Isabelle Larignon Smells (and Hears) Every Note

The eccentric French indie perfumer talks about her beginnings in opera, her cult-favorite scent Milky Dragon, and what happens when fragrances hold distant melodies.

---

Isabelle Larignon photographed by Laura Stevens for Télérama

Two words come to mind when describing French indie perfumer Isabelle Larignon: – renaissance woman. Before apprenticing under celebrated perfumer Bertrand Duchaufour and debuting her own fragrance collection in 2021, Larignon had already led many lives. A student of opera and lyrical singing for more than 10 years, a copywriter for luxury French brands that encompassed everything from high-end hotels to gastronomy, and a former dancer, Larignon’s passions are wide-ranging, surprising, and all border on the slightly obsessive.

Her fragrance collection, which includes Milky Dragon  — a cult favorite within in-the-know fragrance circles — has been embraced for its scope and storytelling. How did these multiple lives lead to a collection that’s considered both eccentric and revelatory — and is this the final destination for a masterful perfumer who has only just arrived?

This interview has been edited for length and clarity.

BEATRIZ ZIMMERMANN:  I first met you at an event last year hosted by the Fragrance Alliance Network in NYC, where you spoke about your work as a perfumer. I was so struck by your gift as a storyteller. Storytelling has pretty much become a marketing tool, but there was nothing strategic about your fragrance stories — and I mean that in the best way. They were so pure, intense, and even a little strange. The inspiration behind each fragrance seemed wildly different; all coming from a deep place of imagination. Everyone listening was clearly blown away. Do you see yourself as a born storyteller? Has anyone ever told you that you have a real gift for storytelling?

ISABELLE LARIGNON: Well, as a child, I used to write lovely letters to my friends, according to their mothers. Otherwise, I've always had a complicated relationship with writing and words, like a juggler weighing the weight of each ball — or word — their sound, their double meanings. And when I became a copywriter, I had to become more efficient about words and stories since it was my job, of course. There are always constraints when you’re writing for a client. I tried to turn that into a game to make it more enjoyable.

BZ: Did you like writing for others?

IL:  I enjoyed it when the stories were real, and not just marketing-created stories, like you say. I think I was very good at interpreting what the essence of a product or a brand was or could be. I once worked with a coffee client, and instead of writing advertising copy for them, I wrote several poems about their coffee universe.  It wasn’t at all what they expected or wanted at first, but they trusted me. It became part of their press kit, and later, I even got calls from PR people who thought the poetry was amazing.

BZ: So, when creating a fragrance, do you tend to begin with the story and then build a fragrance to tell that story, or do you begin with a fragrance mood or ingredients that interest you, which then help to conjure a story?

IL: It depends on the fragrance. For my first fragrance, Le Flocon de Johann K, I started with a pamphlet written in 1610 by the astronomer and mathematician, Johannes Kepler. He wrote about his fascination with a snowflake and decided he wanted to study its exact composition. He had an idea that the composition of the snowflake was a metaphor for the entire universe. The fact that he wanted to give this snowflake to his friend as a New Year’s gift made this story so interesting to me — and so poetic. I love the fact that Kepler mixed science and nature and poetry. I loved this idea of the entire universe embodied in a snowflake.

BZ: And so, your fragrance was inspired by the scent of snowflakes?

IL: Yes, but that came years later when I was listening to a radio program in France where a scientist who specialized in glaciers and climate change was being interviewed.   The question came up about whether snowflakes have a scent. It was wintertime, and it also happened to be a few days before New Year’s Eve. I was thinking about my perfume project and looking for a sign about what to work on next. When the radio program host asked that question, I had my sign and my answer! So, I began my own quest for the scent of snowflakes.

BZ: That strikes me as something so pure and simple but also quite abstract — almost like the idea of imagining the scent of nothingness.

