Summer Series Part 2: Shalimar Showdown

Welcome to Perfume Polytechnic’s Summer Series. I’m taking a break over summer from writing new posts, but instead of stopping publishing altogether, I want to share with you some of my favourite posts from this year and earlier. I hope you enjoy reading them; you may even come across something you missed the first time round!

Today I’m sharing a post of mine from early 2015, Shalimar Showdown: The Originals and The Flankers Battle it Out, in which I compare and review eight different kinds of Shalimar (vintage, contemporary, different strengths and flankers) and one vintage Emeraude. It was fun to write and I hope you find it fun to read!

Shalimar Showdown is my most read post on Perfume Polytechnic. It’s interesting to read if you like Shalimar but don’t know which one to buy, or if you’re interested in collecting many of the different Shalimars, or even if you just want to find out what some of the differences are between them all. Obviously I haven’t reviewed every Shalimar there is: I do hope in a future post to review a few more of my vintage bottles and also the Shalimar flankers that have been released recently. But for now, pour yourself a cuppa, find a comfy chair, and enjoy the journey that is Shalimar ShowdownContinue reading

Design Age: Dulux Colour Forecast 2016 With Room Fragrances by Fleurage


Dulux Design Age Colour Forecast 2016 launch. Infinite Worlds colour palette display room.

What do certain colours smell like, taste like, feel like? Do colours trigger emotional associations, and do they suggest certain forms and shapes, the use of certain materials and the creation of certain kinds of objects? What of other times and worlds? Can these be denoted or expressed with certain colours? All of these questions were opened up, explored and experienced at the Dulux Australia Colour Forecast 2016 launch last Tuesday evening, September 1, at Meizai in Richmond, Melbourne.

The new Dulux colour trend collection is titled “Design Age”, and features four colour palettes, all with evocative names: Bio Fragility, Infinite Worlds, Future Past and Retro Remix. I’ve not been to a product launch of this kind before, and was thrilled when perfumer Emma Leah, of Fleurage in Melbourne, invited me to this cross-sensory event, which featured artisanal objects by local makers and designers, all influenced by Dulux’s new interior paint palettes and the creative concepts behind them. Emma designed a room scent for each colour palette, and textiles by Elise Cakebread, ceramics by Porcelain Bear and furniture by Grazia+Co were also featured.

As Perfume Polytechnic is interested in exploring the art of olfaction in all forms, including synaesthesia and multi- or cross-sensory events and art that features scent, I’m very excited to share my experience of this immersive, hyper-sensory event with you.

The launch began with champagne and canapés on the ground floor of the Meizai furniture showroom, which gave me time to talk with Emma Leah about her involvement in the project, the colour palettes, the concepts behind them, and how she incorporated these ideas into room fragrances. After an official welcome, we were each handed a Dulux paint colour swatch from one of the palettes, and divided into groups according to colour. Each group was then guided separately through the four Design Age room displays on the top level of the showroom.

Each of the palettes was displayed in a unique room, specially created for the launch, with wall paint in a number of colours from the designated palette. Each of the designers had their work featured in one room, although Emma had created room scents for each palette, all of which we experienced at the launch. Emma’s main focus however was on the room scent for the Future Past theme and her scent was the feature design object for this room and colour palette.

What transpired during our tour was a cross-sensory delight, an intense experience of interrelated tastes, colours, scents, furnishings, decorations, and specially designed artisanal objects. As we were led into each room, we were offered specially designed gourmet canapés and mini-cocktails by Peter Rowland catering that also drew on the theme of the room’s palette for inspiration. Emma’s scents had been sprayed into the air of each room, adding an olfactory element not often considered or experienced in designed spaces, and the scent component was a welcome counterpoint and addition to the otherwise very visual displays.

Room One: Bio Fragility


Dulux Design Age display room: Bio Fragility

“Fragile life is the embodiment of beauty…

We marvel in the intricacy of creation and its duality of fragility and strength…

Bio Fragility takes its colour cues from natural and living matter – flesh tones, lichen, moss and stone influence the subtle hues of the palette which are derived from chalky brittle elements rather than soft textures.”

(Source: Design Age Dulux Colour Forecast 2016 launch brochure)

Canapé: Mushroom macaron
Cocktail: Elderflower martini
Featured Designer: Porcelain Bear – “Porcelena Bowl” and small vessels

Upon walking into the Bio Fragility room, we were surrounded by muted pastel paint shades, furniture, decorative objects, and softly chiming, Eno-esque electronic music punctuated by tinkly and percussive sounds, which was replicated in each of the rooms. The mushroom macaron was a surprisingly stunning canapé. It matched two of the paint colours (the pale pink “frock” and the mushroom-coloured “mangaweka”), and provided a fascinating taste combination of a sweet exterior with a pungent and savoury mushroom filling. The crunchy yet brittle macaron gave way to a gooey filling, perfectly demonstrating the duality of strength and fragility in this design concept. The elderflower martini was delicate and sweet, but not too sweet, just like the colours in the room.

Room Scent by Emma Leah

Emma spoke to me about this colour palette and the concepts behind it – that Bio Fragility was “pastel” and delicate, but that the concept didn’t allude to softness or cuddliness, as pastels often do. Rather, the theme was more about hard and fragile surfaces, such as chalk and porcelain that easily shatters, hence the bowl by Porcelain Bear as the feature object in this room, as well as shattered ceramics as a room decoration. She says of this colour trend and her scent: “powdered pearls are a high quality abrasive exfoliant that shines and sparkles like fairy dust, and struck me as the perfect representation of what this trend captures. The scent is smooth and elegant but cool. It is alluring but what we call a hard scent. Nonintrusive but present and affecting.”

Notes used in the Bio Fragility scent and related colours from the palette*:

white musk (great star), rose musk (chamber), baby powder (chain pearl), coconut (snow queen), smoke (silkwort), anise (purebred), lilacs (partita)

*note – to refer to the full colour palettes, see the link at the bottom of this post

How does it smell?

The baby powder dominates and is soothing and familiar, and there is musk and a hint of coconut. It’s a very pretty fragrance, and it certainly smells fragile in a powdery way, a little like broken chalk, or, as Emma says, powdered pearls. It aligns superbly with the colours from the palette that were chosen for the walls, which included a muted pink (frock), a pale mossy green (fibre moss), a pale lavender (atelier) and a soft mushroom (mangaweka).

