But, yeah, when I was talking to Francis [Kurkdjian, Dior’s perfume creation director], we did this behind-the-scenes making-of-the-scent video, and they asked me to describe it. And like every single ingredient I said had nothing to do with the scent—at all. In fact, both this one and the last Dior Homme, I was like, “It smells like pencils,” and Francis was like ...“Okay?”
— Read more in Robert Pattinson Says Suki Waterhouse Is the Best-Smelling Person He’s Ever Met at Harper's Bazaar.
Evoking a feeling of space, calm and light, AF001 accompanies travellers in style. Its comforting musky scent, combined with mimosa from the south of France, adds a sunny, natural vibrancy. Created with hints of jasmine and rose, its delicate floral aura takes travellers on a real olfactory journey, capturing a specific moment in time.
— Read more in AF001, Air France’s signature fragrance by Francis Kurkdjian at Air France.
A corporate scent might seem gimmicky, but the concept is already well established in upscale hotels and resorts. Central to its success is “embodied cognition,” a belief that bodily sensations can influence decisions and emotions without conscious awareness.
— Read more in Why is Air France Using Smell in its Premium Marketing Strategy? at Skift.
And below the jump, le video…
Christian Dior has launched Bois Talisman, the latest addition to their upscale La Collection Privée Christian Dior fragrance series…
[Francis] Kurkdjian believes that there’s been a certain muddling of the stories behind Dior perfumes as they’ve been reformulated to keep up with regulatory changes—a game of olfactory telephone. “There are too many gossips, too much marketing over the years,” he told me. When pitching himself for the job at Dior, he submitted a memo outlining his vision for making over the house’s major scents one by one, and quoted a line attributed to Christian Dior: “Respect tradition and dare to be insolent because one cannot go without the other.”
— Read more in The French Perfumer Behind the Internet’s Favorite Fragrance at The New Yorker.