IL: Yes, this inspired me to try to capture something intangible. But however faint the scent of snow may seem, it’s actually rich in sensations and contradictions. It’s light, white, powdery, airy, and icy, yet it can burn the skin. It is fluffy, yet very hard when it settles. So, I clung to all these sensations, giving them olfactory equivalents. Then I also wanted to move away from the literal scent for the formula I was creating.  I had a vision of a Japanese rock garden contemplated by a Zen master surrounded by incense. I imagined this man listening to the silence enveloping his garden as the snow fell. This led me to what is now the Le Flocon de Johann K. When I created the scent, I got in touch with that scientist from the radio program to tell her what I was doing. It was amazing because she told me that she was, in fact, writing a book about the scent of snow.  We became friends, and later, when I shared my fragrance with her, I was so happy that she loved it very much.

BZ: That’s amazing and like a full circle moment. The idea really came together over many years and in such an extraordinary way.

IL: Yes, there are many stories like this in my life.

BZ: You followed this fragrance with what became a fragrance sensation that’s really gotten lots of attention in niche circles — Milky Dragon. It’s an unusual fragrance that centers around a milky-like tea note, and the inspiration is another magical and lovely story — this one about a lonely dragon that lives on a remote island. This is another example of your surprising storytelling.

IL: Yes, this is a nice story — also unusual. Yes.

BZ: For me, there’s something both strange yet comforting about both this story and the fragrance — almost like a soothing bedtime story. Tell me about this idea.

IL: Well, I was inspired by a real Chinese legend, which is about a farmer who is afraid of losing his tea trees in a coming storm. The storm comes, but the next morning, the farmer finds that his trees are safe. He discovers that there is a dragon sleeping nearby, and he decides that it’s the dragon that has protected his trees. I loved this story, and I was also very interested in a tea note, so I created a different version of this story in my mind, focusing more on the dragon.  I imagined the misty, humid island where the dragon lives by himself. And I also imagined the dragon falling in love with the camellia flower, which he protects. Camelia sinensis is the botanical name for the tea plant, so there is a nice play here.

BZ: The part about protecting the flower and the delicateness of this makes me think of Saint-Exupéry and the flower that the little prince loves and protects.

IL: His rose. Yes! I never thought of this, but yes.

BZ: The name Milky Dragon is so evocative.  How would you describe the scent? 

IL: The inspiration comes from the Taiwanese oolong tea, which has a natural milky note.  It’s a gourmand and versatile tea. Depending on whether the leaves are dry or infused, its notes are fruity, floral, and woody. This was an opportunity to explore a gourmand experience that was far from vanilla and the sticky sweetness of maltol.

BZ: To my mind, Milky Dragon and Le Flocon de Johann K share some similar elements conceptually. They share a feeling of intimacy and a deep sense of introspection. For me, there’s also a feeling of loneliness or solitude — in the most poetic way. I’m curious about this and wonder if that’s something you feel as well as a perfumer and a creative person? 

IL: A fragrance doesn’t hold just one truth. I am very critical of my work and don’t have the perspective or distance to be emotional about my perfumes. I tend to be more analytical and, yes, introspective. Before I even begin to write the formula, I take a long time creating the fragrance first in my mind — imagining it and trying to “catch” it, like a distant melody.  On a technical note, I do like there to be a common thread between each fragrance, through shared molecules.

BZ: I have to ask you about your fragrance names. The name Milky Dragon is pretty unusual, and Le Flocon de Johann K may be one of the most unlikely fragrance names I’ve ever come across. As someone who has worked on fragrance and product names, I really admire your risk-taking, because I imagine someone along the way must have advised that perhaps these were challenging names or ideas?

IL: It's true that Le Flocon de Johann K — which means Johann K’s snowflake in French — is a little strange and also challenging for an English-speaking audience. But I never imagined I would ever edit it in any way. I love that the name sounds like the title of a movie or maybe a detective novel. I think that in terms of unpronounceable names, my third fragrance,  Bangla Yāsaman, is the worst. I remember my daughter repeating it over and over again before she said, “Yes, Mom, it's good, keep it.” And I did!

