research, and after spending two years at the Versailles-based fragrance, flavour and cosmetics school, ISIPCA to hone his training, Marc-Antoine Corticchiato joined a perfume creation laboratory in Paris where he was at last able to give free rein to his creativity. Then, in 2003, he inaugurated his own brand with his composition Eau de gloire. With such a career path, it is no surprise that raw materials still fuel his work and play a key role in Parfum d’empire’s creations. “Before starting a new perfume, I conduct in-depth research on certain ingredients,” he explains. “I select them based on their origins, and I chose the properties that fulfil my requirements.” While the perfumer does not seek to pit the natural against the synthetic, you can smell in his work a particular affection for plant extracts. “Natural raw materials can have vibrancy, energy and texture that fascinate me,” he says.
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Trusting his own nose His penchant for excess with ingredients is one of his traits. His world is rich, unique and engages people’s noses. For Corticchiato, being curious about his surroundings and their smells is the key to opening up olfactory tastes: “Amid the countless releases, many of which are of no interest, you find interesting concepts all over, in functional products as well as in exclusive creations,” he observes. “These days, ‘niche’ no longer means that much and does not indicate either quality or creativity. This is where the absolute necessity of trusting your own nose comes from.” Contrary to the trend, his perfumery asks questions and provokes strong emotions, be they exuberant or melancholy, by way of its vivid landscapes as well as its more abstract forms. His latest creation (the 17th), Le Cri, is no exception. Multi-faceted and evolving, the fragrance certainly does not give up all its secrets from the first spray. Built around ambrette seed, the perfumer created a luminous, stripped-back type of chypre that has surprised his clientele which is accustomed to juices that are more charged. “I wanted to talk about radiance, about light, and use it to express an idea of rebirth. And since style serves to convey the story that you want to tell, I needed to use more refined phrasing than I usually do, although I am not renouncing my colourful creations.” Nonetheless, Le Cri is not so simple in its construction: it has the chypre’s characteristically rich evolution while the base offers darker elements that accentuate the contrast. In the context of a perfumery which is becoming more and more conventional, Parfum d’empire makes a strong impression and Marc-Antoine Corticchiato demonstrates that, in composition, it is still possible to leave the beaten track.
EAU DE GLOIRE Launch
2003
“The first in the collection, a cologne with hot-cold contrasts, dedicated to all those Corsicans who left their village to conquer the world.”
AMBRE RUSSE Launch
2004
“A bit of baroque in a world studded with golden orbs. I later understood that this amber led me to rediscover the extravagance of the parties that my father used to throw.”
MUSC TONKIN Launch
2012
“A sultry fragrance for wild nights. A very sexy wink at the phantom of perfumery that is the tonka bean.”
CORSICA FURIOSA Launch
2014
“The fervour of green. Inspired by an exceptional mastic extract, this is my vision of Corsica: dynamic, impetuous and proud.”
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A FUTURE
FRÉDÉRIC MALLE PUTS PERFUMERS ON PAR WITH ARTISTS In the same way a publishing house works with its authors, this perfume house has a close relationship with its perfumers enjoying unlimited creative freedom. Since 2000, Éditions de parfums Frédéric Malle has created 28 perfumes, each infused with true Parisian chic. Interview. By Eléonore de Bonneval
© Brigitte Lacombe
You are the founder of Éditions de parfums Frédéric Malle. What does it mean to be a “publisher of perfumes”? A publisher makes artists’ work public. They distribute their works of art: books, music, prints and illustrations. I wanted to give perfumers the same honour, placing their names in the spotlight. In particular, I wanted to make it known that when the best creators are able to work in an unrestricted manner, perfume is an art form. In 2000, when I started this business, the perfumer was invisible: brands kept them hidden away from the public, never inviting them to their launches. Some simply saw them as technicians. For me, they are artists. What is your role within the house? My role is as artistic director, I am very close to the perfumers and I understand perfumery and its techniques well – I was brought up in this industry and I have been working in it for over 30 years now. I am the perfumers’
© N. Kubota
confidant. Our conversations lead to new ideas. To explore these ideas the perfumer will draw up a plan, just as an artist will start with a sketch. Then we work on transforming this outline into a finished product, which can take between six months and two years. The final stage is about fine-tuning the perfume to achieve perfection – technically it should be long-lasting and diffuse well, it should have nothing missing and convey a very clear message. We arrive at formulas that aren’t very long, but where each ingredient is in its rightful place and in perfect proportions.
