It is 7am and I am on my to Milano. There, I will meet my Italian partner and finalize the plans for 2012: I look forward to presenting Tableau de Parfums in Italy, maybe in spring.
Thus, I sit here, groggy as I have not slept enough, and after a few strenuous days I am looking forward to more heavy duty days in the factory. It is the holiday season tremors that shake our factory and we got a lot of fragrances to pack and ship in the next two weeks.
In light of this, I have not worked on something new really, except maybe in my head. But I enjoyed wearing a few fragrances lately, mostly Miriam, because it is always refreshingly new to me. Miriam is a very complex fragrance, not the linear one- shots you get these days, and hence it seems to change from day to day.
Complexity in perfumery means a lot of layers, and each layer will become relevant at some point in time. The challenge here: link these layers and yet make sure that they each can stand out and do not turn into a grey solid impermeable floor. All layers must be as translucent as possible.
This is a quality that brings me back again and again to the classics, and that makes me create perfumes like Miriam. Of course, Miriam needed to be a classics like fragrance: the movie story, the characters therein, the ambiance and the world of Miriam did not leave me with a choice.
Referring to the latest Wired article on ingredients: this is another aspect of what sets the classic scents apart: it is a different aesthetic, a different language you get there. It is like that with movies, too by the way…