In the grand scheme of things, Amouage (the Arabian fragrance brand) might not have a long lineage like its peers. Its age is a youthful 35 (Santa Maria Novella dates back to 1221, Creed at 1760 and Atkinsons at 1832) but in its tricenary, it has become the stuff of perfume afficionados. Not just because it smells good (the brand uses only the highest grade of Middle East perfume ingredients) or because it sits quite majestically on one’s table (the bottles are fashioned to remind one of Oman’s grand structures).
It has gained such a cult status because of why it was established. Amouage was done so because of a royalty’s dream to restore the great Arabian art of perfumery to the region — or as the brand puts it, a gift fit for royalty.
Here, Renaud Salmon, the chief experience officer (he’s going to explain it) at the brand takes us through the deep history of the brand itself.
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This is a little icebreaker I like to play with anybody I interview — you have to do a short elevator pitch for Amouage like your life depends on it, what would you say?
Amouage is an international luxury fragrance House that has been redefining the Arabian art of perfumery for the modern world for over 35 years. This globally distributed brand from Oman, masterfully defines avant-garde opulence through fragrances of unparalleled craftsmanship, quality and integrity.
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Technically speaking, what does a chief experience officer do?
Think of it as an executive creative director. The idea was to coin something that was slightly more relatable and that reflects the overarching scope of my role, including my creative and executive responsibilities. Essentially, I oversee fragrance creation, brand image, communication, boutique design and merchandising — in fact every single aspect of the House that our clients see, smell, touch, hear, etc. Along with the artists I choose to work with, we bring to life how perfumes should be experienced synaesthetically through different art forms.
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Isn’t it quite crazy how Amouage has done so much in just over 35 years? What do you think are some of the House’s signatures and codes?
I think there are very few Houses left like Amouage. For us, it’s not about the short-term financial gain but about building the brand legacy and that’s why we really sit at the top of the chain in terms of quality. We are hyper-focused on the minutiae, our perfumes carry a sophisticated signature that translates our unwavering commitment to craftsmanship, quality and creative integrity. I truly believe that the brand’s generosity when it comes to fragrance creation which mirrors that of Oman, its people and its heritage.
Since the House’s establishment in 1983, it has used only the finest and most special ingredients from around the world. Not only are our fragrances composed by world-recognised perfumers in Paris, Grasse, Geneva and New York but each creation is carefully handmade and tastefully blended to present an enveloping patina and a long-lasting elegant trail. Florals are multi-faceted, spices and woods juxtapose harmoniously and rare ingredients create intriguing contrasts.
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How do you decide who is right for Amouage? What are some traits you looked for? Is there some kind of X-Factor for a creative you chose be it a nose, photographer or even a videographer?
Amouage has always been known for its creative freedom, its authenticity and its deep respect for the craft. Anyone who works with us has to understand that. We are extremely selective about who we work with and that’s one of the things that differentiates us. Whether it is a perfumer or an artist, we seek individuals with classic sensibilities and an acute eye for detail, but who express their mastery through modern and contemporary creativity. We don’t go for the expected.
For example, we worked with Louise Mertens on two of our recent projects. As an artist and photographer, she is completely meticulous, but her work is extremely contemporary.
Likewise, Cécile Zarokian — best known as the “Queen of Ambers” — for her ability to create magnetic nuances that transcend time, classic yet modern in their own right. On the other hand, choosing a music producer like Copal, was really uncharacteristic, but he just perfectly embodied how we wanted to translate fragrances into musical notes and merge the two worlds. Together our selected artists contribute to our fragrance “sensory world” where you don’t only smell, but also hear, see and feel them.
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I thought what was quite interesting about Boundless and Material were that they were transportive — one sniff and suddenly, I’m in an exotic land — what was the brief given to Karine and Cécile?
That is certainly the impression we were aiming for! For Boundless, we envisioned it as a burst of joy, a fleeting euphoria, an ardent and vivacious energy that echoes sunlight bouncing off the dewy leaves of the jungle, flickering in rays through a flower-studded canopy and grazing rainbow-barked trees before vanishing amongst gnarled and misty-kissed boughs. Karine deftly expressed this sense of exaltation, thick with sounds and textures and scents. It’s like a rite of spring come alive through tones of spices, clear and crisp, dancing in the shade of deep and sombre trees.
Material, on the other hand, is a paradox — through materiality, it evokes immateriality teaching us to look beyond appearances and to realise that what matters is often unseen; an experience akin to standing in a grove and seeing in the sweltering shade a multitude of textures and manifold hues of wood and leaf and bark; all coming together into one. This dichotomy is explored through the star ingredient — vanilla — which is at turns softened or enhanced through opulence, candidness and underneath, smokiness. Cecile’s interpretation of this vision thus becomes an embodiment of metanoia, withdrawing into the depths to find the essential.
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How truly creative can fragrances be in a time where the sweetest sound is the cash register ringing?
People tend to think creativity and appeal are conflicting, but I disagree. I believe that one of the greatest skill in perfumery is to be able to create distinctive and directional olfactory fragrances that are genuinely enjoyable to wear, and that live up to the most discerning scrutiny of connoisseurs and enthusiasts alike without formulaic ennui.
Either way, it’s not something that Amouage would ever compromise on, we need creativity to stay relevant. The brand’s primary purpose has never been economic, but rather being able to authentically represent Oman, reflecting its pure and deep-rooted passion for fragrance that can be enjoyed and admired internationally. Anything else would simply be a betrayal of the House.
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When people ask you what your favourite Amouage fragrance is, is that a bit of a tough question to answer? What if we ask you to curate a fragrance wardrobe? What are some Amouage ones you would recommend for a creative millennial?
Actually, I do have favourites – and no, they’re not all my own! Epic Woman is totally genderless and an instant timeless classic that has had a huge impact on the industry. Memoir Man is another personal favourite of mine. It’s an absolute masterpiece that simply makes you smell like a better, more expensive version of yourself. If I was going to make a recommendation for a young person who would like to get into artistic perfumery, I would probably start with Interlude Black Iris, which is a complex yet enjoyable creation. Ingredients are displayed in their purest form and each in a bold way, which makes the perfume relatively easy to read.
The same goes for the Renaissance Collection that covers four archetypical perfume families and a broad range of ingredients of the perfumers’ palette. This is literally a journey through nuances and the richness of Amouage.
I would also add our latest duo — Material and Boundless — which just get right to the point and represents the idea of liberation. They have that traditional woody-spicy-amberiness that remind us of the simple pleasures in life, while their natural materials offer the rare purity and abundance to echo life-bringing energy. They are generous and pleasant, and ultimately, gifts that keep on giving.
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Lastly, I thought another interesting thing was that I felt Boundless and Material brought me to Oman. Was this important to you, considering how you live there now?
Without a doubt, your environment influences your creativity, so I can’t say that living in Oman hasn’t provided me with inspiration. Boundless and Material are really just about living in the now, wherever that may be. They do contain quintessentially Omani ingredients, blended in a fresh way. For example, frankincense, cardamom and Oud, but they are balanced in this case with more worldly ingredients like vanilla, patchouli and cocoa absolute.
This juxtaposition is important, not just for me, but for Amouage. Our fragrances continue to take inspiration from the environment, but what is exciting is that we are always finding new ways to bring them out. We are exploring the boundaries of this natural heritage and weaving it into new narratives that provide wearers with the best of both worlds.
Once you’re done with this story about Renaud Salmon from Amouage, click here to cop a bottle or here to catch up with our June/July 2021 issue.
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