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Passion for Perfume - Portraits Archive
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 Chers lecteurs francophones, Je vous propose ici une version française de l'interview de la directrice artistique de Les Parfums Keiko Mecheri, Keiko Mecheri, effectuée précédemment en anglais. J'ai pensé que la marque étant peu connue des amoureux des parfums non anglophones, cela valait la peine de mieux la faire connaître à un public élargi. C'est une première pour moi que de faire l'effort de traduire des pensées exprimées dans la langue de Shakespeare (pour utiliser un cliché éculé, mais il ne me vient pas d'autres images en cet instant), dans la langue de Molière (autre cliché, mais il fait chaud) bien que par le passé il m'ait été donné de traduire des interviews en version originale française, en anglais. J'espère que cette petite activité de diffusion culturelle vous plaira. S'il y a bien une chose qui puisse me pousser à faire de la traduction, c'est la pensée de mieux faire communiquer les cultures. Bien cordialement, Marie-Hélène PS: cette petite interview comporte un addendum, rajouté également à la version originale, concernant le choix des noms de parfums.
Interview de Keiko Mecheri
TSS: A quelle date fut fondée la marque de parfums Keiko Mecheri? Quelle était votre votre vision de la marque à ses origines?
Keiko Mecheri: La marque fut créée en 1997 à Beverly Hills en Californie. Ma vision pour celle-ci à l'époque était de créer une maison authentique, indépendante, se trouvant à des milliers de kilomètres de la vieille Europe et se situant aux marges de "l'establishment" du parfum. Je voulais créer des parfums qui soient scrupuleusement qualitatifs, capables de provoquer un sentiment d'enchantement. Mon intention était également d'initier une nouvelle approche et d'élever le niveau de la parfumerie aux Etats-Unis (ceci dit bien entendu, sans aucune fausse modestie)...
Continue reading "Interview de Keiko Mecheri en Version Française {Passion for Perfume - Portraits}" »
 As we announced previously, two historical perfumes - or ought we rather to say historicized perfumes - L'Aurora and Giove Nettuno Plutone were recently re-created by Italian perfumer Lorenzo Dante Ferro for the Prince and Princess Boncompagni Ludovisi based on ancient archives of the family but also on two love stories spanning the centuries and the magnificent art of Villa Aurora in Rome in particular its frescoes by Caravaggio and Guercino. We wanted to chronicle the history of these perfumes if at all possible with the help of the actors who were involved in the project. Although I was initially offered to direct my questions to Lorenzo Dante Ferro, I soon had to realize that both an obvious passion for the project and scrupules about having everyone's input turned the traditional format of the interview into a charming polyphonic interview with interventions from HSH Prince Nicolo Boncompagni Ludovisi, Perfumer Lorenzo Dante Ferro, Public Relations Godfrey Parkin, but also more in the background yet present, the new Princess Rita Boncompagni Ludovisi and Cindy Ferro. I want to thank Godfrey Parkin for his notes-taking and synthesizing of the information. I hope that our readers will thoroughly enjoy, as I did, the language of love of perfume . A Polyphonic Interview with Prince Nicolò Boncompagni Ludovisi, Perfumer Lorenzo Dante Ferro, Public Relations Godfrey ParkinTSS - Could you please tell us more about the original historical perfumes that were the inspirations for L'Aurora and Giove Nettuno Plutone as well as the centuries-old association of the Ferro family of perfumers with the Prince's family? Principe Nicolò Boncompagni Ludovisi I, then Prince of Piombino, in the 1630's, was married three times. Two of his wives died and the third wife was Princess Costanza Pamphili, niece of the then reigning Pope Innocent X. Principe Nicolò was deeply in love with Costanza who, it has been noted, was quite intrigued by fragrances. The then Principe di Piombino, also Patrician of Venice, Grandee of Spain, Prince of the Holy Roman Empire vowed to give his betrothed a unique gift which would please her. The prince conferred with a selection of artisans in Murano, where the Ferro family was prominent. This is the point at which the Prince is almost certain that the Ferro family and the Boncompagni Ludovisi family first encountered one another. This story has been handed down in his family for generations. Prince Nicolò I set about having a beautiful glass perfume decanter created, in Murano, to present to his future bride, Princess Costanza Pamphili. As Lorenzo Dante Ferro states, "You would not have perfume without the beautiful glass that protects the precious fragrances." (Principe Nicolò Boncompagni Ludovisi I in picture above)  I discussed with Lorenzo how he came to be involved with the Principe and Principessa Boncompagni Ludovisi. The Prince and Princess were attending a dinner party, in Rome, and Lorenzo and his wife, a Texan like the Princess, were talking about their love of fragrances. The Prince realized immediately that he would like to present his fiancée with a perfume to commemorate their engagement; just as Prince Nicolò I had presented a perfume to his Princess Costanza. The Prince also recognized the Ferro name. As Lorenzo and the Prince began to chat they realized that they had much more in common than they realized, a history of sorts.... (Perfumer Dante Lorenzo Ferro on the right)