BZ: But it’s one of those names that you have to say out loud to realize it sounds so good!  There’s a real rhythm to the words.

IL: Yes, I think so, too.

BZ: Bangla Yāsaman went in an entirely different direction. It’s richly aromatic and effusive and built around this heady experience of jasmine, but I want to ask you about your decision to create the fragrance without a drop of jasmine absolute, instead creating a fragrance accord that conjures an incredible impression of jasmine.  It’s a bit of a “trompe-nez” — kind of a spin on trompe l’oeil, if you will. You’ve said that you enjoyed taking this role as [an] illusionist. Can you talk a little about that?

IL: It all started with an order for a client who wanted a custom-made jasmine/orange blossom perfume. I found the order rather boring, so to challenge myself, I decided to recreate the scent of jasmine flowers. I don’t particularly think that Sambac and Grandiflorum Jasmine absolutes are very faithful to the scent of the flower. Two years later, I reworked one of the proposals that the client had not chosen to make it my own. I expanded the jasmine accord from 10 molecules to 19 molecules. Then, to bring naturalness and animality to this accord, I added natural ingredients such as tobacco absolute and osmanthus.

BZ: Your latest fragrance, Mandi Rhubi, seems to be another departure or a new chapter in your collection. It’s greener, fresher, and yet quite bold. I’m struck by a story you’ve told about this launch and how you first shared your creation with Sarah Bouasse, who is a French fragrance journalist and your fellow contributor to Nez. She proclaimed your fragrance a modern-day Germaine Cellier. Cellier was, of course, a legendary perfumer who created such classics as Balmain’s Vent Vert, and Robert Piguet’s Bandit, and Fracas. What did you think of her assessment? 

IL: Sarah was the first to try the fragrance, and she is a real connoisseur, so I was a little nervous. I think that the boldness of the Mandi Rhubi comes from the presence of galbanum and IBQ (isobutyl quinoline) — two molecules that are characteristic of Germaine Cellier's work and very reminiscent of her world. Perhaps that was the reason for the comparison.  Since I use few molecules that are typical of current trends and fragrances, Mandi Rhubi may also recall the fragrances of the 1970s.

BZ: The fact that your fragrances are so eclectic shouldn’t come as a surprise, considering the many career paths you’ve travelled. Clearly, you’re a born creative and have lived many lives in the arts — as a writer, also a student of opera and lyrical singing, a dancer, and even a food writer. How do you think these experiences and past lives influence or inspire your work now as a perfumer?

IL: The seventeen years I spent working for various players in the gastronomy sector (champagne, cheese, spirits, coffee, restaurants, etc.) clearly nourished my olfactory memory. As for other more artistic pursuits, such as ballet and opera singing, they are all part of the same quest: to create a beautiful gesture that connects to a sacred, universal, transcendent feeling that touches the soul.

BZ: What were your formative experiences as an artist? Could you share some of your influences? 

IL: One of my most powerful experiences, both physically and mentally, was practicing opera singing. The vibration and energy released by the operatic voice are phenomenal. When technique is combined with vocal expression and artistic intention, the result is divine. One of my teachers explained to me that my voice should be like the eye of a storm: unchanging in the midst of movement. As far as other influences, I was inspired by the autobiography of a German philosopher who discovered the principles of zazen through the practice of archery.  Zazen is a meditative practice in Zen Buddhism. This concept places all the importance on the practice and repetition that’s necessary for learning and excelling at anything. It’s not the goal that matters as much as the practice and the path to the goal. This is very important, and it’s something I try to live every day.

BZ: I’m thinking about the years you spent immersed in music. People have spoken about the parallels between music and perfumery. Apart from some shared language, like the idea of notes, accords, and the composition itself, how do you apply your musical knowledge to perfumery? The idea of an operatic voice and now a voice through perfume is fascinating to me.

IL: Well, you know I never became a soloist, although my teachers told me that was what my voice was suited for. My voice was too powerful for a chorus, so I had to become a soloist — but I was very young and didn’t feel I was mature enough or prepared to do this. I wasn’t comfortable as a soloist at all.

