The Detail Is In The Duality

To Nagel, perfume stands in as a manifestation of feeling — conjuring emotions and caressing our senses in a way that no other material object can. Now with the debut of the Hermessence collection’s new scent, Violette Volynka, Nagel is bringing yet another revolutionary sensory experience to the table. Balmy notes of Volynka wrap the wearer in a snug embrace while exquisite notes of violet round out that ardent warmth. The fragrance is the sum of various parts, but the result is effortlessly harmonious — much like its creator.

Continue reading for office’s exclusive interview with in-house perfumer, Christine Nagel.

As Director of Creation and Olfactory Heritage, how do you continually concoct new scents that seamlessly mesh with Hermès’ brand ethos?

It is an incredible privilege to work with this house that has such an amazing heritage and legacy. My creations are always inspired by that, and it's as if I have free realm in this amazing space that Hermès gives me. My work is a display of the duality of how the house inspires me and who I really am. I know I also have a tremendous amount of responsibility, as the first object that many buy from Hermès is usually a perfume. I am the one creating that entry-level product for the consumer.

I like the idea that your scents are a bit of you and your personality, but then, of course, you're working under a Maison that has been esteemed for generations. This craft in itself is an art form. What is your first scent memory and when did you decide you wanted to help create scents for others?

The first scent memory I have is when I was 10 years old, when my little brother was born. We're ten years apart. I vividly remember that my mom used to use talcum powder on him. It was called Borotalco, which is an Italian brand. This made me realize that those scents that are linked to childhood are always very impactful to anybody, in every culture. I realized that these scents are always essential and so impactful as a first scent.

When you are growing up in Europe, you have to do an internship. I decided to do one internship in chemistry and another internship in a hospital because, originally, I wanted to be a midwife that would deliver babies. I ended up realizing I had a passion for chemistry instead.

Sometimes, it's also about life's happy coincidences. I realized when I was doing this internship that there was this company across the street that was called Firmenich, which had received a Nobel Prize. So I decided to send a letter to see if they were looking for someone to hire. They responded and brought me on. So I stopped my studies and go and work with them. And then I discovered, at that point, the world of perfumery and scent and this entire craft.

On a similar note, regarding your upbringing — you're both Swiss and Italian. Does this inform the notes or the ingredients that you're commonly drawn to?

The thing that is always very important to me is that there's a duality within me. With my Italian heritage, there's a warmth and that quality is something that is apparent in my work. But I also have all the Swiss qualities of being very organized and very systematic which are also very essential to my process.

I'm glad that we touched on that duality because I feel like that element encompasses Violette Volynka so well. Among duality, what other qualities make each of your scents uniquely yours? Is there a signature you always embrace?

I have a very tactile way of creating perfumes, so it's very sensorial. The formulas I create are very precise and pure. And it shows, again, the duality of my personality but also how I approach the formulation process. So you have the warmth, but you also have the efficiency and the purity of the of formulas. Hermès is a very tactile house as well — between the rich leathers and cashmeres — you are always invited to touch. So it is also very important for me to be able to touch my own raw ingredients and work with elements that are touchable.

A perfume is something that always appeals to the senses, but this experience is a little bit unique for you, as you have synesthesia. That's such an interesting perspective to have as someone who is creating, so how does this factor into your process?

All synesthesia is different — my personal perspective is that I see a link between texture, smell, and colors. I don't really see a connection between smell and music. But for example, when I go to Hermès' runway shows, I can even smell with the eyes. So, for me, it's not only something that you take in with the nose, but I see the beautiful, worn leathers that are so supple, the incredible cashmere, and yarn and I can feel it too. It's something that's very emotional and sensorial — but in all the different senses. It's also smelling with the eyes and being able to appreciate the craftsmanship, which is something that is so undeniably Hermès. It's a part of the house's DNA.

So those things go hand in hand, and that definitely becomes apparent with this scent. There are layers to it and it's very nuanced. How do you feel this scent differs from the others within the Hermessence collection?

The Hermessence Collection combines Hermès' heritage with scent, essence, and essentials. It was created in 2004 for a niche market, for someone specific. When I started creating perfumes for Hermès in 2017, I created really royal scents. That was the original intent of fragrances — to be used in a really grand, royal, and exceptional way. Creating scents that were putting raw material as the lead top notes was something completely new at the time, but it was very important to me. It's always very important to highlight those ingredients. What is essential to the Hermessence Collection is the moment when I am introduced to a new raw ingredient. I have found that when I come across a new raw material that piques my interest, I am able to continue building off of it. This allows me to create a new scent which will then lead to another duality. This time around, that moment happened with the demure violet.

I wanted to discuss that next. Why was there a personal draw to violet as being the focus of this fragrance? What about that ingredient was so impactful to you?

So the first thing with violet is that it's the scent that everybody knows. It is always in beauty products and it's the scent that was traditionally in lipstick. However, it's what we call a muted flower because it's almost impossible to capture the essence of a violet. It's the same case for lilac, lily of the valley — all of these are muted flowers. So you have to recreate the scent and it's about the feeling of the scent that you're recreating.

So one day, I decided that I wanted to recreate the scent of a violet. What may not be totally apparent is that at Hermès, I'm absolutely free. I have free range to do whatever I want, and I am grateful that I am trusted to develop my own ideas. During this process, I realized that there is a natural extract that exists in the leaf of the violet. But the one that is usually used in perfumes is the one that comes from Egypt. It is a great violet, but I was curious about what else was out there. Through my research, I discovered that there are two French producers of violets. I contacted Firmenich, which is actually the first company I worked with when I was younger, to prepare this extract of violet leaf. The scent they created was so exceptional. It was way more expensive than the one from Egypt, but I think it's essential to work with something that is so high-end and so high quality. It's also about how to recognize the craftmanship that we still have in France and how to continue to utilize it.