Continue reading "A Polyphonic Interview with Prince Nicolo Boncompagni Ludovisi, Perfumer Lorenzo Dante Ferro, Public Relations Godfrey Parkin {Passion for Perfume - Portraits}" »
It is my pleasure to bring to The Scented Salamander readers a unique first interview with Keiko Mecheri of Les Parfums Keiko Mecheri on the occasion of the relaunch of her line in a new, sculptural packaging. I have to say that my initial desire to communicate more directly with Keiko Mecheri was due to the fact that I could hardly find any background information about her perfumes on the internet! On the one hand there was this vast collection of perfumes (30) some of which I had personally enjoyed. There was an aura, a presence felt through these perfumes, yet details about their creators or the history of the line remained elusive to say the least. I could not even tell when the line had been established. So, in the era of rapid communication I was glad to be finally able to make contact with Keiko Mecheri. As we remain, however, in the era of everyday life, always, it took some time before we both were finally able to focus on the interview I thank her very much for taking the time to answer our questions. I discovered a personality who comes across as remarkably clear-headed and passionate about her endeavor - the standard title of the series fits her to a tee I think - and who talks like a fragrance artistic director. What I mean by that is that her references when she talks about perfume is sourced from different venues and not just from the world of perfumery proper. There is a sense of slight distanciation and looking at perfume with a broader outlook. Then there is this evocative, visionary language which hints at the way someone imagines fragrance and then works in collaboration with perfumers to make these "premonitions of perfumes", shall we say, come to fruition. If you have been surprised by the richness of her collection of fragrances, so have I. Well, the news is that the library is going to get even bigger this year. As previously announced, a new sampling program is now available so you could explore this library of perfumes more easily now. Please stay tuned also for some reviews of her scents in the future on TSS. Without further ado,
Interview with Keiko Mecheri
TSS: When were Les Parfums Keiko Mecheri founded and what was your vision for the brand at the time?Keiko Mecheri: It was created in 1997 in Beverly Hills, CA. My vision for the brand at the time was to create an authentic independent perfume house miles away from Old Europe, outside the perfume "establishment". To provide perfumes with detail-to-quality that prompt enchantment, to initiate a new approach and to elevate the level of perfumery in the US (without any false modesty of course). TSS: How would you define in your own words the Keiko Mecheri style of perfumery?KM: Artisanal, eclectic, lover of precious and rare ingredients, modern-classy...
Continue reading "Interview with Keiko Mecheri {Passion for Perfume - Portrait}" »
 Serge Lutens is nothing if not passionate about his conception of perfumery. Hear him talk about his first encounter with the fascinating raw material of cedar in Morocco and how it became a key note in the modern classic Féminité du Bois (Femininity of Wood). 2009 marks the 16th anniversary of a fragrance that set a new tone in the history of perfume (1993 is retained as the first full year of its worldwide launch), the overture to an oeuvre that has continued to weave its spell over the years from provocation to enchantment, sometimes rubbing people the wrong way, at other times appearing deceptively simple. In this subtitled video interview commemorating Féminité du Bois' launch and re-launch in its "naked" and "simple" form (it was repackaged under the Serge Lutens label), the author and artist talks about his original vision (please watch video after the jump)...
Continue reading "Serge Lutens Talks About Feminite du Bois & Cedar: An Exclusive Video Interview on the Occasion of the 16th Anniversary of a Modern Classic {Passion for Perfume - Portrait}" »
•• Interview with Serge Lutens Around El Attarine And Serge Noire ••
1) TSS: El Attarine is a reference to Arabian culture, to a well-defined place, the coranic school of Fès. It was written regarding Serge Noire that it is a perfume "without a sense of place". Are these two perfumes complementary ones for you?
