In my email exchanges with Amy Yang from Luilei for the Valentine’s Day perfume suggestions, she wrote something that I’ve been thinking about ever since: “I love fragrance. And I don't consider myself a junkie as a junkie does not exercise restraint or discretion.” Then she used the word “curate” to describe how she selects her fragrances. I wondered, what does it mean to curate a perfume collection?
To answer this question, I called a friend who is a curator in a nationally respected art museum. (She is shy about having her name on the internet.) She said that the elements of curating are stewardship, research, intrinsic and relational value, theme, and schmoozing. Let’s take them on one by one and see how they apply to perfume:
Stewardship: To be a curator, you must be a good steward of your works of art. For perfume lovers, that means we need to store our perfume out of light, with a stable temperature, and keep air out of the bottle to the extent we can. Perfume can last decades if it’s well cared for, although some perfumes seem to age better than others.
Research: A curator knows the works in her collection. She understands the artist who created them, the social and cultural history surrounding the work, and the history of the ownership of the work. For someone who loves perfume, that means knowing a little about the history of the perfume and about the nose who created it. I like this part. For me, a huge part of the pleasure of a scent is its story. Because I’ve read a little about Maurice Roucel, I like Musc Ravageur, which he created for Frédéric Malle, even better.
Intrinsic and Relational Value: A work of art is interesting and inspiring for what it is, but another layer of interest is added when you consider what one work of art means next to another work from the collection. What I get from translating this concept to perfume is that a scent means more to your collection if it highlights differences from or similarities to other scents you own. For instance, Chanel Cuir de Russie and Le Labo Iris 39 might be interesting in the same collection because they highlight different aspects of iris — one soigné and refined and the other still elegant, but earthy.
Theme: Often a curator prepares a special selection of her work for an exhibition. When she does, she needs a theme. For a perfume lover, you are the theme. Cranky, loving, hard at work, celebratory, too tired even for t.v. — all these are part of you and your theme. If a perfume conflicts with who you are, it’s time to put it up for swap.
Schmoozing: Last but not least, an important job of a curator is to nurture possible donors of works of art and to build strong relationships with other curators so that she can borrow work or share research. For perfume, I think that means to keep a steady supply of samples and information coming through by cultivating sales associates and building relationships with other perfume lovers. It means sharing samples of your scents with other perfume lovers, too.
What happens if you have a bottle of perfume that doesn’t fall in with your curated collection? In my case, that would be Balenciaga Rumba, a sultry fruit-bomb that makes too much noise for the scents around her and, truthfully, is probably better suited to Cher than to me. But — and I think Cher would agree — it’s the occasional off note that makes the song true. Rumba stays.
Note: image via Parfum de Pub.
Brilliant analysis!! I do have to disagree about stewardship, however. I regard a bottle of perfume as a work of art that is both olfactory (the juice) and visual (the bottle). Thus, I created a display for my 200+ bottles. It's out of direct sunlight, but yeah, there's enough light in the room to see it, and light degrades the scent. Then again, the light in a museum degrades the pigment on a painting, so technically speaking, perfect stewardship would mean full concealment, which of course would be silly because who could enjoy the art then? So–my bottles stay on display.
p.s. I used to own Rumba too! Crazy stuff–reminds me of pineapple juice with an edge. You've made me want to sniff it again…
I didn't even think of the visual aspects of perfume! I bet it's possible to build a case fitted with glass that filters UV rays, like what you can get for a picture frame to protect a photograph or drawing. Of course, where does it all stop?
R, I love this article, it was so unexpected but so bang-on and I think we are all reading it this morning and have begun to ponder what we do, and have been doing for years, in a different light.
How many of us would love nothing more than to walk someone through our collection,? bottle by bottle – spouting off dates – Mitsouko – 1919, history “First chypre, first oriental…” Then branch off and tell them the History of Guerlain, or Creed – family owned for over 200 years.
But it is you, dear R, who is our Curator for the masses, you've been doing exhibitions for us all along, I remember Bvlgari week! So thank you for all you do!
-MD
I'm very flattered you've mistaken me for Robin! Thank you.
I know I'd go to an exhibition of someone's perfume collection in a heartbeat. As it is, at estate sales I make a beeline for the bathroom, hoping to find some old perfume bottles so I can ponder about the person who lived there.
Very thought-provoking. It changes the way I relate to my collection.
Let's consider the issue of using perfume. Does usage “degrade” our collection or enhance it? What say you?
Well, I've studied your description up there, and … I'm a perfume junkie. And proud of it. Gonna get that on a tee shirt.
Every gal should be in touch with her inner Cher.
Well, art is often exhibited, so it seems that perfume should be worn, too. Maybe that's another part of curating your collection–wearing it well, depending on how you want to “display” the scent. For instance, making sure it's put on your pulse points for maximum dispersion, or lightly sprayed over your body when you want something more subtle.
Besides that, a perfume doesn't add up to much if it isn't sniffed, just as a painting doesn't mean much if it isn't seen. I think communication is a bigger part of art than creation.
Also, it would kill me to have perfume I could look at but not use!
Did you notice how I skirted the “junkie” issue in the post? I just couldnt' face it. Not ready for the 12-step program.
As for the Cher question, hey who among us isn't a Gypsy, Tramp, or Thief–or Gypsy or Tramp, at least.
This might sound strange, but I found your structure of the five aspects of curating extremely useful for organizing my thinking on an entirely different project (on, um, organizing information necessary to restart civilization after the End of the World). Thank you so much to you and your curator friend for such a broadly useful definition of what it means to curate a collection, and of course for your open-minded and aesthetically sensitive reviews of perfumes.
