Home » Lifestyle » Olivier Polge, nose of Chanel: “Now I can afford to make a fragrance that not everyone likes” | Beauty

Olivier Polge, nose of Chanel: “Now I can afford to make a fragrance that not everyone likes” | Beauty

Olivier Polge, nose of Chanel: "Now I can afford to make a fragrance that not everyone likes" |  Beauty

When Olivier Polge (Grasse, France, 48 years old) had to decide what he wanted to do, he opted for the world of art. It was not until one of his student summers, after an internship, that he discovered that the family business was throwing him away. His father, master perfumer Jacques Polge, had headed Chanel’s fragrance division since 1978 and had created for the house some icons like Égoïste, Allure or Coco. Polge son trained and went to the Americas to return, 20 years later, with his personal bestseller under his arm. He picked up the baton and devised his own hits: Gabrielle, Boy or the revision of the classic No. 5 L’Eau. “Although my father is a perfumer, he did not teach me perfumery. His lesson has been that the most important thing for a perfumer is to be interested in other things. As in any creative work, it is essential to build your sensitivity by connecting with other forms of art, ”he explains by video call from his offices in Paris. Precisely the French capital and the style of his women inspire his latest creation, Paris-Paris.

Parisians are probably the most recurrent women when it comes to inspiration. How have you approached this proposal to make it relevant?

I like the combination of something masculine and something feminine. I think there is an interesting interplay between flower and wood here. I tried to make it Chanel, always trying to remember that from the very beginning Gabrielle introduced various aspects of men’s fashion into women’s style. There is something deceptively simple about her style that Paris-Paris tries to express.

Portrait of Gabrielle Chanel. Photo: Getty

Does it happen in fragrances like in design, that it is difficult to achieve something minimalist, as Coco did with her creations by freeing them from the superfluous?

Perhaps the most difficult thing is to get something that speaks for itself, even if you don’t know how many threads it hides to appear casual.

The rose appears, how do you work it here?

It is Rosa damascena, but it is not the same as in Nº5, because it is much more velvety. This is very fresh, it has a certain spicy, lemony, sparkling aspect.

The fragrance belongs to the Les Eaux unisex collection. Would you say that perfume has no gender?

I wouldn’t say it exactly like that. It is still relevant to say that there are certain facets that are more feminine or more masculine in one scent or another, although they can be worn by a man or a woman indistinctly. I like to leave the choice to the people. This one, for example, in which the rose is important, is compatible with masculinity. The rose traditionally appears in many men’s fragrances.

Statue of the Jardin des Plantes in the capital. Photo: Getty

Chanel Nº5 was one of the first great successes in perfumery around synthetic notes, aldehydes. A century later, many want to return to what is 100% natural, as a sustainability solution. What do you think of the debate?

It is complex, although we all agree on the need for sustainability. At Chanel we have a sincere way of talking about our fragrances, we always think that those No. 5 aldehydes, even if they are synthetic, add a signature to the composition. And they are very sustainable. Natural cannot be contrasted with synthetic, versus sustainable or unsustainable. It is a complex issue and there is no simple answer, I am afraid of those people who tell you that they have the solution. You have to be very humble and know that the ‘clean’ ingredient is not always where you think it is. The most important thing is to start by measuring the impact of each raw material. There is an increasing level of demand and that is very good, but always remembering that perfumes are less dangerous than cars, fuels, the steel industry…

How has the industry changed since you started?

We were talking about sustainability, which already takes up 30% of my time. Today we analyze each raw material and each formula from different angles. Also, when I started, only one type of perfume was made; each brand was looking for its best seller, we were all trying to create the same type of launch. What has changed is that now, in a brand like Chanel for example, we have many lines. And I think this has brought richness and freshness to the creativity. One day I can be working in a Les Exclusifs, another I can do Paris-Paris (which is within a different aesthetic), Gabrielle…

Then, it is personalized to reach more specific consumers.

Yes. Now I can afford to make a fragrance that doesn’t seek to be liked by everyone. When I started we focused on the taste of Europeans and Americans, but now we also take into account the taste of Asia or the Middle East. It brings diversity, I like it.

Bottle of Paris-Paris, the new member of the Les Eaux de CHANEL collection. Photo: FASHION PLATÓS

An image of the spring-summer collection of the brand- Photo: IMAXTREE

(function (d, s, id) {
var js, fjs = d.getElementsByTagName(s)[0];
if (d.getElementById(id)) return;
js = d.createElement(s);
js.id = id;
js.src = “//connect.facebook.net/es_ES/sdk.js#xfbml=1&version=v2.5&appId=738365552964919”;
fjs.parentNode.insertBefore(js, fjs);
}(document, ‘script’, ‘facebook-jssdk’));

Don’t Trust On this News and Website Maybe it’s Fake

– Article Written By @Patricia Rodríguez from https://smoda.elpais.com/belleza/olivier-polge-nariz-de-chanel-ahora-me-puedo-permitir-hacer-una-fragancia-que-no-guste-a-todo-el-mundo/

Nicole Aniston