- Serge Lutens: "El Attarine" is a perfume which synthetizes all the history or rather that spirit which presided over the birth of my perfumery, which has its roots in Morocco.
"Serge Noire" is not a perfume without a sense of place. It is quite the opposite in fact! It is situated on my own itinerary. I imagined and created Dior makeup and its image from 1968 to 1980. This period made me experience the last moments of what I would term "Parisian Haute Couture" (La Haute Couture parisienne): luxury (genuine, this time) rigor, mastery and respect for the feminine body image. That muffled atmosphere of the show rooms, of the fashion presentations - much more ritualistic than fashion shows are - made the perfume come to fruition in me. [It used to be] an ethereal atmosphere, an elegance that is silent on a background of black serge suit materials, pale complexions, and tight straight hairdos......
Continue reading "Interview with Serge Lutens Around El Attarine And Serge Noire {Passion for Perfume - Portrait}" »
Photo © Salons du Palais Royal Shiseido Serge Lutens s'exprime autour de la création de ses deux derniers parfums, El Attarine et Serge Noire. Nous apprenons qu' El Attarine est un condensé de son expérience d'artiste et d'esthète du cinquième sens, un hommage rendu à la parfumerie lutensienne d'inspiration arabe. Quant à Serge Noire, il est son parfum le plus personnel, son préféré aussi, mais aussi de manière plus inattendue, un hommage rendu à l'esprit de Dior filtré par le souvenir et l'imaginaire de Serge Lutens.... Interview de Serge Lutens •• Autour d’El Attarine et de Serge Noire
1) TSS - El Attarine est une référence à la culture arabe, à un lieu même bien particulier, l’école coranique de Fès. Il est dit de Serge Noire qu’il s’agit d’un parfum “sans lieu”. Sont-ce là deux parfums complémentaires pour vous?
Serge Lutens: “El attarine” est un parfum qui reprend toute l’histoire ou plutôt l’esprit de la naissance de ma parfumerie, prenant racine au Maroc.
“Serge Noire” n’est pas un parfum sans lieu. Bien au contraire ! Il se situe sur mon parcours. J’ai imaginé et crée le maquillage Dior et son image de 1968 à 1980. Cette période m’a fait connaître les derniers instants de ce que je nommerais “la Haute Couture parisienne” : luxe (réel, cette fois), rigueur, maîtrise et respect de l’aimage du corps féminin. Cette atmosphère feutrée des salons de présentation, des défilés – beaucoup plus rituels que shows – a fait naître ce parfum en moi. Une atmosphère éthérée, une élégance silencieuse sur fond de tissus tailleurs en serge noire, teints pâles et cheveux plats......
Continue reading "•• Interview de Serge Lutens •• Autour de El Attarine et de Serge Noire {Passion for Perfume - Portrait}" »
When Ralph Wild by Ralph Lauren first discreetly launched in late 2007, we immediately became aware of its existence as we got an email a few days before New Year revealing a certain sense of urgency from a young reader named Terra, "I'm looking for a new perfume by Ralph Lauren that a friend said she found
in Macy's called Ralph Wild, and I can't seem to find anything about it
anywhere. Have you heard of it? I don't see it anywhere on your blog."
We were able to provide her with a link to Dillard's, where it was already in store, and to make an announcement illustrated with an early preview of the ad found on Sephora with model Amanda Charlwood but without any further details given about the new Ralph. Later we were able to do a brief review of the perfume which we thought was better than expected, offering a nice strawberry jammy quality, like a more laid-back and younger version of Miss Dior Chérie.
This time, Ralph Lauren has decided to launch an internet-only communication campaign, including a contest to win a Vespa, and this is why The Scented Salamander got the opportunity to interview assistant vice-president for Ralph Lauren Fragrances Linda Kramer who developed the fragrance together with Olivier Gilotin and Jim Krivda. It is not easy to break the reserve of a corporate officer working for the mainstream fragrance industry, but Linda Kramer graciously accepted to answer some of our questions. We think this Q & A gives you some insights into how a prestige, more mass-marketed fragrance comes about and how it is conceived. For example, the design and packaging inspire the scent composition. If any young people are interested in becoming fragrance developers, you know what to expect. And by the way, Lauren, which is mentioned in the interview, used to be a great perfume. Bring it back! Pauline adds "Ralph Lauren Blue is a great office scent!" Perfume Q & A with Linda Kramer
1 - How did the creative team decide to express the idea of “wildness” in Ralph Wild?
