On Not Copying: Family, Not Dupe
The internet loves shortcuts: “smells like X, costs less.” It treats fragrance as a riddle with one correct answer rather than a language with families and dialects. I prefer to work inside families—leather, oud, woody, aromatic, gourmand, marine amber, ozonic—finding our voice rather than someone else’s volume.
Duplication inherits a stranger’s compromises. Creation earns its own. When I build a leather, I’m chasing well-worn not high-polish—library chairs, not dashboards. When I make a marine, I want the air at dawn rather than noon, a horizon rather than a postcard. Ozone should clear without sterility; violet leaf should green the composition without shouting spring.
Being understood quickly is tempting. “Smells like X” collapses time. But slow recognition lasts. It allows a fragrance to find the person it’s meant for and a room to find the night that suits it. I would rather someone lean in and ask a question than nod and move on.
Families are living structures. They welcome new members that resemble without replicating. That’s the conversation I want to join: not chorus, not echo chamber, but polyphony. If our work reminds you of anything, let it be a place you’ve been rather than a bottle you’ve bought.
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