Room Two: Infinite Worlds


Dulux Design Age display room: Infinite Worlds

“As the world becomes overcrowded we explore the innovative possibilities of unknown worlds…

Our fascination with the deep ocean and infinite space inspires visions of creatures glowing with phosphorescent light against dark coloured backdrops and celestial objects such as planets, moons, exploding stars and vast nebular clouds.

Dark colours… juxtaposed with flashes of brilliant reds, pinks, coral and space age metallics. Glowing hues are used as accents to help recreate the eerie effect of deep uncharted worlds.”

(Source: Design Age Dulux Colour Forecast 2016 launch brochure)

Cocktail: Homemade lemonade cocktail
Featured Designer: Elise Cakebread – hanging soft hemispheres and pile high club floor cushion

Infinite Worlds is an entirely different colour palette to the previous one. We walk into a room filled with deeply soothing dark and pale blues, with pops of brighter reds and oranges. The room and its contents nod back to David Bowie’s Ziggy Stardust of the 1970s while at the same time hinting at the future, and unknown worlds on planets far away. Futuristic textile hanging orbs and a floor cushion by Elise Cakebread are the featured design items in this room and they add a whimsical, organic element to the otherwise mostly hard and smooth textures in the room. The cocktail for this design concept is a homemade lemonade cocktail in a sci-fi shade of aqua.

Room Scent by Emma Leah

Emma Leah in the Infinite Worlds room

Perfumer Emma Leah in the Infinite Worlds room

Emma says of this scent: “To me this is a burst of star dust – a soft metallic scent with a watery fruit note, gentle but present, cool and ethereal, gender neutral but a drifting prettiness to its feel. It flows and reveals itself smoothly.”

Notes used in the Infinite Worlds scent and related colours from the palette:

blackberry (purple verbena), melon (melon baby), pomegranate (lickety lick), metallic (thebe touch), white musk, ocean salt (lake tekapo), velvet rose (jupiter jazz)

How does it smell?

Emma’s Infinite Worlds scent is full of fruit; at first my nose struggles to identify what the fruit is and I think I’m smelling something sharp and citrussy, but then melon, blackberry and pomegranate emerge quite clearly. A sweet rose compliments and blends with the luscious fruit notes. Most of these fruity and sweeter notes represent the warmer, brighter and metallic tones in the palette, literally popping out with sweetness and brightness from the fragrance. They seem to float on a salty ocean surface, with an ocean salt note reflecting the oceanic blues of the colour palette and a metallic, slightly smoky note in the background providing further interest and a hint of sci-fi.

Room Three: Future Past


Dulux Design Age room display: Future Past

“As we move towards the future we look to reassurances from our past.

Our reality is one of a digital world where we seek comfort in nostalgic references that ground us in times of uncertainty… We are drawn to contemporary designs that evoke reassuring memories and fuse modern with heritage and classicism… This theme takes its cues from Steampunk references merging with modern design to create a new version of the old…

Deep and decadent traditional hues are made modern with the addition of mustard, pink and purple. The scents of tobacco and leather are reminiscent of an 18th century explorer’s lounge, evoking visions of luxurious browns and rich timbers.”

(Source: Design Age Dulux Colour Forecast 2016 launch brochure)

Canapé: Roast duck tasting spoon
Cocktail: Mulled wine
Featured designer: Emma Leah – Future Past room fragrance

The Future Past room revisits old worlds and is reminiscent of times past, merging colours, materials and styles from the Victorian era and pre-WWII decades with clean and modern design elements. Shades of brown, grey and lime green dominate. Gorgeous brass lamps, wooden and leather furniture, and a shelf display featuring old-fashioned perfume bottles fill the room. A modern take on a Persian rug, in mottled shades featuring lime and musky pink, dominates the visual space. The surfaces in the room are mostly hard and sturdy, yet the ambience is warm and inviting. The rich red colour and spicy flavour of a small glass of hot mulled wine and an exquisite roast duck tasting spoon, complete with pate and dried kale garnish, expresses the opulence and vintage feel of this colour palette perfectly.

Room Scent by Emma Leah

Emma says her featured room scent for the Future Past theme is “complex and rich but smooth and elegant. Bold and dark with definite presence, I have woven a delicate floral through a complex mossy wood with era-specific hints of unusual notes like hay, tobacco and leather that deserve exploration like the colour palette of this trend.”

Notes used in the Future Past scent and related colours from the palette:

moss (highlander), green wood (emerald forest), violets (passionate blue), honeysuckle (army canvas), lilac (purple people eater), leather (loose leather), bergamot (pickled), coriander (vintage green) and a hint of cherry (ripening grape)

How does it smell?

Emma’s feature scent for the Future Past theme is rich and opulent. It’s a beautiful and complex chypre, with an opening of fresh green notes, well-blended old-fashioned, sweet and powdery florals (including a wonderful violet), and a touch of leather and cherry to make things really interesting. It’s refined yet plush, and is a sexy, feminine fragrance. It reflects the bygone eras that the Dulux palette alludes to and yet is perfectly suited to the modern era at the same time. As Emma is a vintage perfume expert and specialises in vintage perfume making techniques, I can’t think of a better choice of perfumer to design a fragrance for this theme, mixing old and new.

Room Four: Retro Remix


Dulux Design Age room display: Retro Remix

“A new retro is formed — mixing together iconic elements from across the mid to late century…

Less of a nostalgic trend this theme explores a more youthful expression, with new generations discovering these influences for the first time and creating their own remixed style…

Experimentation in colour combinations leads to acid brights clashing with faded, muddied colours such as browns and olive greens. The colours are happy and nonconformist, optimistic and energetic.”

(Source: Design Age Dulux Colour Forecast 2016 launch brochure)

Canapé: Banana split
Cocktail: Brandy Alexander
Featured designer: Grazia+Co – David ottomans and Bowie side table

Retro Remix blends colours and styles from the 1960s, 70s and 80s. It’s an unusual juxtaposition, and one that I personally find a little jarring. Bright, clear, pop colours of the 60s and 80s co-exist alongside more muted, nature-inspired colours from the 70s. The furniture and room decorations are clean and sparse, with a nod to the modernist and slightly futuristic pieces of the 60s and 70s. The Brandy Alexander cocktail is a delicious nod to the 1970s and the miniature Banana Split is a classic, fun retro dessert, suiting the vibe of this playful palette.