The first step is to identify the key elements of the brand – This fragrance was designed to represent a girl who is spontaneous, fearless and confident. We also look at the imagery and the color of the packaging. Based on all of these elements of Ralph Wild, it was clear to us that we needed to create a fragrance that would make a bold statement but would also tie in the Ralph Wild Girl’s personality and the color of the packaging.
2- Juicy candied nuances and fruity-floral perfumes seem to be very popular nowadays, why do you think that is?
Fruity floral fragrances with candy-like and edible nuances are indeed very popular right now. The reason being is the comforting, familiarity of these notes as well as the nostalgic effect they have on us. These types of notes have the amazing ability to olfactively transport us back to the happy memories of our youth......
Continue reading "Interview with Linda Kramer, Assistant Vice-President for Ralph Lauren Fragrances {Perfume Q & A}" »
 In this informative in-house interview conducted by biehl. parfumkunstwerke, we learn about the process of creation of the house's perfumes in the words of Egon Oelkers. He is also a senior perfumer at Symrise and head of their new perfumery training program (cf. Perfumer & Flavorist). He composed eo01, eo02, and eo03 for the brand.
“Every perfumer dreams of a chance like this.”
Egon Oelkers about his cooperation with Thorsten Biehl and his own Parfumkunstwerke.
How did the cooperation with Thorsten Biehl come about?
That’s an old connection. I know Thorsten Biehl from his time with the fragrance producer Symrise, where he was working in marketing and sales. I also worked closely for a long time with his father, perfumer Henning Biehl. When roughly a year ago Thorsten Biehl launched biehl. parfumkunstwerke, he asked me if I would like to develop three personal fragrances for him – and naturally I assented.
How did your fragrances eo01, eo02 and eo03 emerge?
The only instruction I had from Thorsten Biehl ran: “You are completely free, be creative – and compose a fragrance that is very quality, far surpassing mass taste.” I was truly given no conditions at all on either theme or price. Thorsten Biehl’s sole wish was that I should create a voluminous, heavy fragrance, i.e. not one with light, fresh summer notes, but rather one in an Oriental direction. This free, independent work corresponded very well with my ideas of perfumery. I prefer to work with such natural products as woods, spices and blossoms. It is hard to create these fragrance notes with synthetic substances, and so they are usually very costly. For my creations for Thorsten Biehl, I was able to use a high proportion of such natural products and thus create very spicy, woody fragrances. For me it is important that fragrances should not become too overpowering or narcotic, as can easily be the case with animal components. For all their abundance and richness, they should nevertheless remain transparent.......
Continue reading "Interview with Perfumer Egon Oelkers - Biehl Parfumkunstwerke {Passion for Perfume - Portrait}" »
Photography by Serge Lutens, reproduced with the permission of Peter Gabor - © Reproduction is forbidden, used for pedagogical purposes. As people will see in the second part of our interview with Serge Lutens (see Part 1), he is a mind that always thinks beyond the predictable limits set by a question. Here he expresses himself regarding Baudelaire's legacy, his line of makeup, the mythical Nombre Noir fragrance, niche perfumery, and his contribution to contemporary perfumery. Marie-Helene Wagner: 16 – Do you think that speaking of perfumery, we are the heirs to Baudelaire?
Serge Lutens:
- Perfume, in and of itself, is not just an aroma. It is potentially a carrier for the imagination. Perfume is thick; it is poison and pure desire. It is Eros in prison! I think that we are first and foremost the heirs to frustration, but also to revolt, with means that the ones who have not subjected themselves still have aspirations…. "Coiffe façon Tatlin Tower" by Serge Lutens, an interpretation of the unfinished Tatlin Tower built by architect Vladimir Tatlin.