I have personally smelled them and chosen them. I have very eclectic taste, but it is quite distinctive: a perfume should always be sensual, blending with the skin, and should always have a certain French chic about it. It is the world I have come from and the place that shaped me.
Do you consider yourself to be an editor of niche fragrances? I hate this word! “Niche perfumery” implies that it is fated to stay small. I was brought up listening to my family’s story. My grandfather [Serge Heftler-Louiche] founded Parfums Éditions de parfums Frédéric Malle Christian Dior. The brand was launched with just one perfume: Miss Dior, which had been has a collection of 28 creations. developed for the “Corolle” collection that was Do you have an editorial line? The aim was to enjoy the style of each fra- then renamed “New Look” in 1947. Parfums grance and make the most of the differenc- Christian Dior began with three women filling es between the perfumers, so as to offer the bottles with perfume in a garage in Courbevoie. public a collection of the finest perfumes from I think that in our industry small is not beauvastly different genres. However, the per- tiful – it can be, but we can also make somefumes all have one thing in common – that thing big and beautiful.
© N. Kubota
Éditions de parfums Frédéric Malle was bought in 2015 by Estée Lauder. What difference did that make for you? The reason I sold the business to Estée Lauder was in fact because we had reached a point where we were growing very quickly and we needed greater support. Estée Lauder provided us with a methodology, got us to reflect on what we were doing instinctively, and allowed me to recruit more talent to the team. But, in terms of our actual processes of creation – including money, the perfumers’ freedom, the time available to them to create and my close relationship with them – nothing has changed. You have stores in several Asian-Pacific countries including Hong Kong but none in Beijing or Shanghai. Why is that? China is a very dynamic place. The country is in the process of rediscovering its incredibly
rich history. One of my daughters speaks Mandarin, she has just spend three months there. I took a long trip there to visit her last year and I’ve been back again since. I’m taking a “Hansel and Gretel” approach to entering the market – laying a trail of pebbles in the zone. My first pebble was in Hong Kong, my second in Korea where we’ve done really well. And with Estée Lauder we now have infinitely more capacity, in terms of distribution, than we did before. What path would you like Éditions de parfums Frédéric Malle to take in China? I think the Chinese have a great appreciation for true luxury and they are also very down to earth. We cannot spin them a completely made up tale. Besides, this is a business that has been built solely on the quality of the perfumes we sell, the elegance of our stores and
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the comfort they bring. When I see the success of houses such as Château Lafite-Rothschild or Ferrari, which are both the best in their field, with technical expertise based on real products, years of experience, and French or Italian traditions, I do draw some parallels. I bring an expertise that is very modern, but one that equally relies on the French traditions that I inherited. These are the foundations we will continue to build on. Are some of your perfumes particularly suited to this market? Unlike other houses, which have this bestseller mindset that focuses on individual fragrances, we play on the difference and diversity in what we have on offer. Our bestsellers vary from one zone to the next. Our sales techniques are very personal, adapted to each customer, whom we consult to discover their tastes, their charm, their very person. Then we suggest a perfume from our range for them. That is why are perfumes have differing levels of success among different clientele. In China, we are going in with our eyes wide open. A personal question to end with. Could you tell us about your most beautiful olfactory emotions? My mother used to work in this industry too [Marie-Christine Wittgenstein, former director at Parfums Christian Dior]. She would wear Miss Dior and when I was young she would always tell me how important perfumes and smells were. So, I grew up with an attentive nose! There were the flowers as well as the woods, there was my grandfather’s car, and of course the men and women around me. There were moments of pure wonder, such as when we decided to add a ridiculous overdose of rose to Portrait of a Lady and we saw that we had a masterpiece in our hands. But it is like asking me, as an art history graduate, what my favourite painting is. There is no way I could decide!
PORTRAIT OF A LADY Perfumer
Dominique Ropion
Launch
2010
Like a sensual desert princess, this Lady captivates us with a provoking spiced rose and a masterful patchouli.
