Beginning to study perfumery has always been a dream of mine.
I grew up in the countryside where you can smell the flowers in the air during the spring and summer. Life had its clock: the one of Nature. It was a simple but fulfilling life. I was a child then and I can only acknowledge that now when I’m looking back. 
Of course, that part of my life and education never abandoned me. I have tried to grow plants, flowers, harvest berries, and wild fruits when it was possible. Botany was and is one of my hobbies.

I did not consider other kinds of perfumery than the natural one. 
With time, studies in philosophy and aesthetics, visual design, and communication I did acquire a taste for perfumes. Not only to use them as an accessory but as a statement or comfort smell. My inquisitive nature and curiosity brought me to want to know more about perfumery, about what was behind a fragrance. I learned, studied, experimented, eventually began making scented candles and soaps for my friends then later for a couple of shops. Here, playing with waxes and essences, I rediscovered the nature of the essential oils, the healing power of plants, resins, and flowers: all things I was thought by my grandmother and mother when I was younger. I did not consider other kinds of perfumery than the natural one. Of course, I am curious, and I tried different aroma chemicals. I wanted to know them, how they smell, what they do, how they behave. But there was nothing like the “living “essence of the plant, the energy still vibrating through the raw material, evolving, changing: no still life photography but a kaleidoscope of power and vibrancy.
 
Studying natural perfumery has given me the possibility to dwell deeper, to discover new notions, to recognize my mistakes and learn from them, learn from others, which have experience and knowledge. 
 
Today, when I smell an essential oil, I do not smell only the aroma, but I can see them live it is bearing, the power of thousands of plants and flowers. I am aware that to know few raw materials is not enough. The studies never end, there is always something new to learn or to share. Be able to extract my own raw material is a rare value. I can get to know the material before extraction by planting, by taking care, by harvesting. Maybe what is more important: I do not only take from Nature, but I give back planting again, giving flowers for the insects, seeds from the plants for the animals…. I do replicate a circle of life and I help sustain it. It may be not much, but it is still something. I like to think that out there are other people which do the same thing. In the end from small thing may come a big change.

Natural raw material for me is like a living creature: it must be conquered, tamed, but never broken or forced. It is a living, shape-shifting being that evolves in every instant of its life. Like a flower, it opens and delivers its beauty. Working with a material I have cared for as a plant, watched it grow and flourish, harvested by my own, transformed into something new (a tincture, an extract) its indescribable feeling. It is not just an essence, but it is much more: in every drop of it, you can see its life force awaken again and again. The tiny drop of home-brewed raw material brings a new level of complexity and originality. Maybe in this case the creation of perfume begins even earlier, when the plant grows from a seed or when the bud opens to a fragrant flower, I imagine how to capture its fragrance to incorporate it in perfume. 
 
There are an incalculable power and satisfaction in being able to work with a raw material extracted by myself. Its strength and its splendor acquire a more personal connotation because it not only contains the essence of a plant or a flower but also a part of my life, of my commitment, of my efforts. The return to the true art of natural perfumery lies precisely in returning to its roots, to relearn how to extract raw materials with traditional methods to enrich the spectrum of the perfumer with dyes, pomades, extracts, etc. These techniques are well suited to productions in small quantities allowing us to create something new and unusual.
 
Using the plants collected in the woods, in the fields, or cultivated in our gardens or terraces the simple processes of these techniques are well suited to be used to extract small amounts of unique fragrance matter. At the same time, this procedure also becomes the way of getting to know the material better. We accompany it from seed with care to maturity when it can reward us with its very essence.
 
Together we will rediscover these techniques and experiment with their applications to our art by taking from nature what it can offer us and at the same time giving back contributing to an almost inexhaustible life cycle.
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Humans have produced 9.1 billion tons of plastic since 1950 and most of it is sitting in the environment.
Plastic is entering the food chain of fish and birds and is changing the PH of our oceans. It gets into the food we eat and even the air we breathe.
Mixed glass, metal and plastic used in perfume bottles are not recyclable because they cannot be separated.  Packaging and Packing are thrown away and are not being recycled.  
Unless decisive action is taken, by 2050 there could be more plastic in the sea by weight than fish.
The cosmetic industry is not the worst industry but needs to act rapidly to show alternatives that reduce environmental impact, and reflect brand values, not to be pointed as a bad player. This industry has the possibility to become the leader of all industries towards sustainability!
The world uses billions of packaging every day.  
We need to take the opportunity of the New Luxury Awards to show to the world that not only do we really care, but we are doing something about it !
Sustainability is no longer an option, it is an obligation. 

Les humains ont produit 9.1 milliards de tonnes de plastique depuis 1950 et la majorité se retrouve dans l’environnement.  Le plastique entre dans la chaîne alimentaire, il se retrouve dans les poissons et les oiseaux et change le PH de nos océans. Il pénètre dans la nourriture que nous mangeons et même dans l'air que nous respirons.
Les mélanges de verre, de métal et de plastique utilisés dans les flacons de parfum ne sont pas recyclables car ils ne peuvent être séparés les uns des autres. Les emballages sont jetés et ne sont pas recyclés.
À moins que des mesures décisives ne soient prises d'ici 2050, il pourrait y avoir en poids plus de plastique dans la mer que de poissons.
L'industrie cosmétique n'est pas la pire industrie mais doit agir rapidement pour montrer des alternatives qui réduisent l'impact environnemental et reflètent les valeurs de la marque, pour ne pas être qualifiée de mauvais acteur. 
Nous devons profiter de l'occasion des New Luxury Awards pour montrer au monde que non seulement nous en sommes conscients, mais que nous mettons tout en oeuvre pour changer ces emballages!
Le monde utilise des milliards d'emballages chaque jour.
Cette industrie a la possibilité de devenir le leader de toutes les industries vers la durabilité!
La durabilité n'est plus une option, c'est une obligation!

To be sustainable a packaging should be refillable, reusable, recyclable or beautiful enough to be collectible.
If the packaging cannot be recyclable because the materials used cannot be separated or because the material used cannot be recyclable, create packaging that no one wants to throw away: create collectible packaging.
If you receive a perfume like this snake shaped bottle, would you throw it away ?

Pour être durable, un emballage doit être rechargeable, réutilisable,  recyclable ou doit devenir un objet de collection.
Si l'emballage ne peut pas être recyclable parce que les matériaux utilisés ne peuvent être séparés ou que les matériaux utilisés ne peuvent être recycler, créez des emballages que personne ne voudra jeter: créez des emballages de collection.
Si vous recevez un parfum comme ce flacon en forme de serpent, le jetteriez-vous?