We’re in love with stories. Our brains prefer a narrative structure to information. Communicating about smell is hard. Perfumers, evaluators, marketers, sales people and perfume bloggers have to do it all the time and our ability to do so is limited by language.
In the last couple of weeks, we’ve been doing a lot of smelling in the lab.
“Why am I getting a marzipan note?”
“Oh yes – but it’s not marzipan – it’s the air above a jar of maraschino cherries.”
“It’s very white.”
“I need a salty smell.”
“It’s got a coriander note, or more specifically, the dry heat sensation of coriander.”
Die Grenzen meiner Sprache bedeuten die Grenzen meiner Welt.
The limits of my language mean the limits of my world
My article in ODOU Issue 4 talks about the reductionism of perfume to its ingredients. On one hand ingredients are, of course, of great interest to perfumers at the point of creation (odour, cost, impact, regulatory issues, stability). A perfumer may get deep into discussion with another about a new aroma chemical and its use levels in different applications or about a natural material which they have found exciting in recent work. Whole conferences are dedicated to showing off new raw materials to perfumers.
Sometimes the spark of inspiration for a new perfume is a single raw material. In some cases a particular note may strongly influence how the finished scent smells. Some brave brands have even started mentioning aroma chemicals in their marketing. Still, these are technical discussions. They are useful to perfumers and to product creators, but won’t convey how the complete perfume smells. One can’t even say “I know blue suits me, ergo, this new blue dress will suit me” because perfumes aren’t made up of blocks of smells, nestling side-by-side. When you add smell 1 + smell 2 you don’t get 3. You get a completely new smell. Perfumers are illusionists. Listing fragrance notes in a pyramid or on press releases is never going to be as good as smelling the thing itself.
And since we do love a good story, romantic stories of ingredients (where they came from, what they smell like, who discovered them, where they’ve been used before…) can help sell a fragrance. Sure. It’s all part of the theatre and it works.
However. Should we insist that the value of perfume is entirely about the value of its ingredients? Do we want consumers to start calculating how much the juice in the bottle costs and thinking “hold on a minute, I’m being ripped off here.” Of course not. Should books or paintings be reduced to their raw materials? Is that what they’re worth? Did the author or the artist not have something to do with the value of the end product?
Read ODOU and let me know your thoughts.