CARNAL FLOWER Perfumer
Dominique Ropion
Launch
2005
A grandiloquent, radiant white flower, so vibrant and pulpy you’d think it’s truly made of living flesh.
UNE ROSE Perfumer
Edouard Fléchier
Launch
2000
Wisps of red petals, green leaves and damp roots are cloaked in sweet pollen, earthy truffle and tannic wine.
COLOGNE INDÉLÉBILE Perfumer
Dominique Ropion
Launch
2015
Exploring the theme of “lasting freshness”, this lavish, bright remake of Cologne is enriched with a musky orange blossom.
FRENCH LOVER Perfumer
Pierre Bourdon
Launch
2007
A romantic and vibrant wood, where cool spices and torn leaves gleam.
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A REALITY
DIPTYQUE, SCENTS IN ALL SHAPES AND SIZES Established in Paris during the early 1960s by three friends and born out of their shared love of travel, diptyque holds a special place in niche perfumery. Fifty years after its first fragrance, Eau, the house now has a resonance in China. By Béatrice Boisserie Illustration by Alice Meteignier
In 1961, Christiane Gautrot, Yves Coueslant and Desmond Knox-Leet opened a boutique at 34 boulevard Saint-Germain that was truly one of a kind. The trio – an interior designer, a painter and a set designer – exhibited their textile creations alongside quirky objects they had brought back from the exotic lands they so adored. Soon, there were candles… and then came the perfumes. Over the next 50 years, the brand carved out a niche for itself, exploring each and every family in the entire olfactory repertoire. In 2015, it set its sights on the Chinese market, having already expanded into Hong Kong. With a few shops – in Shanghai, Beijing, Chongqing and Chengdu – and about 15 stockists later, the house has made headway. “The Chinese market is fast-moving, perfume is well-represented within it,” explains Myriam Badault, creative lead at diptyque.
In China, unlike other Asian countries, personal fragrances outsell home fragrances. Floral, hesperidic and lightly fruity scents are the most popular: Eau Rose, Do Son and Tam Dao are bestsellers. However, orientals are somewhat shunned, being an olfactory family that requires a more mature clientele to prevail. Young Chinese consumers are highly responsive to new technologies, as shown by the success of the Hourglass Diffuser 2.0 and “Un Air de diptyque” (Electric Diffuser), diffusers for the home that are as elegant as they are technically advanced. There is also the huge success of Fragrance Gestures: a range that invites you into the world of diptyque through unprecedented products – alcohol-free mists, roll-on oils and solid perfumes to name a few. In a country that does not yet have a tradition of perfumery, putting on fragrance is often associated with body care practices. New converts are often unsure of the correct way to use perfume: how should you apply it… where should you apply it… how many times a day? Nevertheless, diptyque has not created any products specifically for China, apart from a candle called Shanghai, which is only available from stores in that city. On the other hand, like other luxury market players, the brand responded to millennials, notably by investing in social networks, such as WeChat and Weibo, in order to better understand and communicate with this generation and its rapidly evolving codes
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THE STORY BEHIND L’EAU By Yohan Cervi
In 1968 diptyque launched L’Eau. This first fragrance marked the beginnings of a long tradition for the brand, whose future compositions would all have the word “eau” or the sonority of the letter “o” in their name. After the economic and social turmoil in France of the May 1968 revolts, the perfume industry had slowed. L’Eau would be one of the few scents launched that year, no doubt because of its somewhat artisanal character. The trailblazing fragrance was promoted as being unisex. Contrary to the green and citrusy eaux of the times, it seemed like a heartfelt tribute to a bygone age, imbued with a near-mystical quality. British painter Desmond Knox-Leet, one of Maison diptyque’s three co-founders, was in the habit of concocting mixtures of flowers, resins and spices, which he blended into a paste. One composition was based on a 16th-century English recipe for potpourri and drew inspiration from pomanders – those clove-studded oranges people used for decoration and to scent their linen and clothes. He asked perfumer Norbert Bijaoui to create the definitive formula for this composition. Citrus was the lead player in the form of orange, lemon and bergamot, closely followed by an accord of rose, geranium and rosemary which brought an almost medicinal facet. Spices, in the form of cinnamon and clove heightened the effect, melting over a balsamic, woody oriental accord of patchouli, sandalwood, cistus, musk and benzoin. Conjuring up an almost medieval mood, as if concocted in a sorcerer’s lair, L’Eau stood out in the olfactory landscape of its era and still today remains, in many respects, unique.