BZ: Why do you think that it is?

IL: Well, as a soloist, it is much more than the voice; it’s the entire body that is an instrument, and I think there is a certain psychology that’s needed, too. I don’t think I felt comfortable having such a strong voice.  I realized that I had the voice of the diva but not the spirit of the diva!

BZ: This is so interesting. I can’t help but think that this preparation is a perfect foundation for your work now.  It’s like you’ve applied your voice to perfumery — and maybe you’re a diva now.

IL: Well, it’s easier now. With the singing, that was a hard and beautiful path, but now, yes, I get to be the composer, and it’s the molecules that sing!

BZ: I have to ask what some of your favorite fragrances are and what you’re currently wearing.

IL: For me, the absolute masterpiece is Nuit de Bakelite by Isabelle Doyen for Naomi Goodsir. It has become my signature scent. I wear few perfumes because I'm very picky and easily overwhelmed. I’ve also worn Dzonghka, Mont de Narcisse, and Acqua di Scandola these last few years, but I don’t consider myself a perfumista.

BZ: I’m curious also about fragrances that you love or that intrigue you, but you can’t necessarily wear. I consider myself a little bit of a Guerlain girl, and I’m a proud wearer of Jicky, but I can’t bring myself to wear Mitsouko, for example, a fragrance that’s almost unanimously revered by some of the best noses. I find it beautiful but somehow impossible to wear, though I’ve tried.

IL: It's funny, I wore Mitsouko when I was twenty because the adoptive mother of my first love told me, “You are Mitsouko.” But that perfume brought me bad luck, and everyone I met in my life who wore it was mean to me! Another fragrance I adore, Grey Flannel, has had an interesting journey in my life. Several of my lovers, starting with my ex-husband, to whom I gave it as a gift, have worn this fragrance. Recently, one of my clients, who has become a friend, gave it to me as a gift. I tried wearing it, but I just can't.

BZ: Our fragrance choices and loves really do mirror a great deal about our lives – and the chapters of our lives.

IL: Yes, absolutely.

BZ: You’ve had so many interesting chapters in your life, and I think of what you said earlier about it being about the practice of doing the thing you love and wanting to learn, not the end goal.

IL: Yes, I think that if you are only thinking about the goal, you will be frustrated because everything takes a lot of time, but by taking each step every day, this is the journey. It’s also a humbling experience, but I think this may be the secret to happiness. I think we can say that?

BZ: I think we can… apart from finding the secret to happiness, we’re fascinated by anyone who has reinvented themselves so successfully as you have — crossing from one field of study or career to another. You’ve done so a few times with great dedication, while obviously applying that step-by-step journey you describe. And I also have to add — with great joie de vivre! 

Can you talk a little about this urge to switch gears and how intentional it is — or is it more of a case of one path naturally leading to another? I wonder if you could offer advice to anyone who wants to expand their choices or make big changes but feels uncertain or afraid.

IL: As a teenager, I wanted to be an opera singer, a tango dancer, and a nose. So, I always wanted to be a perfumer, or rather a nez (nose), which in French sounds exactly the same as ‘né’, which literally means ‘to be born.’ It took me 40 years to finally come into my own and feel legitimate enough to live out this childhood dream! So, what I can say is that it's never too late, you're never too old, and creativity knows no age. However, we are not all equal when it comes to risk-taking, stress management, and fear. The hardest part is not committing to a path; it's persevering, holding on despite doubts, despite competition, despite a lack of money, and uncertainty about your financial future. Ultimately, you have to follow your deepest desires, remain consistent, and unique.       

BZ: Isabelle, do you still sing?

IL: I do. I sing every day, and I love to sing with my daughter. 🌀

---

Beatriz Zimmermann is an award-nominated fragrance writer based in NYC. An incurable Francophile (and romantic), she loves to connect some of her favorite things in her writing whenever possible, like art, fashion, history, and literature. You can find more of her musings @luxemlove.