Room Scent by Emma Leah

Emma says of this theme: “Fizzy pop is what jumped out as I looked this over and my symbol of the seventies is pineapple! A lively, playful, interesting fruit that went with everything I have taken it as the cornerstone but not dominating. Instead what results is a fresh fun combination that pops with green grass, subtle woods and herbaceous greens.” Emma also said to me at the launch that when she created this scent she imagined summers from the 1970s and drinking fizzy pineapple drinks while sitting on grass. We also spoke about the use of pine in her scent, which was a ubiquitous fragrance ingredient of the 1970s.

Notes used in the Retro Remix scent and related colours from the palette:

grass (grass court), sandalwood (tuk tuk), green fern (green olive) , traditional musk (titi islands), pineapple (brassed off)

How does it smell?

Realistic, fresh, crisp and green grass and pine notes open this fragrance. As it develops the pineapple emerges, and the fragrance takes on a more tropical feel. I feel transported back in time to my early childhood in the 1970s when I smell this fragrance and reminisce about pineapple flavoured ice blocks and my Dad’s Pino Silvestre. Pineapple was king during this era, and while it is strong in this fragrance, it’s not sickly sweet or fake smelling. The sandalwood is gorgeously sweet and creamy and the musk blends in well, adding an airy, light and sophisticated aura to the composition. This room fragrance certainly matches the fun vibe of the Retro Remix palette, but displays an extra air of elegance thanks to the green notes and musk.

Gift bags

Gift bag contents

Gift bag contents

At the end of the evening we were each presented with a gift bag containing a range of goodies including a bottle of one of Emma’s room scents and a full colour brochure of the Dulux Design Age Colour Forecast for 2016. Lucky me – I managed to score three bottles of scent (from various bags) and one of Emma’s samples, so I can enjoy all of her specially commissioned fragrances at home now too.


The Dulux Colour Forecast 2016 launch event was a fun, engaging and creative night. I was pleasantly surprised at the degree of cross-sensory thought that had gone into the production of the room displays, the works by the various makers and designers, and the food and drink. As an artist and synaesthete myself I have worked in cross-sensory ways for a long time. In fact, I think it’s a core aspect of how many creative people think, in ways that recognise the connections between life and art, between the various senses and art forms, and by finding creative equivalences between one art form and another. It’s a method of working and thinking about the world that appeals to me, and this is why I thoroughly enjoyed the event.

The colour trends themselves were really fascinating, distinct from one another, and broad-ranging. A nod to the past and an almost nostalgic longing for the pre-digital age was a theme that traversed several of the palettes, as well as the influence of natural elements, from worlds both real and imagined, contemporary, and into the future.

I’m really thrilled that a global company like Dulux has taken this cross-sensory and very intimate approach to launch and promote its new colour range. The event was smoothly organised and felt personal, special and unique. All of my senses were fully engaged and stimulated throughout the evening.

Scent helps to create specific and complex moods in architectural and designed spaces and can be tailored to match certain colours, design concepts and themes. It was wonderful to experience Emma’s room scents in each of the spaces, and exciting to witness scent being used as a design element, featured equally alongside the visual design objects. I do hope this is a trend that we see much more of in the future.

Dulux has produced a short video about each of the designers involved in the launch:

To explore each of the colour trends further and to view the full colour palette for each of them, visit the Dulux Australia website.

To find out more about perfumer Emma Leah, visit the Fleurage website, and read my interview with Emma, right here on Perfume Polytechnic.

A Taste of Mendittorosa Odori d’Anima

Recently I was fortunate to receive a Discovery Kit from Italian niche perfumer Mendittorosa Odori d’Anima to review. “Odori d’Anima” translates as “scents of the soul”, and this is certainly a soulful collection of perfumes, with interesting and emotive concepts underpinning them that collectively seem to hint at a yearning for the complete expression of the soul, a longing and nostalgia for the past, and a respect for the elemental beauty and wild spirit of nature.

The kit features samples of the entire range of Mendittorosa’s seven fragrances, presented in the most beautiful way with information cards and decorative packaging, all arriving sealed in a golden envelope. In fact, Mendittorosa’s packaging for their bottled perfumes is beautiful too, and sculptural, as you will see in the photographs below. The packaging has been designed in Italy, with the interesting bottle caps and metal features being crafted by hand.

Mendittorosa is a small-batch production perfumery, and sources its materials from Grasse, in the South of France. All of Mendittorosa’s fragrances are designed as unisex, to be worn by women and men.


Mendittorosa Discovery Kit

Mendittorosa is the brain-child of Stefania Squeglia, who founded the house in 2011, after an epiphany about her true purpose in life, at the base of the Stromboli volcano in Sicily.

“It was here on this island at one of the most southern points in the Mediterranean that
Stefania Squeglia was gifted with her true vocation in the form of a memory that had been
out of reach until that moment: as a young girl in Naples, she would take the glass jars her
grandmother used to store homemade tomato sauce and fill them with foraged rose petals and oils. She would then hide them in the dark to discover them later. Erupted. Changed.” (courtesy of Mendittorosa marketing brochure)

Stefania works with perfumers Amelie Bourgeois and Anne-Sophie Behaghel to create the Mendittorosa Odori d’Anima range.

Today I will present to you a taste of Mendittorosa, a glimpse at and an impression of each of their seven fragrances. I have worn each of these fragrances a few times now, but to give each of the fragrances full justice would take a full blog post for each. Consider these mini-reviews to be an introduction to Mendittorosa. They are meant to convey how the perfumes smell to me, how I feel about them, and hopefully they will pique your curiosity to find out more and try them for yourself.

Sogno Reale

Sogno Reale

Sogno Reale. Photo courtesy of Mendittorosa.

Sogno Reale is the latest release from Mendittorosa. In fact, it is so new that there is a waiting period of 30-50 days to receive this fragrance! Sogno Reale translates to “real dream” in English, and is all about achieving one’s dreams in life. Sogno Reale is “Created for people, who will search and find their dream and make it come through. The ultimate companion for your way of life based on our philosophy: Search and you will find…” (Source: Mendittorosa’s website)

Sogno Reale sample

Sogno Reale sample

Concepts of dreams aside, as a scent, Sogno Reale is said by Mendittorosa to combine “a trilogy of sun, earth and sea blends together”, which gives a very accurate impression of this fragrance. Sogno Reale is a very sunny and interesting fragrance, and would be great for a hot summer’s day. To me the dominant characteristics are a salty marine note, something grainy, like unprocessed wheat, a bright lemon top note, and animalic notes. The combination of these ingredients results in a fascinating smell that is a little like salty, human skin that’s been in the ocean and then dried in the sun, overlaid with a touch of citrus, which fades as the perfume develops. The wheat note that I smell has no basis in the notes provided, but whatever ingredient creates this olfactory illusion, it hints at wheat grains and bread, and salty bread at that. There are some interesting basenotes used – including sandalwood and volcanic olibanum – and they are detectable, but not at all dominant. What they do is provide a grounding for this interesting and layered creation, in which the top, middle and base notes seem to hover, somewhat distinctly from one another. The sandalwood rounds out the composition slightly, while hyrax, an animalic note that is redolent of musk, civet and castoreum, helps create the skin-like and animalic characteristics of Sogno Reale. Unlike many animalic fragrances, this one is not heavy or overwhelming. It’s sweet, and it’s light and bright, yet very interesting and complex.

