95- Scents of dis­cov­ery

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come in hand-blown coloured glass bot­tles, which can be per­son­alised with the cus­tomer’s ini­tials. There’s also a be­spoke ser­vice for cus­tomers re­quir­ing some­thing tailored to their own pref­er­ences.

Fra­grance is be­ing aligned with time, space, phi­los­o­phy, fleet­ing mo­ments and emo­tion: Los An­ge­les-based fra­grance brand Régime des Fleurs claims to trans­late clas­si­cal mythol­ogy and post­mod­ernism into scent. It also ref­er­ences con­tem­po­rary art, 1980s Mem­phis and baroque in­te­ri­ors. Ice­landic artist and per­fumer An­drea Maack tries to visualise the raw land­scape of her home­land as fra­grance, cre­at­ing scents with names such as Ion, Coal and Birch.

Fash­ion pho­tog­ra­pher Nick Knight re­cently com­pleted a con­cep­tual art film for Comme des Garçons, de­signed to evoke the brand’s new fra­grance, Flo­ri­en­tal. An­drew Cin­na­mon and Char­lie Stack­house, the part­ners be­hind the Man­hat­tan-based cre­ative agency Cin­na­mon Projects, have also re­cently pushed the bound­aries fur­ther, cre­at­ing an ex­plo­ration

Her­mès stand­alone per­fume store, NYC

of fra­grance, time and mem­ory in a range of scents. “Our scents re­flect our at­tempt to distill and trans­late im­age into an ephemeral, sen­so­rial for­mat,” Cin­na­mon told Wall­pa­per* mag­a­zine. “We dis­cov­ered dif­fer­ent hours had in­cred­i­bly dis­tinct pat­terns of colour, tex­ture and, es­pe­cially, sub­ject mat­ter.”

Fra­grance is be­ing el­e­vated in the eyes of con­sumers to be­come more than a treat for gift-giv­ing sea­son. It’s be­com­ing a cred­i­ble, in­tel­lec­tual, lux­ury in­vest­ment and one in which cre­ators are push­ing the bound­aries. The ar­ti­sanal per­fume mar­ket share rose by 35% for the year end­ing De­cem­ber 2014, ac­cord­ing to NPD Group. Mean­while, lux­ury groups are fo­cus­ing on el­e­vat­ing their fra­grance of­fer­ing as a cred­i­ble in­dul­gence, and one that goes be­yond the celebrity en­dorse­ments of re­cent years.

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