When Chanel’s in‑house perfumer Olivier Polge is at work, you will not catch a hint of fragrance on him. He forgoes wearing perfume during working hours to fine‑tune his olfactory senses, ensuring that nothing interferes with his creative process.
Without the distraction of a personal scent, he remains unclouded. This insight was shared by Polge during his first visit to Singapore recently, where he attended a regional event celebrating the Chanel N°5 fragrance range.
Since its creation in 1921, the N°5 perfume has stood as a revolutionary fragrance, celebrated not only for its pioneering blend of floral and aldehyde notes, but also as the first perfume launched by a fashion house. Polge has since carried this legacy forward. Among his many creations for Chanel is the fresh and modern N°5 L’Eau—his take on the house’s most famous scent.
Since stepping into his role as Chanel’s master perfumer in 2015—following the tenure of his father Jacques—he has crafted 22 new fragrances for the maison, including this year’s Comète, the latest addition to the Les Exclusifs de Chanel range.
Reflecting on his first impressions of Singapore, Polge expressed surprise at the city’s lush landscape and tranquillity. “I was expecting a very dense city, but it’s much more spread out and greener than I imagined. It’s also very calm,” he shared.
In an insightful quick‑fire session with GRAZIA Singapore, Polge shares his thoughts on the role culture plays in how perfumes are perceived and received, fragrance layering and his creative process.
GRAZIA Singapore (GS): As you might have seen, Singapore is a culturally rich place, with people from diverse backgrounds. Do you think cultural diversity influences the perceptions and reception of fragrances?
Olivier Polge (OP): I think it has a major impact. I appreciate diversity in general, especially since we live in such an interconnected world … At the end of the day, perfume is a cultural artefact. While Chanel is globally renowned, its roots lie in French or European culture. When we create fragrances, we do so from France for the world, but we’ve noticed, without necessarily planning it, that some scents resonate more in specific countries. That’s fascinating to me, especially when you look at the data. [Climate, too,] plays a big role [in how perfumes are perceived and received]. I lived in New York for five years, and the summers there are very hot and humid—something we don’t experience in Europe, where it’s drier. I realised that certain fragrances feel more comfortable in one climate than another.
GS: Do you personally believe in having a signature scent?
OP: Personally, I believe fragrance is tied to one’s personality. I do believe in having one signature scent for myself, yes.
GS: How do you feel about layering fragrances, which is currently a popular way of creating a scent unique to one?
OP: I can’t [endorse it], because I create [perfumes] that I consider finished and [can hold their] own … But I also understand that there are [cultural nuances]. For example, I’ve travelled to the Middle East, where there’s a cultural way of fragrancing oneself. A fashion designer never knows how people will mix and match the clothes they create, and [it’s the same for a perfumer]; that’s one of the surprises I welcome. I wouldn’t layer fragrances myself, but I understand [why some would choose to do so].
GS: How does Chanel navigate modern trends while preserving its spirit?
OP: Chanel’s strength lies in our full control of the creative process—from owning our formulas to sourcing and refining raw materials. Each perfumer passes down their expertise, ensuring continuity while allowing room for evolution. For instance, we’ve partnered with farmers in Grasse to cultivate the highest-quality flowers, even expanding into new crops like tuberose and iris. This meticulous approach ensures consistency while enabling us to explore [new frontiers].
Trends can’t be ignored, but they must be approached thoughtfully. At Chanel, every creation must resonate with our heritage while addressing the present moment. This balance is a strength, allowing us to innovate while staying true to our distinctive style. The richer our history, the more freedom we have to reinterpret it.
GS: Could you sum up for us your personal philosophy about the work you do in a single sentence?
OP: Well, in one word, it’d be creation. It’s never reproduction. At Chanel, we’ll never name a perfume after a raw material. We’re not trying to reproduce nature. We’re always in a state of transformation. I love transformation. I’d add that to creation—creation and transformation. Two words!
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