Le Mat

The philosophy behind Le Mat is as follows: “Le Mat is the “odour” of bravery, gumption and change. With a mantle of nutmeg and black pepper that protects its heart of geranium and rose, the scent unleashes whiffs of patchouli and cashmere wood. A blend of celestial and earthy aromas that instills a sensation of freedom.” (Source: Mendittorosa’s website)

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Le Mat. Photo courtesy of Mendittorosa.

Le Mat is my favourite of Mendittorosa’s creations. It is a rich creation housed in fabulous packaging, featuring the tarot card “Le Mat”, or “The Fool” as this card is known in English. The title of “The Fool” is somewhat deceptive in tarot – the fool does not represent a simpleton or an idiot – rather, he represents newness, purity and childlike innocence, or prophesies the beginnings of a new spiritual path.

Le Mat sample (right) shown with Sogno Reale sample (left)

Le Mat sample (right) shown with Sogno Reale sample (left)

I adore Le Mat. It’s a spicy, musky rose with honeyed nuances and an immortelle note that emerges more and more as the fragrance develops. It is sweet, but not too sweet, and a little woody. It reminds me of Turkish Delight, that rose-flavoured middle-eastern sweet, and Musk Lolly sticks. It smells like the most delectable, rich and luxurious blend of two fragrances I already own and love: L’Artisan Parfumeur’s Safran Troublant, and Mor’s Marshmallow. The rose melds with a geranium note (which has a rosy, green quality), and is supported by musky and woody cashmeran, loads of nutmeg, and pepper. Base notes consist of an earthy yet not overdone patchouli, and a hint of clove.

Trilogy: Alpha, Omega & Id

These three fragrances were conceived as a Trilogy. Mendittorosa has the following to say about the three fragrances: “Because in opposition, we find balance, the three scents in The Trilogy line—Alpha, Omega and Id—are designed not just to complement each other, but to complete a journey.” (quoted from Mendittorosa’s marketing brochure) These fragrances are designed to be worn alone, or layered. Due to time constraints, I did not layer these fragrances for this review, so I cannot comment on how they combine and work together.


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Id. Photo courtesy of Mendittorosa

Mendittorosa describes Id as follows: “Essential, rich, and wild, Id is the dark passion that drives us towards our dreams. Inspired by the nickname “Iddu” the locals give to the Stromboli volcano, Id is an olfactory dedication to the fiery being that first breathed Mendittorosa into life.”

I can imagine Id is a very popular fragrance in the Mendittorosa line. It is so appealing and woody-sweet, warm and very wearable. It smells so much to me like Donna Karan’s iconic Black Cashmere that I feel it is difficult to review it objectively. Id features nutmeg and incense (labdanum) and woods, a strong cinnamon note and a touch of clove. For those who loved Black Cashmere and can no longer find it, you will love Id and be thrilled to have a replacement. Compared to Black Cashmere, Id is a little softer, a bit less incensey, and also a touch sweeter than Black Cashmere.


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Omega. Photo courtesy of Mendittorosa.

Mendittorosa decribes Omega as: “The last letter of the Greek alphabet, ‘omega’ denotes the end, the final limit. It is Alfa’s polar opposite, deriving its elegance and composure from an awareness of its mortality. Its leather core is draped in velvet layers of Egyptian cumin and white musk.”

This description doesn’t match my experience of Omega. To me, Omega smells like a burnt vanilla fragrance with a hint of musk. On first application, I find this “burnt” aspect a little hard to handle. I think the burnt note is ambroxan, which often has this effect on me: I find it too much for my nose in this case, and a bit acrid and bitter. I believe that many perfumers use ambroxan to replicate the smoky qualities of oud, but this is just my suspicion. Despite my dislike of ambroxan, this note calms down about twenty minutes into the fragrance’s development, and Omega ends up smelling quite approachable and wearable, a bit like Rochas’ very popular Tocade, but without the rose. I do not detect any leather, cumin, iris or frankincense (all listed notes). There is a hint of very well blended jasmine that lifts and sweetens the composition. Omega will appeal to people who like vanilla but want something a little left of centre.


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Alfa. Photo courtesy of Mendittorosa.

Mendittorosa describes Alfa thus: “Alfa is the beginning—a naked Venus rising from a clear blue sea. Deceiving in its simplicity, it tells a tale of earth, milk, and vineyards, but its saffron heart contains deep yearnings for the sensuality of nutmeg, sandalwood, jasmine and thyme.”

When I first smelt this perfume (before I read the notes above) I thought it was a classic masculine fougère, which, sadly, is probably my least favourite category of perfume. I was then very surprised to find that conceptually, this fragrance is linked to Venus, the female and very feminine goddess “whose functions encompassed love, beauty, sex, fertility, prosperity and desire.” (Source: Wikipedia) Nevertheless, let me continue with my own impressions of this fragrance, as they are very different to Mendittorosa’s description above. Alfa smells like a masculine fougère, with fresh citrussy, woody, and herbaceous notes dominating. The sharp (and in this case somewhat citrussy) note of ravensara dominates the opening of the fragrance, and white thyme is also apparent. It’s slightly woody too at first, with a soft frankincense in the base. The woods develop quite intensely about twenty minutes in: again, I smell the burnt note of ambroxan, or “oud”. If saffron is in this fragrance, it is used subtly as I find it hard to detect. A hint of jasmine warms and sweetens the composition ever-so-slightly. This is a well-constructed perfume and is a fresh and slightly interesting take on the classic fougère formula, even if it is not to my taste.

North & South

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North and South. Photo courtesy of Mendittorosa.

