I didn’t get into smells for the fragrance, but after discovering an artist
like Josh Meyers, it makes me wonder what the hell I’ve been missing.
In his interview with fragrance blog
Olfactif, Meyers recounts his high school self shunning
perfume as too conformist. Like Josh, I have always been perfume-averse.
Perfume was an adornment, like jewelry, which I do not wear, and furthermore
like a form of branding. “You know, he’s one of those Drakkar Noir guys.” (In
late adolescence I wore Drakkar and was obsessed, and then in high school my
friend dropped a bottle of it outside his locker and we all reeked for days; I
didn’t start buying perfume again until twenty years later.)
My pursuits in the osmic sensorium are slowly leading me
back to perfume-obsessed, but I still have that anti-conformity,
anti-branded-identity thing to overcome in the process. That’s why when I came
across the work of Josh Meyers, I had to stop and really absorb what he was
doing with his chemical poetry.
He’s composed a series of fragrances titled Imaginary Authors, where each
fragrance represents a story about a fictional author’s biography and written
works. In his bottle of Soft Lawn, we experience the world of Claude LeCoq
(1893-1957) and his (doubly) fictional character Hampton Perry, a charmingly
snotty tennis champ at a New England college. Leisure; clay court and tennis
balls, that’s what it smells like. Something you wear when you go to Princeton,
or to a country club. Imaginary Authors is described as wearable with a dose of
weirdness, riding a fine line between art and commodity. Who doesn’t want to
smell like The Weekend?
“Intellectually engaging” is another way his scents are described. He really
puts the “cognitive” in fragrance, something usually taken as emotional. But at
the base of it, and what I am so into, is the fact that he's taking full
advantage of our surreal relationship with the language of smell. He describes
his fragrances based on when you should wear it (weekends) and where (the
country club), not by using typical olfactory descriptors like “citrus” or
“sandalwood.” He gives you the backstory, the context.
In reality, smells are holistic and contextual more than they are a combination
of aromatic units. It's the “whole” he's going for, and the whole he delivers.
And for once I realize that you can’t do this with a painting, or with a good
book. A book might smell good, but it won’t smell like the story you’re
reading. When the story is crafted into the fragrance itself, we can let it
interact with a deeper part of our imagination.
***
I can't talk about fragrance alone, because my first love is the mind. Place
and context are essential to our understanding of sense, and it is to the
benefit of all when used in describing olfactory experience, for the two cannot
be separated in our minds.
Besides the amygdala, the emotional core of our brain, the second most popular
part of our odor-ceptive system is the hippocampus. This is the area associated
with spatial orientation and memory. Any talk on Memory touches on the ancient
technique of creating a “palace of the mind” where memory objects are stored.
One simply “walks through” this imaginary palace to remember everything. And
speaking of quintessential examples, how does Proust finally discover the
source of his most famous shudder of exquisite pleasure?
Excerpt from Marcel Proust’s Remembrance of Things Past:
And suddenly the memory revealed itself. The taste was
that of the little piece of madeleine which on Sunday mornings at Combray
(because on those mornings I did not go out before mass), when I went to say
good morning to her in her bedroom, my aunt Léonie used to give me, dipping it
first in her own cup of tea or tisane.
-circa 1913
It happened when he went to her bedroom. On this, I rest the case. Smell needs
context to be understood, and by that I emphasize the hard, physical space
which our bodies inhabit and not the ephemeral lexicon of detached, abstract
linguistic descriptors.
Josh Meyers certainly gets this, and we get to immerse
ourselves in a narrative that goes way beyond its literary content. There is
only one place where pieces of our brain extend beyond the envelope of the body
to be directly exposed to the world outside, and that is in the holes of our
nose. The words “upper-crust” don't jump the blood-brain barrier in quite the
same way as Meyers’ “Soft Lawn”.