Continue reading "Q & A With Serge Lutens - Part 2 {Perfume Q & A}" »
Photographie de Serge Lutens, reproduite avec la permission de Peter Gabor - © toute reproduction interdite, usage strictement pédagogique Comme vous pourrez le constater en lisant cette deuxième partie de notre interview avec Serge Lutens (voir la première partie), il est un esprit qui pense toujours au-delà des limites prévisibles assignées par les questions. Ici, il s'exprime sur l'héritage baudelairien, sa collection de fards, le parfum mythique Nombre Noir, la parfumerie dite de "niche", et sa contribution à la parfumerie contemporaine.
Marie-Hélène Wagner:
16 - Pensez-vous qu’en matière de parfumerie, nous soyons les héritiers de Baudelaire ? Serge Lutens: - Le parfum n’est pas en soi qu’une senteur. Il est porteur d’imaginaire. Le parfum est épais, il est poison et désir pur. C’est Eros en prison ! Je pense que nous sommes avant tout héritiers de la frustration, mais aussi de la révolte qui fait que les non-soumis aspirent encore…
Continue reading "Questions & Réponses Avec Serge Lutens - 2ème Partie {Perfume Q & A}" »
In this Q & A with Serge Lutens, the discussion focuses on his latest creation, Five O 'Clock Au Gingembre (in the export range) and the notion of luxury, one of the key concepts that inspired the new scent. We had also wanted to ask him broader questions such as: are we still living with the legacy of Baudelaire where perfumery is concerned? Does Orientalism continue to nurture the creation and the imaginary world of perfumes? We decided to be more concise. But as it turns out, there was no need to put these words black on white. Baudelaire and colonialism (not Orientalism) are evoked. Here is an invitation to step into the Lutensian universe. Marie-Helene Wagner:
1 - The rediscovered taste of ginger seems to have been your initial source of inspiration. Did you tell yourself something like, we are going to try to make a perfume, a beautiful, interesting one, around the ginger raw material? If yes, what olfactory facets or precise impressions around this fragrant rhizome did you want to bring out? Were there any surprises?
Serge Lutens:
– Treating the ginger as a simple invigorating root did not interest me at all. I most of all wanted to bring out in this ingredient its candied aspect, the idea of luxury, associated with that of rarity.
As you know, the first time one takes a bite out of ginger, it is rarely appreciated. It is part of these things that require that our taste go through an “apprenticeship”. The first time I tasted it, it was in a Vietnamese restaurant in the early 1970s. I initially thought that it was foul. With time, I learned to appreciate it. It is a cultural refinement....... 
Continue reading "Q & A With Serge Lutens {Perfume Q & A}" »
Serge Lutens dans les jardins du Palais Royal - photo de Ling Fei Dans ce questions et réponses avec Serge Lutens, la discussion se déroule autour de sa dernière création, Five O' Clock Au Gingembre, et de la notion de luxe, un des concepts clés ayant inspiré cette nouvelle fragrance. Nous avions auparavant voulu aussi lui poser des questions du style: sommes nous les héritiers de Baudelaire en matière de parfumerie? L'orientalisme nourrit-il toujours la création et l'imaginaire des parfums à l'heure actuelle? Puis nous avons décidé de faire plus court. Nul n'a été besoin de coucher ces questions sur le papier, Baudelaire et le colonialisme (mais non l'orientalisme) sont évoqués. Voici une invitation à effectuer une traversée de l'univers Lutensien. Marie-Hélène Wagner: 1- Le goût redécouvert du gingembre semble avoir été ici votre source d’inspiration initiale. Vous êtes-vous dit quelque chose comme, on va tâcher de faire un parfum, beau, intéressant autour de la matière première gingembre? Si oui, quelles facettes olfactives ou impressions précises autour de ce rhizome parfumé avez-vous voulu faire ressortir? Y eut-il des surprises? Serge Lutens:
Traiter le gingembre comme une simple racine revigorante ne m’intéressait pas du tout. Je souhaitais surtout faire ressortir de cet ingrédient le côté confit, l’idée de luxe, associé au rare.
Comme vous le savez, la première bouchée de gingembre est rarement appréciée. Il fait partie de ces choses demandant un « apprentissage » du goût. La première fois que j’y ai goûté, c’était dans un restaurant vietnamien, au début des années 70. J’ai d’abord trouvé ça détestable. Avec le temps, j’ai appris à l’apprécier. C’est un raffinement culturel......