“Each North has its South, and each South, its North. Two opposites longing for completeness.” (Source: Mendittorosa website)

As with the Alfa/Omega/Id Trilogy above, North and South can be worn together, or alone. I did try them together, and will discuss my findings below.


“Bright and pure, light, and nostalgic, North evokes memories of empty white pages, dry leaves, crisp wood of Swedish saunas, children’s drawings.” (Source: Mendittorosa website)

North features a light and airy cedar wood, like that used in Comme des Garçons’ Kyoto. This cedar dominates, but is blended with a lovely bergamot and pepper. My impression of North is that it is a fresh and woody forest scent and when I smell it I feel like I’m walking amongst a plantation of fragrant, camphoraceous trees. North has moderate  sillage, without being overwhelming. It is a calming, dry scent that would appeal equally to women and men.


“Sultry and slow-moving, South ushers 
in memories of hot bread, white linen sheets dried in the sun and of pure Marseille soap. It is the colourful clutter of our favourite things in a nest of softness.” (Source: Mendittorosa website)

South is sharp and creamy and slightly sweet all at once. Creamy sandalwood in the base is offset by a very lemony, citric basil top note. Hazelnut, a rounded, sweet and nutty note, is also quite detectable. Syringa (similar to orange blossom and jasmine) is quite noticeable too. South reminds me a little of a softish Samsara by Guerlain or Allure by Chanel, both of which feature a combination of jasmine and sandalwood, but here the composition is made much more interesting with the basil and hazelnut, and an interesting “hot bread” note that appears after about fifteen minutes of wear. This bread note reminds me of the “wheat” note I detected in Sogno Reale. South is quite soft in character and moderate in sillage and is more feminine than masculine. It is a very pretty, yet interesting scent.

North and South Layered

These two fragrances layer well. The notes of South dominate, in particular the hazelnut and bread notes, although the cedar is also very apparent. It probably goes without saying that this combination is much richer and more complex than North or South alone.

Summary and Where to Buy

I hope you’ve enjoyed my survey and brief impressions of Mendittorosa’s current range of fragrances. The Discovery Kit is an affordable way to try these lovely creations and to explore them for yourself.

You can buy the Discovery Kit on the Mendittorosa website for 40 Euros (including shipping), which includes a 20 Euro refund voucher to use with any full bottle purchase for two months.

Mendittorosa’s fragrances all come in 100ml, extrait de parfum strength bottles. They range in price from 185-225 Euros each and can be purchased from Mendittorosa’s online shop and from selected retailers.


My Mendittorosa Discovery Kit was provided free of charge. Many thanks to Stefania Squeglia and Jakub Piotrovicz for generously providing the kit. All opinions are my own and I strive to be both honest and respectful to the perfumers and their creations in my reviews.

RE_VELACIÓN: To Reveal or to Re-veil. What will you choose? A new artistic performance by Angelo Orazio Pregoni


Angelo Orazio Pregoni performs Re_Velación


(*Warning NSFW: Some images are not safe for work as they contain nudity)

On the 25th June, artist and perfumer Angelo Orazio Pregoni of O’Driu Perfumes performed Re_Velación at Mutuo Centro de Arte in Barcelona, a performance piece based on the “concepts and central figures of biblical symbolism related to the number 4”. The performance involved the use of four fragrances created specifically for the event: 1. Mors et Justitia (Death and Justice), 2. Fames et Prudentia (Famine and Prudence), 3. Bellum et Vigor (War and Fortitude) and 4. Strages et Moderatio (Violence and Temperance).

Today’s post presents the press release for the event, some program notes about Re_Velación, and photographs of the performance. In the comments section below, Angelo and I will discuss the performance, how it was received by the audience, and some of the main artistic concepts behind Re_Velación.



Press Release


To Reveal or to Re-veil. What will you choose?

A new artistic performance by Angelo Orazio Pregoni

Mutuo Centro de Arte – Carrer de Julià Portet, 5, Bajos 1 y 2, 08004 Barcelona

2015 June 25th – 7.00 p.m.

Milan, May 11th, 2015 – To Reveal or to Re-Veil? Removing the bandage or putting it back on the eyes? The shocking nudity of truth about ourselves, or the reassuring guise of fiction? What will they choose those who will be able to go all the way in RE_VELACIÓN, provocative art performance by Angelo Orazio Pregoni, at Mutuo Centro de Arte in Barcelona, last June 25th? Above all, will the participants accept the consequences of the choice the Italian iconoclastic Nose and contemporary artist will ask them to accomplish – up to compromise with their own sense of ethics, if necessary – in the course of this unique artistic experience?

Indeed in Fluxus style, Pregoni doesn’t limit himself to stage a performance, but makes the attendees part of the artwork and builds it with themselves, with their reactions – curiosity or anxiety? – their feelings – excitement or discomfort? –, challenging them to make a decision free from social and cultural conditioning totally. The artist will ask to participants to give up their rational part and to resort only to the senses, thus relying on instinct, that part of them communicating with the subconscious and its truth directly. The discovery of how far are these two spheres could change all certainties about themselves, putting them in front of a revelation they might not like.

Author of other provocative and surprising Fluxus performances – from Milan to London, Naples, Florence, Amsterdam – Angelo Orazio Pregoni, brilliant perfume maker and unconventional contemporary artist, finally arrives in Barcelona with a project tailored to the charming Catalan city and its fascinating history. Once more, the intent is to investigate individual identity and its complex relationship with the contemporary world and its codes, always the centre of Pregoni’s artistic activity. On this occasion, the attention of the Nose and performer moves from the profane mass languages to one much more ancestral, but still social and cultural: Religion.

RE_VELACIÓN is an original rite conceived to lead participants, through an unprecedented experience of choice unrelated to the rational sphere, to a revelation about themselves and reality.

It is assumed that in our times we don’t make real choices, so, if we were faced with some events very frequent in the past – wars, famines, violence and deaths, signs of impending Apocalypse according to the religious authority – we would enter into conflict with our own ethics, remaining paralyzed or being forced to violate what we consciously know as Right.

The scent – as in all the performances of the Italian Nose – is the favourite means by which we can enter into a relationship with the art: in RE_VELACIÓN, the scent goes back to its origins in rituals, becoming the leading sensory door towards the Holy and, at same time, to the Unconscious, beyond the threshold of rational consciousness, and presenting itself as the only means through which we can make a really free, individual choice. A true one.

Angelo Orazio Pregoni has therefore made four new fragrances ad hoc for this performance, in the unmistakable, extraordinary O’DRIÙ style. Conceived as access keys to the artwork, these perfumes are real experiences that you can live only during RE_VELACIÓN and that will guide you, through your nose, to enjoy the performance.