Fantastic article, Angela – I just loved it! I have for years been wondering how best to care for/display/wear my perfume collection – especially the “display” part as perfume oils are so volatile. Like a dutiful owner, I used to store them in their boxes in the fridge, but it seemed such a *waste* to leave those beautiful bottles near some wilting lettuce…so, I splurged and bought a beautiful curio cabinet expressly used for my perfume collection – glass doors, interior lights and all. It's in a dark corner of my house during the day and never gets direct sun exposure, but at night I just love to turn on its lights and gaze at my objects d'art. It has become a conversation piece in my home and has piqued others' interest in perfume. Yes, I've wondered if it's over the top, but why not? If you don't go over the top with the things you love, when should you? WinterWheat and I are soul sisters in that regard!
Do I have perfume OCD or am I curating a collection? Hmmm. I choose to say the latter.
DH might say the former. In all honesty, I do see my perfumes as art objects that I enjoy greatly both for the visual and olfactory pleasure. I keep most on shelves in a windowless, cool walk in closet, but I do have current rotation scents out where I can see and enjoy the bottles (still in a relatively light free area). And I never think in terms of having to finish them – too utilitarian…and just not realistic.
Well, gosh. Restarting civilization after the end of the world–I'm sure glad to be of help!
You're right, if you love it, why not REALLY love it? Sitting around the curio cabinet of perfume sounds as enticing as a lit fireplace on a winter's night.
Oh boy, thinking of finishing them is just too ridiculous for me. It's nice to have a surfeit of perfume, though–you can spritz with abandon. Who was it who said to be profligate with love and perfume? Someone wise, that's for sure. (And maybe someone working for Coty.)
Thank you, Angela, for this perfect analysis. Being a curator is much better than being an obsessed freak
I think this almost applies to my shoe collection, as well.
My Cher bottle is Missoni.
Or for me, vintage coats. Or cookbooks. Hey, I should just open a frickin' museum and get an intern in from the Smithsonian.
Thinking of this as curating rather than, um, addiction really is a more useful thought process. See, I'm not sick, I'm contributing to the culture of the world… and saving orphans, perfume orphans. Yup, that's it.
Maybe I should have titled this post “Denial and the Perfume Collection”?
I'm probably going to be stoned for this but I would understand taking a perfume collection seriously in this way and displaying it, etc. as if the bottles were works of art only if those bottles were indeed works of art (limited decorated editions, for instance) or very rare vintage ones. I don't see the point of displaying bottles that are widely on sale and will (or won't) become rare in 30 years' time. Mitsouko the juice may have been created in 1919 but until it is discontinued the bottle of it that was bought yesterday isn't rare. is it:?
I'm a Gourmande, rather than a Junkie or a Collector — too much of a dilettante to curate my collection properly, so somewhere between the two. Just the way I'm a Gourmande and not a true Foodie or Gourmette (as Julia Child called her ilk).
This is a very provocative post to urge one to consider one's approach to whatever really matters to us, thanks!
Forgot to say that I found the post fascinating: I knew nothing about how art collections are curated. It's so interesting. Thanks, A.
(Don't know how that rogue colon got there, btw.)
Gourmette? LOL! It means 'identity bracelet' in French.
I guess there is a balance between loving something and responding emotionally (i.e. gourmand) and getting intellectual about it. Maybe for something so of the senses as perfume it's better to lean more toward the sensual than the intellectual, if it goes one way or another. Besides, anything like Julia I'm all for.
Hmmm mm……..I’m coming late to the archive of General Perfume Articles and enjoying them immensely! I am a true believer in the collection needing to suit The Theme (ie: the wearer) I started out thinking I should have the Jicky,the Tabac Blond, covering every fragrance family etc etc. Utterly ridiculous! I was so excited by the history behind the perfumes and the creators. I have matured into a more wise, experienced and discerning Curator (!) and know what I love and what suits me. I seem to be building small groups from specific noses, quite unintentionally! Mainly Giacobetti and Duchafour, with the odd Ellena and Tauer thrown in!
I think for me curating pefume isn't so much about display–unless wearing perfume is the same as displaying it–but about the scents and how they work together artistically. All my perfume is stored away in a little closet, except for the occasional bottle I put on my vanity and gaze at lovingly.
But is rarity the point? Isn't one's perfume collection, no matter how mundane, one's personal delight, and looking at your Stuff is so often a part of the pleasure — it's not for others, it's for us.
Funny about Gourmette! Probably in 1953 that usage didn't exist, and she was doing that cute American Gal play on the fact that Gourmand has a feminine form but Gourmet doesn't. Not to be a stickler, but I loved reading Julia's book about her time in France while I was IN France!
Well, rarity is a big part of it, surely. If Picasso had done hundreds of copies of all his paintings they wouldn't be so valuable, would they? I understand the pleasure of looking at one's collection (I don't collect perfumes but I have other things I cherish) but it's taking it all a tiny bit too seriously, imo (and that's only my opinion).
The word 'gourmette', as the feminine form of 'gourmet', does not exist in French. As you say, it's an American thing. It sounds very funny to a French ear. Funny and cute.
Oh that's funny, my impression is exactly the opposite — that NOT taking pleasure in looking at your perfume collection (note small c) and displaying it for only discerning eyes would be taking it too seriously. The difference to me between perfume and fine art is that perfume is a popular art form, and as with any popular art forms there are unmatched high points, and also the lowest common denominator (fine art too of course, but they are produced in such small numbers), and the highest forms approach high art, but we still get to consume them, and that's the pure pleasure part.
I think that is exactly what Julia Child intended, as she has a wonderful sense of humour and fantastic appreciation of the culture that she became an honorary part of — she is SO famous here, but probably barely known in France, but she was the first person to export French cooking to the US!