L’EAU Perfumers
Desmond Knox-Leet Norbert Bijaoui
Launch
1968
EAU ROSE Perfumer
Fabrice Pellegrin
Launch
2012
A symphony of Damascena and Centifolia rose, on a base accord of lychee with a touch of sharpness.
DO SON Perfumer
Fabrice Pellegrin
Launch
2005
A tuberose skimmed by a seabreeze, accompanied by jasmine and orange blossom.
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diptyque The word diptyque is the French for what in English is diptych (the two are pronounced almost the same, “dip-tyk”). We delve into the history and connotations of the noun behind the brand. By Delphine de Swardt
Unfolding the etymology of the word, we find a fold at its root. The Greek word diptukhos literally means “folded in two”. Initially it described tablets, then painted panels. In Latin you’d say duplex, but nowadays that word is too strongly associated with real estate. So let’s get back to art. A diptyque isn’t a duo. A diptyque is one entity made up of two parts that are designed to match – intimately linked, woven or nailed together. While the two musicians or performers of a duo can go their separate ways after a show, a diptyque cannot be split in two – or if it were, it would be like an amputation. It is composed of two halves, not identical, but related. This diptyque was born of a trio. Painting, interior design, set design – three crafts where one works on panels. And where those panels watch each other, because the two halves of a diptyque – false twins – face each
other from either side of a fine seam (be it symbolic or real). There’s certainly something to be seen. And maybe something to offer too.
pictorial or literary – was called a diptyque, and the designation was applied retroactively to earlier pieces. Glory and majesty: the diptyque lent itself wonderfully to portraiture. Husband and wife, or the face and profile of the same person, or someone portrayed in different stages of life. Through duplication, the diptyque speaks of affinities, identities, and destinies.
A diptyque is a gift, or it was under the Roman Empire: high-ranking officers would give these double tablets as New Year presents, in the same way that people give calendars in more recent times. The panels on these The diptyque logo can also early diptyques were characterised be read as a heraldic shield, with by round or oval medallions its clipped lettering that harbours bearing engraved portraits, little untold mysteries. As if you are scenes or letters. This embeldreaming in a magical language; lished oval is still to be found “DIPT” tricks the ear, setting you on the brand’s timeless bottles off on a disorientating journey and other products. where “Y”, “E”, “Q”, and “U” are the new bearings on a topsy-turvy The diptyque is associated compass. The brand cleverly mixed with art and the history of art. up its letters, folding its name Renaissance artists found the to add an element of surprise and system of a hinged double panel to suspend the ordinary. particularly suitable for painting sacred scenes and depicting illustrious families, although it wasn’t until the 19th century that any artwork in two parts – whether
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CONNECT I O N S
ALAN CHAN 陳幼堅 DESIGN WITHOUT LIMITS Tell us in a few words about your journey. I studied chemistry and biology. You might think that I have a scientific, logical and structured mind, but I think I inherited my father’s genes. He had a little fruit shop in Hong Kong. He drew his own posters and designed his own furniture. He taught me to stray from the beaten track. I don’t just think in terms of 1 + 1 = 2, but rather 1.5 + 0.5 = 2. I always have alternatives in mind to reach my goal. My father was a hard worker and he taught me that too.
Designer Alan Chan tends to crop up where you least expect him. From branding to product innovation, from interior design to arts programming, from photography to collecting, he is now turning his hand to cosmetics. Interview. By Eléonore de Bonneval
What are your sources of inspiration? I am like a child who gets to go to Disneyland every day. Everything inspires me: hotels, plants, encounters, restaurants… That’s why I like to travel. I love flea markets. I’m a collector. It is all about emotional attachment; it is the discovery of an object and its story that moves me, not its monetary value, because value is difficult to measure. You came up with the “Killer Le Rouge” lipstick. What is the story behind that? Women’s lips are, in my opinion, their sexiest feature, so as an homage to them I created a lipstick to enhance women’s seductive power. This lipstick is a collaboration between myself and Korean designer Park Jinsoo. He had the idea to create a lipstick in the shape of a bullet, I had the idea to name it “Killer” and to design a handbag in the shape of a gun. We launched the range in October 2017 and it will soon be available on the Toplife app.
