I enjoyed IFRA’s Olfaction: A Journey, a catalog of ideas, projects, and possibilities collected over 10 years of their Fragrance Forum talks. The book reads like a well-curated collection of summaries—about a page dedicated to each talk, giving the reader enough to feel inspired and to follow up with their own research into the speakers’ work. Topics range from the science of olfaction to business insights, perfumery to typography, questions of health to questions of art & culture.
“Scent is the essence of physical presence and lends proof to our surroundings.”
—Robert Blackson, from the introduction to If There Ever Was: A Book of Extinct and Impossible Smells
Sometimes smelling a raw material feels like discovering a Rosetta Stone—it unlocks a perfume that until then I couldn’t quite decipher.
Recently I had this flash of recognition with flouve absolute (see description below), which was entirely new to me, but upon smelling it I suddenly understood what’s going on in Oriza L. Legrand’s Chypre Mousse. Similarly, when I smelled a gorgeous fir absolute, it felt like I could more deeply understand Slumberhouse’s Norne and its dense, sweet, “jammy” forest character. I don’t know if this material is in the perfume, but when I smelled hydrocarboresine (made from the gummy resin of labdanum) my mind instantly went to Bruno Fazzolari’s Ummagumma, and the chewy quality of its smoky leather made more sense, like I could see the through-line from incense to chocolate.
Have you had this experience with any raw materials and perfumes?
Acquainting myself with narcissus. I wore Bruno Fazzolari’s Au Delà Narcisse today (a new favorite!), and later on I spent some time with the absolute and browsed Nez’s “naturals notebook.” Such a complex scent—earthy and spicy at the same time, a little bit like iris, but richer and more honeyed.
Catherine Haley Epstein‘s new book Nose Dive: A Book for the Curious Seeking Potential Through their Noses is a compelling jumping-off point for anyone curious about how to use their nose in creative work—whether you’re trying to create scent art (not the same thing as perfume) or simply adding something new to your creative practice.
It was especially interesting to read a survey of scent art projects, which Epstein breaks down into 4 general categories: conceptual (scent is suggested but not literally present), material (scent is present as an enhancer or counterpoint to the primary medium/piece), actual juice (love this phrase; it means that the actual scent is the primary medium), and observation (collecting and cataloging smells).
Purchase the book here: catherinehaleyepstein.com/shop
Scent Appreciation 