And you, what will you choose? Revealing or Re-Veiling?


By Angelo Orazio Pregoni

2015 June 25th – 7.00 p.m.

Mutuo Centro de Arte – Carrer de Julià Portet, 5, Bajos 1 y 2, 08004 Barcelona


For information:

+39 02 58100564

2angeloProgram Notes

an artistic performance
by Angelo Orazio Pregoni


The performance focuses on concepts and central figures of biblical symbolism related to the number 4, so important as they became part of mass culture (Pop culture):

The 4 Horsemen of the Apocalypse
Death, Famine, War, Violence
The Four Cardinal Virtues
Justice, Prudence, Fortitude, Temperance
The performance starts asking everyone present an ethical question:

What are you willing to do to save the world (from Apocalypse)?

The four doors that lead to the background are “closed” by towels, so that the space behind them it is not visible. This way, people think that the those doors lead to 4 different rooms.
In reality, as we know, over the openings there is a single space.
Here, on the floor, it will be located a long bed.
The environment beyond the four doors will be dark fully.
The participants will put up on the bed, always blindfolded, until the lights are turned on again, then will be asked to remove the blindfold. At this point, they will discover to be surrounded by people completely naked, lying next to them.
The performance will be filmed and photographed.

1. Sacrificing the lives of those you love
The answer is directly related to the Knight of Apocalypse identified as Death and is characterized, as the horse of the same Knight, for the greenish colour.
The Cardinal Virtue associated to this option is Justice, the devotion to God and His Right Order, in whose name you are ready to make a sacrifice not of yourself, but of someone else, even without understanding the meaning superhuman at all.
Mors et Justitia

2. Reject your ideas forever
The answer refers to the Knight of Apocalypse identified as Famine and is characterized, as the horse of the same Knight, for the black colour.
The Cardinal Virtue related to this option is Prudence, which is nothing but loyalty to God’s wisdom rather than our own, in whose name we evaluate and confront the events and carry out appropriate actions waiving our own ego.
Fames et Prudentia

3. Wage war against all
Knight of Apocalypse joined to this response is identified as War, whose horse is white.
The Cardinal Virtue called into question is the Fortitude, which is not passive resistance, but deployment of our power against all the others.
Bellum et Vigor

4. Abstain from your loved ones until the end
The answer is inspired by Knight of Apocalypse identified as Violence, for which it is characterized by the red colour, just like the horse of that biblical figure.
The Cardinal Virtue for this answer is Temperance, understood as the right measure, the balance in the passions and emotional impulses, attitudes that can subdue even the use of violence as emotional reaction. The cost of this is, however, the almost ascetic giving up feelings: a violence toward ourself.
Strages et Moderatio

Re_Velación is an original rite created to lead participants to a revelation through a really new experience of critical choice. Whatever to choose critically, we must know how to call into question ourself and enter into crisis. In Re_Velación, the aesthetic that is based on the beauty or the presumptions of good leads to the ethical and the two elements meet and mix just like in ancient rituals, through a confrontational orgy of the senses: smell, sight, touch and hearing. Drawing on his own origins, the scent becomes therefore the door to the sensory level of the holy and, at the same time, to our own nature, beyond the threshold of rational consciousness. Religions and their rites in fact born to put the experience of the world in an order, offering a solid and shared reference system that helps an individual to not get lost and to not succumb to the chaos of reality. To do this effectively, the same religions neutralize ethical conflicts and moral contradictions “asking” acts of blind faith that need to put aside their ethics, pursuing dogmatic contents sorted and no longer perceived as chaotic.
One example is Abraham prepared to sacrifice Isaac to God’s will: he gives up his ideas and surrenders to the will of God.
If we were faced with some possibilities that were very frequent in the past – wars, famines, violence and deaths that religious authorities indicated as signs of impending apocalypse – and requiring a suspension of ethics in favor of survival, as we would choose to behave?
And what if the same Apocalypse was sprouting in these days?

Photos of Re_Velación*

(*Warning NSFW: Some images are not safe for work as they contain nudity)
























Thank you to Angelo Orazio for sharing his Press Release, Program Notes and photographs with me. All material courtesy of Angelo Orazio Pregoni/O’Driú 2015. Please do not reproduce without permission from the artist.

Related material

I’ve interviewed Angelo in the past as part of my Thirteen Thoughts: Perfumer Interview Series, and also in a recent interview, tailor-made to discuss Angelo’s unique work as an artist/perfumer.

You can also read my review (blind-sniff challenge) of some O’Driu perfumes here.

Smell of The Day: Smells Like Teen Spirit


Smell of The Day is about noticing and appreciating the smells around me. Just one smell. It might be a perfume, a fragrant flower, the odour of something cooking, an unpleasant smell. All smells are equal. All smells are interesting. All smells affect us. Smell of The Day posts will feature one smell that made an impact on me that day.

Smell of The Day: Smells Like Teen Spirit

We live in the country now, and every time I go back to the city to visit I find it exciting. The noise, people, lights, colour, smells, and food are very stimulating, but after a couple of days it overwhelms me, and I yearn for the quiet and space of the country again. One recent afternoon on a tram ride in the city, a group of boisterous teenage school girls got on, sitting close to me, surrounding me. Giggling constantly, as I once did, talking about boys, as I once did, and generally being too loud, too energetic and too annoying, as I once was. I remember those days clearly and I still yearn for them, while at the same time I’m happy to have left them behind for a calmer place, both in the world and in myself.

Sitting there, amusedly observing their behaviour, my nostrils are suddenly filled with an intense aroma-bomb of coconut. My memory takes me straight back to early childhood and to a day at the beach in 1980. Women clad in crocheted string bikinis baste themselves with Le Tan, a coconut-scented tanning oil. A transistor radio plays Computer Games by Mi-Sex. It’s hot and sunny. Suddenly one of the school girls on the tram shrieks: “You idiot, now everyone on the tram can smell your perfume!” She jolts me out of my revery. Hearing the word “perfume” I prick up my ears; no-one ever talks about perfume, let alone sprays it in public. This is intentionally naughty teen behaviour. The perfume-sprayer responds defiantly: “Good, let them all smell it!” and keeps spraying it into the air and onto her friends. Faux tropical fruit follows coconut, completely filling the breathable space around me, as does calone, a nasty melon-like aroma chemical. Instantly I’m transported back to 1990 and I’m 16. I’m drinking a Pina Colada in a tacky basement nightclub with my own school friends, seeking the attention of a man too old for me. Just for thrills. A couple of stops later the school girls collect their belongings together and get off the tram. It takes a few more minutes for the air to clear.  I’m back in 2015 and I can breathe again.

