Fragrance has been part of my life for as long as I can remember.

Since my early days in cinema, fragrance has always been an essential element in my films:

Whether as a character trait, a means of communication, or a shared language between characters and audiences. In Extase, scent evokes holiness; in La Chute des Hommes, a young heroine travels to the Middle East for her thesis on perfume; and in my upcoming film, a teenager maintains a bond with his mother, who has become disabled, by making her inhale a cologne she once loved.

More broadly, cinema and fragrance share a deep and natural relationship within the collective imagination. Cinema is marked by iconic works centered on scent — Scent of a Woman, The Scent of Green Papaya, among others — while fragrance itself is enveloped in a cinematic aura, from Marilyn Monroe and “her” No. 5 to today’s promotional films that merge seamlessly with the seventh art.

One day, I decided to take this union between my two passions further, and to tell stories differently — olfactory stories that awaken imagination, the senses, and memory through fragrances of my own creation.

There is a close bond between the stories I tell through cinema and those I tell through fragrance. As in my films, my perfumes explore themes that are deeply personal to me.