Continue reading "Questions & Réponses Avec Serge Lutens {Perfume Q & A}" »
 Suzanne Moxhay, Forest, 2007
Crystelle Darchicourt is the owner and perfumer of L'Artisan Bohême. We reviewed her fragrance, Fil de Soie (Silken Thread). The discussion started with questions on this masculine fragrance then addressed broader questions later on.
Marie-Hélène Wagner: What was your inspiration for creating a masculine perfume such as Fil de Soie (Silken Thread), which seems to me to be somewhat of an atypical perfume? The name too is rather feminine. What I mean by that is that one could have expected you to put more emphasis on masculine stereotypes, regarding both its name and olfactory codes.
Crystelle Darchicourt: Fil de Soie is part of the concept-perfumes. I have two ways of working with skin perfumes; perfumes of emotion have to do with olfactory experience, with preferences. On the other hand, concept-perfumes or of-the-mind have to do more with thought associations than smell associations. Fil de Soie relies no doubt on my unconscious, on the interpretation of masculine symbols. The point of departure is the idea of a stroll taken in the forest in which the sylvestrian god lives under the mythological form of the satyre. One then guesses the idea of the woodsy notes, the animal one, and the imprecise atmosphere conveyed by the aromatics.....
Continue reading "Interview with Perfumer Crystelle Darchicourt of L'Atelier Bohême: A Perfume Must Make You Keel Over & Reflections On Masculinity {Perfume Q & A} - English Translation" »
Satyre et nymphe, Pierre Nivollet, 2000 Crystelle Darchicourt est la propriétaire et le nez maison de L'Atelier Bohême. Vous pouvez lire notre compte rendu de son parfum, Fil de Soie. La discussion a commencé par se centrer sur ce parfum masculin puis s'est élargie un peu plus par la suite. Marie-Hélène Wagner: D'où vous est venu l'idée de concevoir un parfum masculin comme Fil de Soie qui me semble quelque peu atypique? Le nom aussi est plutôt féminin. Je veux dire par là que l'on aurait pu s'attendre à ce que vous mettiez plus l'accent sur des stéréotypes masculins, du point de vue tant du nom que des codes olfactifs.
Crystelle Darchicourt: Fil de Soie fait partie des parfums concepts. J’ai 2 façons de travailler pour les parfums de peau ; les parfums d’émotions s’apparentent au vécu olfactif, aux préférences, par contre les parfums concepts ou d’esprit relèvent de l’association d’idées plus que de l’association de senteurs.
Fil de Soie fait sans doute appel à mon inconscient, à la traduction des symboles masculins. L’idée de départ c’est une ballade en forêt dans laquelle vit le dieu de la forêt sous la forme mythologique du satyre. On devine alors l’idée des notes boisées, la note animale, et l’atmosphère imprécise donnée par les aromatiques..........
Continue reading "Entretien Avec La Parfumeuse Crystelle Darchicourt de L'Atelier Bohême: Un Parfum Doit Faire Chavirer & Une Réflexion Sur La Masculinité {Perfume Q & A} - Original French Version" »
(Continued from Part I of the Interview - please take a cup of tea and enjoy the second part!).
Douglas Hopkins: The story my new friend revealed over the course of many months -- she came to trust my genuine interest in my product, was not one of lawsuit, but one of her own life-long desire to revive the family fragrance [Prastara]. This
story tied in quite directly to the events of the end of WWII. Many people believe fragrance is at all levels a “money printing machine” – as the founder of Revlon once called it, but this exists only at the mass market level. Art versus commerce --commerce is where it is truly “juice”; as your devotees know, these are scents that most often don’t last beyond the first year and backed by a 20 million dollar launch promotion. As an art, it is a labor of love.
Marie-Hélène Wagner: Do you know the cologne’s original French name before it was christened with a Slavic name?
DH: This is subject to continuing investigation.
MHW: As this was a cologne developed by a chemist to Louis XIV, one would think there would be some documentation left about it in France? Have you conducted research from that angle?
- It is my understanding that there is no such documentation, but I must say in a case of high coincidence, one year after we offered the Versailles Museum the privilege of selling Prastara, they came out with their own brand claiming a French perfuming expert derived it from research. I've been unable to track this any further so I don't know one way or the other about its authenticity..........
Continue reading "Interview with Douglas Hopkins Part II: Perfumery As A Labor Of Love - {Passion for Perfume - Portrait}" »
Passion for Perfume - Portraits Archive
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