Thirteen Thoughts: Perfumer Interview Series – Ellen Covey of Olympic Orchids Perfumes

thirteen-thoughts-v2_800_shadow1Thirteen thoughts from perfumers around the globe. Each perfumer profiled at Perfume Polytechnic has been presented with the same set of thirteen questions that probe into scent memories, imagination, education, history, the creative process and philosophy. How each perfumer answers these questions, and what form the answers take, is up to them. Tune in each week for a new instalment to learn more about the olfactory arts and how perfumers think about smell.

This is the final of five, weekly instalments in Series Two of Thirteen Thoughts. Today’s interview features Ellen Covey of Olympic Orchids Perfumes. As well as being a gifted perfumer, Ellen is also a neuroscientist and a professor at the University of Washington. She also grows orchids commercially and owns the Olympic Orchids nursery near Seattle. Ellen’s beautiful fragrance Woodcut recently won a 2015 Art and Olfaction Award in the Artisan Category.

The intention of Thirteen Thoughts is to let each perfumer speak for themselves about who they are, what drives them, and what they do with fragrance, so without any further ado, let me introduce you to…

Ellen Covey of Olympic Orchids Perfumes

Ellen Covey

Ellen Covey of Olympic Orchids Perfumes

  1. Tell us about a significant olfactory memory from your childhood.

One of my earliest memories is from when I was about 2 years old and we moved to a new house. I remember standing on the bed in the old house the day before we moved, sniffing the windowsill, thinking that I would miss this smell and that the new house would smell different. It made me sad.

  1. What is your “origin story”? When, why and how did you decide to become a perfumer?

Becoming a perfumer wasn’t a “decision” in the sense that I didn’t say to myself “I want to be a perfumer when I grow up” and then tried to make that happen. It happened gradually without my realizing it until it had already happened. I formally acknowledged it when I started my business in 2010.

Why did I become a perfumer? There’s no simple reason. I’ve always been fascinated by scents and perfumes, and have tinkered around with them for a long time. I have grown orchids commercially for about 10 years, and continue to be fascinated by the huge variety of fragrances produced by orchids in nature. My original goal was to try to make some perfumes based on orchid flowers, but it has grown way beyond that. I am happy that I’m able to make unique fragrances that resonate with people, make them happy, make them think, make them feel emotions. For me, perfumery is like any other form of creative work – there’s something internal that needs to be expressed and communicated, and there’s a medium to do it whether it’s words, music, visuals, or perfume.

SMLRed Cattleya for website

A Red Cattleya orchid

  1. Do you have any formal training in perfumery, or are you self-taught? Have there been any mentors or other personal or cultural influences on your work as a perfumer?

I have not taken a formal perfumery class, nor have I worked with a mentor. In that sense, I am self-taught. However, a great deal of information is available online, in books, in forums and professional interest groups, so I have taken from that body of information whatever is relevant and useful for me, and left the rest to follow my own path. Instead of going by the book, I am guided by common sense, knowledge of chemistry and, most importantly, my own aesthetics and sense of smell.

If I have a cultural influence, it is my lifelong dislike of many traditional European-style perfumes and my early preference for Indian and Middle Eastern type perfumes. Over the years I have sampled literally thousands of perfumes of all different vintages and genres, and this has given me a good idea of the limitations and possibilities of the art as it currently exists, as well as inspiration for where it could and should go next.

  1. Who are your favourite perfumers or perfume houses, and what do you like about their work?

This question pops up over and over again, and I always decline to answer it, partly because it is unanswerable and partly because I see it as a conflict of interest. The question is unanswerable because the perfumes that I enjoy do not typically come from a given perfumer or perfume house, but from many different sources, and my preferences vary considerably over time. It is a conflict of interest because if I were to recommend other perfumers who are, in a sense, colleagues, that could be seen as promoting them while neglecting to promote others who may be equally meritorious.

SMLNew bottles together

Some of the Olympic Orchids range

  1. Describe your brand to us: tell us about the kind(s) of perfume that you make, as well as your brand’s philosophy or ethos.

If my brand has a mission statement, it is to provide a wide variety of original and high-quality perfumes at prices that are affordable by anyone. Originality is a given, because I love to experiment and venture into uncharted territory. I always try to use the highest quality materials possible, making sure my sources are reputable, and keeping costs down by buying in bulk. I try to keep overheads low by keeping paid advertising to a minimum, using simple packaging, and offering small sizes and an extensive sampling program.

I experiment with everything from traditional forms such as chypres, colognes, fougères, and florientals to forms that do not fit into any standard genre. Most of my perfumes contain a high percentage of natural materials, and a few are all natural. I have a huge appreciation and respect for the complexity of natural materials, every one of which is like a perfume in and of itself, but I also appreciate the use of synthetics to create new accords that do not exist in nature and/or that enhance certain aspects of natural materials. To me, the judicious addition of synthetics to perfume is analogous to going from playing music on original acoustic instruments to adding electronic amplification, synthesized sounds, and studio production to what is essentially an organically created piece of music. It still has the natural human touch, but has been made more compelling through the use of technology.

  1. How do you come up with the idea for a new perfume? For example, do ideas come to you spontaneously, do you work conceptually, or do you try to fill gaps in your range?

All of the above. On the whole, though, I would say that the majority of ideas come to me spontaneously, but may take the form of a concept that becomes realized through the use of perfume. I have far more ideas than I have time to work on or space for in my line. There are always works in progress in my studio, some of which sit around for years before being finished. I have never really tried to “fill gaps in my range”, although I have felt compelled to try my hand at traditional genres just to see what would evolve within that form, and a few of these experiments have been released.

SMLPerfume Studio 2015-A

Ellen’s perfume studio

  1. What element of your perfume making process do you think readers of this blog would be interested or surprised to learn about?

I really don’t think any part of my process is particularly surprising, because my setup and operation is pretty standard for an established artisan perfume studio. I will say that I love to tincture odd things, from seaweed to fig leaves, dried fruit, hops, and soy sauce, and a few of these tinctures get used in production of my fragrances. Up until now I have done everything myself, from fragrance design and production to filling bottles and sample vials, packing orders, label and website design, publicity, and boring stuff like accounting and paperwork. The bigger the business gets, the less time there is for the fun part of it, so I know that at some point soon I will have to get some help with routine tasks.

