Yves Derai: Are you born with a ‘nose’ or is it something you learn?
Christopher Sheldrake : Good question. It’s a combination of both. We all have a sense of smell that allows us to appreciate not only what we smell but also what we eat or drink: what’s tangy, fruity, floral… We all have olfactory memories that generally date back to childhood. But these gifts can be cultivated through training that enables us to describe smells, to master the vocabulary associated with them and to learn how to create them.
Can we talk about olfactory creativity?
C.S.: Of course! Just as in literature or music. Just as there is perfect pitch in music, some noses have an extraordinary olfactory memory.
It’s sometimes said that the olfactory memory is the most powerful of all…
C.S.: That’s true; recent studies have shown this. A particular scent can trigger the release of a substance in the body that anchors the moment. It evokes a very powerful emotional experience.
What was the first fragrance that made a lasting impression on you?
C.S.: Without a doubt, that of my nanny in India, where I grew up. I remember the places where I smelled it, and the moments I spent with her, which are invariably linked to the olfactory sensations I experienced in her presence.
How did you become a perfumer?
C.S.: Somewhat by chance. My father had intended for me to become an architect. I wasn’t opposed to the idea. But at the age of 19, I did my first work placement in Paris, at the company Charabot, to improve my French because, according to my father, one had to support European integration by learning European languages. This company specialised in extracting fragrances, sourcing its raw materials from all over the world. I was immediately captivated by this world. My mentor thought I had a natural aptitude for it and suggested I extend this first work experience. In the end, I never attended architecture school.
You grew up in India, the land of spices par excellence, under the influence of a father who imported them himself, didn’t you?
Christopher Sheldrake : Yes, that’s true; India influenced me greatly, not at all in an academic sense, but my life in India is rich in olfactory memories. I used to go with my mother to the market in Madras, where there were hundreds of spices, flowers and perfumes… In the temples, too, it smelled of flowers, jasmine. The mountains were bathed in the scent of eucalyptus.
What was the perfume that made the biggest impression on you as a child?
C.S.: Sandalwood. You’ll find it in some of my perfumes, in fact.
What was the first fragrance you ever wore?
C.S.: Old Spice, by Schulton. An American fragrance. I was 20. Back then, men didn’t spray it on; we’d splash it on. It had notes of pink carnation. Nobody uses it anymore.
@Laurent Zabulon
And what was the first fragrance you really took to?
C.S.: Mitsouko, by Guerlain. It was more of a women’s fragrance, but it’s still my favourite today, with its notes of chilli, jasmine and oakmoss. It isn’t sexy but it’s very elegant and even spellbinding.
Are there clearly distinct masculine and feminine fragrances?
C.S.: Yes. Historically, men were hunters who smelled of the forest or the scrubland. Their masculinity draws them towards woody, amber notes. Women tend to be softer and more rounded; they appreciate floral notes such as lily of the valley, rose, violet and sandalwood. But it’s true that today, many perfumers are seeking gender fluidity, blurring the lines and breaking the rules. As long as everyone can choose what best suits their identity, I’m fine with it.
Does a fragrance change depending on who is wearing it?
C.S.: There are fragrances that overwhelm everything in their path. Those don’t change much. I prefer fragrances that form a symbiotic relationship with the person wearing them. They’re generally more subtle.
In the Spoturno range, L’Âme du phénix is a men’s fragrance. How did you create it?
C.S.: When Véronique gave me free rein, I decided that each fragrance in the range would be very different from the others – even the opposite, so that everyone could find something to their liking. In mythology, the phoenix rises from its ashes. So I looked for notes of burnt wood; I wanted warmth and sensuality, with notes of coconut and grapefruit. That’s why women enjoy it too.
On the other hand, 1921 is a fragrance that suits more mature women, isn’t it?
C.S.: Rather so, indeed. We’re in the 1920s; we had to go for a retro feel, with notes centred on rose, chamomile and tonka bean. It lasts a very long time.
Are there any scents you hate, that you’d never include in your creations?
C.S.: I love the expression ‘I can’t stand the smell of it’. In a way, it suggests that if you don’t like someone’s scent, you don’t like the person. There isn’t a single natural scent that I exclude from my creative process. However, I do avoid organic molecules. Some evoke pine or lemongrass. I’m not a fan.
How do you know that a fragrance you’ve just created is a success?
C.S.: When I’m fine-tuning a fragrance, I imagine myself lying in bed next to a woman wearing it. I need to feel good, calm and at ease, thanks to a pleasant scent. It’s a moment when you need to be at peace.
Sometimes, at the Opera for example, I’ve had to change seats because I was bothered by my neighbour’s perfume and couldn’t enjoy the performance.
Do you know from the outset whether one of your creations will still be around in fifty years’ time?
C.S.: Let’s just say I have a sense of what’s timeless. Just like with a piece of clothing or a car. Certain scents, such as violet or carnation, are dated. They weren’t used back then for N° 5 by Chanel, which is why it still endures today. The resulting blend of rose, jasmine, sandalwood and ylang-ylang remains timeless.
And what about the four Spoturno fragrances you’ve just created?
C.S.: I’ve made sure they’re both classic and modern. At first glance, you get the impression they’ve always existed, but when you really take them in, you sense something new.
Article written by Yves Derai, featured in issue 15 of Oniriq Magazine
Translated by Bethszabee Garner