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perfumes by Western fashion designers are worn as an accessory, but I believe that a fragrance, a scent, is a part of us. It will take some time before consumers understand the impact that scents can have on their mood, but in my opinion, over the next five years perfume will be less of a fashion accessory and more a lifestyle. We have heard from a reliable source that you are working on a collaboration with Nez, the olfactory magazine… could you tell us any more? I was enthralled by the exhibition Les cent onze parfums qu’il faut sentir avant de mourir [111 perfumes to smell before you die] and I wanted to stage it in my space in Hong Kong. Consumers need to be educated about scent, they should learn to buy a fragrance and not just a brand. And I’m convinced consumers are ready for it. They are looking for products that reflect their individuality and this exhibition is an opportunity to give them just that.
Above Limited edition aluminum gun bag designed by Alan Chan. Opposite page Designer Alan Chan.
Do you have any fragrance rituals? My daily routine involves a number of scented products. After a bath and breakfast, I apply Eau sauvage by Christian Dior. A 40-year-old habit! Japan inspires me greatly and I use the Japanese incense Shoyeido in my Hong Kong and Tokyo offices. It conjures up remarkable emotions and contributes to a general sense of calm and serenity. For a few months now, I have been using Butterfly Ginger Flower hand cream, which has a stimulating effect. As soon as I put on, I know I am ready to get What is the next dream you would like to see come true? down to work. I have so many dreams but I am a free person. I am citizen of the world and I like to create. In your opinion, what is Chinese Why should there be a limit to creation? I try olfactory culture based on to remain as open as possible. I never plan and how has it evolved? There has been a culture of perfume in China anything. My emotions are my source of crefor thousands of years. Traditionally, both men ativity, I must be able to react spontaneousand women would wear a little coloured bag ly to my environment. The more open I am, made of embroidered silk material in which the better my creativity will be. I have always they would carry scented products. Nowadays, believed that.
Publishing director Dominique Brunel
Editor Mathieu Chévara
Sub-editing Nadia Bailey Michael Marsden (for Smile Gao 高朱玮 a perfumer in Shanghai) Graham Tearse (for The story behind L’Eau, diptyque)
Deputy editor Eléonore de Bonneval
Production manager Marianne Ménager
Publisher Agent Trouble 5 place de la République 75003 Paris France
Contributors Mark Behnke Béatrice Boisserie Eléonore de Bonneval Sarah Bouasse Yohan Cervi Matthieu Rochette Schneider Delphine de Swardt
Graphic design (Atelier Marge Design) Mathieu Chévara Maxime Fittes
Le Contrepoint 29 rue des Orteaux 75020 Paris France
Photography Romain Bassenne Mathieu Chévara Olivier Culmann Grégoire Eloy
With thanks to… Claudia Bonfiglioli Laure Capdevielle Emma Chateauneuf Solène Davy Catherine Dolisi Soline Godet Eva Lagarde Matthieu Rochette Schneider
Art direction Atelier Marge Design
Translator Annie Tate-Harte
Illustrators Alice Meteignier Lou Rihn
Advertising and sales manager Dominique Brunel dbrunel@nez-larevue.fr Tel: +33 6 43 75 73 48
Nez, the olfactory magazine www.nez-larevue.com All rights reserved worldwide. Reproduction, translation and adaptation, in whole or in part, without prior written permission is strictly forbidden. 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.
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.
blooming chinese scents re classified, empress of the niche market — h e r b o r i s t, the legacy of c h i n e s e b o ta n ic a l tradition — s m i l e g a o 高朱玮 a perfumer in shanghai odorama f l o r i d a wa t e r : tradition in a bottle — traditional chinese medicine: a medicine of balance
rep ort m e i - h u a a f e s t i va l of colours f r e n c h p e r f u m e ry in china p e r f u m e i n d u s t r y, how china is ready to break the rules — pa r f u m d’e m p i r e , a s ov e r e i gn a f fa i r — frédéric malle puts perfumers o n pa r w i t h a rt i s t s — dip tyque, scents in all shapes and sizes connections a l a n c h a n 陳幼堅 design without limits