  1. What are the current challenges you face as a perfumer, both creatively and in regard to manufacturing, distributing and marketing your perfume?

The challenges right now have to do with managing growth of my business, becoming more efficient and streamlined as I move to bigger production batches, and looking at getting help with mundane tasks in the near future. Another challenge has to do with space. My studio and warehouse area is already a decent size, but I can see that it will need to be larger within the next few years if growth continues at the current rate.

I have not made an effort to grow my business quickly, but instead have chosen to let it develop in an evolutionary and self-sustaining way, putting profits back into improvement and gradual expansion. When I look back on where I started almost 5 years ago, I am amazed at how much the business has grown, but I really didn’t notice the process as it happened. I think this laissez-faire approach has cut back on the sorts of major challenges and setbacks that business owners experience when they try to do too much too soon, possibly with unrealistic expectations. I have not yet quit my “day job”, but now realize that I may need to do so at some point in the foreseeable future.

SMLWoodcut by Antonia

Award-winning fragrance Woodcut by Olympic Orchids. Photo credit: Antonia Kohl

  1. How has your work as a perfumer affected your perception of everyday smells?

I’ve always been highly aware of everyday smells, so I don’t think my perception of smells has really changed in any fundamental way. What I do find now, when I smell other people’s perfumes in passing on the street, is that I often think things like, “oh, I smell ambroxan”, or “wow that has a lot of ionones in it”, dissecting the scents by ingredients rather than perceiving them as just a pleasant smell. It just shows that we perform olfactory analysis on multiple levels, in multiple modes, depending on what we are familiar with.

  1. Many ingredients that are edible are also used in fragrance (chocolate, vanilla, coffee and rose, to name a few). If you could reverse this process and turn any perfume ingredient into an edible ingredient, what would that be? Which fragrance ingredient do you think would taste nice as a flavour?

Many things that we think of as perfume ingredients work well in food. I cook with all kinds of herbs including lavender, I like candy flavoured with flowers, including rose, orange blossom and violet, and I sometimes flavour my coffee with resins like silver fir, fir balsam, or frankincense. There is candy flavoured with musk, which I’m sure is tasty. Many of the same aroma chemicals used in perfumery are also used in synthetic flavourings for food, so we eat them all the time without realizing it. I love to taste oud by itself. In fact, at some point I taste almost all of my perfume materials. Oddly, I find that sometimes it is easier to detect adulteration when the material is both smelled and tasted.

Art and Olfaction Award Ellen Covey

Ellen Covey accepting her Art and Olfaction Award for Woodcut

  1. If you had a time machine, which historical period in perfumery would you like to go back to and work in as a perfumer?

I’m not sure I would like to go back to a historical period and work as a perfumer because I would be much more limited in terms of materials and distribution opportunities. What I would prefer to do is go into the future and see how perfumery has evolved and what new opportunities have arisen.

  1. If you could invent a new olfactory gadget, tool or technology, what would it be and how would it benefit perfumers and/or society?

I think gadgets and technology are often overrated. My studio is simple but well-equipped, and I don’t see the need for a lot of fancy gadgetry. What I really need is a 3-ml spray sample vial that doesn’t allow the contents to evaporate over time! I would rather help support a person by paying them to make samples or pack boxes than have a robot do it. One could dream of some way to “stream” perfume to customers to sample, but I think that would depersonalize the experience and take some of the fun out of waiting for those little packages to arrive. Something that might benefit people could be a system of perfume lending libraries of “perfumemobiles” that could go to hospitals, retirement homes, prisons, and other places where people lead dreary lives. It would have to be run by people who could educate the users about the perfumes and let them see how perfume can be psychologically therapeutic – aromatherapy, not in the usual sense of attributing medicinal properties to herbs, but in the sense of bringing sensory stimulation, contemplation, and joy to people.

  1. What is the purpose of perfume?

The short and simple answer? Perfume exists to give people pleasure.

Like any other art form, a good perfume is an expression of something within its creator, but will evoke different feelings, thoughts, and associations in each person who experiences it.

I hope you have enjoyed today’s interview with Ellen Covey. I would like to thank Ellen for the time she took to answer the thirteen questions, in amongst her busy life as an academic, orchid grower and perfumer! I particularly love Ellen’s idea of a perfume lending library or “perfumemobiles”; it’s such a wonderful concept. I have recently smelled Ellen’s award-winning fragrance Woodcut, and it’s beautiful. I recommend getting your hands on a sample.

To find out about Ellen’s perfumes and to purchase them, go to the Olympic Orchids Original Perfume Boutique (for the full range, smaller sizes, limited editions and samples) and to the newer Olympic Orchids Perfumes flagship store, for larger bottles and newer packaging.

Olympic Orchids has one of the best and most affordable sample programs out there, with affordable international shipping. If you’re keen to try out Ellen’s perfumes, I highly recommend checking out the range of samples and sample packs available, as well as the discovery sets.

Olympic Orchids Perfumes are also listed on Fragrantica and Basenotes.

Previous & Future Instalments of Thirteen Thoughts

Last week, Shelley Waddington of En Voyage Perfumes was interviewed. You can read her answers to the thirteen questions here.

In week one of this second series of Thirteen Thoughts, Mandy Aftel was interviewed. You can read her answers here.

In week two, JoAnne Bassett of JoAnne Bassett Perfumes answered the thirteen questions. You can read her interview here.

In week three, Andy Tauer was interviewed. Read his interview here.

You can catch up with Series One of Thirteen Thoughts here.

This concludes Series Two of Thirteen Thoughts: Perfumer Interview Series. I hope you have enjoyed these interviews and I would like to once again thank all of the perfumers who have taken part in this very exciting second series! It’s been a real pleasure to meet and get to know all the perfumers involved, and to note the similarities and differences in how each of them has answered the thirteen questions.

Coming Soon…

An interview with the inimitable Angelo Orazio Pregoni of O’Driu perfumes. Angelo and I have a chat about art, perfume, and the ideas behind his work. It’s a revealing and fascinating read. Open your mind and come along for the ride! Follow Perfume Polytechnic if you don’t want to miss it!

Intellectual Property

All interview answers and photographs were provided courtesy of the perfumer. All interviews remain the intellectual property of Perfume Polytechnic and the perfumers. Please do not reproduce interviews or images without permission.