What qualities of the French violet scent made it stand out more compared to its Egyptian counterpart?

The difference is that the one from France was very embracing, very warm. It was extremely powerful and a very profound scent. I compareed it to when you fall in love. When you fall in love, you have butterflies and you're flustered. And whenever I'm flustered, I go for it. Because again, it's a very emotional connection. Perfume is always emotional. Even if you get a beautiful bottle from a wonderful house for Christmas, you're going to try it, but you are really going to wear what works for you and what's emotional for you.

Can you tell me a bit more about the other deeper, darker side of this scent — the Volynka?

Volynka is a leather that's really hard to work because it's very tough. And when I once saw a beautiful bag of it, I was very impressed. I was even wondering how the craftsman was able to complete such a specific sewing technique and manipulate the leather so well. It smells like leather, but it has this smokey side. I loved the powerful qualities of the material. So when I discovered that leather, I decided that I needed to find something that was just as powerful to balance it. And that's how I landed on introducing violet. I was surprised by this combination since violet is so light and airy — but that notion of duality made it work. It’s a delicate game of hide and seek.

You speak about this scent feeling emotional and romantic. Is that where you want to take wearers? Where do you hope people transcend to when they're wearing this scent?

It's a scent that has a personality. Whoever is going to wear it — whether it's a woman or a man — it's someone who will have a strong personality. I hope it makes them feel that way as well.

Beauty

Power in Glam at Kim Shui: FW24

For Shui, this collection is about claiming and standing in your power. Even the color palette — deep oxbloods, vibrant greens, and bright cherry reds — evokes intensity, inspired by Kazuo Shiraga Gutai’s paintings.

Signature Shui elements found their way into this collection, including lace detailing and printed mini dresses, but other intentional design choices are specific to the range, like corseted leather jackets and brazen shoulder pads. These symbolize structure and support, bracing the Kim Shui woman for whatever life throws her way — even though she doesn’t need clothing to reinforce that strength, it’s already inside of her.

Backstage offered a closer look into just how fierce every look was, amplified by sultry makeup. Siren eyes were complimented by candy-like shellacked lips and the final accessory touches — futuristic Poppy Lissiman and Akila sunglasses and fingerless gloves — were just the cherry on top of every look.

Beauty

Sonny Molina

February 03, 2024

More an architect of tresses than a groomer, Sonny Molina's work is as much about art as it is about hair. While many of us think of past hair experiments and shudder at memories of less-than-desirable uneven bangs and botched accidental chops, Molina's textured, unexpected, and trendsetting cuts defy convention and only get sexier as they grow out. A long way from the days of testing haircuts on friends, they now have an entire network of models and creatives eager and willing to go under their shears. Since finding a home in the beautiful chaos of Manhattan, Molina has cut and styled the stars of downtown, including fellow office person and New York star Ren G of Club Eat. Their editorial work has graced the covers of The Cut, Homme Girls, Perfect, and Re-Edition, and their styles have graced the runways of Anna Bolina and Vaquera alike, crowning it girls like Bella Hadid, Paloma Elsesser, and Hunter Schafer. While every look Molina crafts is wildly unique from the rest, they are all united by Molina's love for creative expression and impulse for adventure.

Interview OFFICE
Photography YAHSHEL MACAPAGAL

[Originally published in office magazine Issue 20, Fall-Winter 2023. Order your copy here.]

What is your ideal office?

Somewhere overlooking Manhattan … with plenty of space and light.

If you could switch lives with someone for a day, who would it be and what would you do?

Probably some gross billionaire and literally fund all my friends’ dreams immediately!

What era most inspires you?

There is truly something special about every era … but I do love the 70’s.

Who was the last person you hugged, and how did it feel?

My partner Coco, it felt tender.

For you, what is the most sacred place in New York?

As cliche as it sounds, anywhere my friends are!

What does play look like to you?

Blissful with no boundaries.

If you were a hair tool or product, what would you be?

I would be a classic mixed-bristle hairbrush.

What is your favorite texture at the moment?

I'm obsessed with patina … as a texture and color.

Who was the last person to make you laugh?

My dog Kiki. Yes, he’s more of a person than a dog.

How do you win in a fight?

Listen, process, reciprocate.

Beauty

Love for Our Mother

Throwing factory-produced recipes and excessive packaging to the wayside, the ethical beauty and scent brand collaborates with herbalists, farmers, and expert perfumers to create sustainable perfumes and cosmetics — while also marrying the worlds of art and beauty through their one-of-a-kind hand-blown glass vessels. Because beauty is truly an art, and we should decorate ourselves as worthy canvasses. office sat down with Kindred Black’s co-founders to discuss their unique process below.

What originally spurred you both to introduce a disruptive, apothecary-esque brand to the beauty scene?

Alice— I think it’s kind of age-old: I had this need in my own life and couldn’t figure out a way to fill that need in a way that aligned with my values. We’re both makeup and skincare lovers but with packaging being what it is, there was so much we didn’t feel right buying. We wanted an alternative where as much thought is put into the packaging as it is in the ingredients, where every single element of the line is considered.

Jen— We always said we’re not going to be the “please recycle this plastic bag” type of company — that’s such BS! Companies need to invest in alternatives so the public isn’t left guessing how to make their products more environmentally friendly. We spend a lot more money than we would have to if we just mass-produced bottles overseas and bottled up some pretty skincare. But we’re super anti-greenwashing — we want our behind-the-scenes to be 100% true to the ethics and values that we put out there to our community.

Your packaging — artisan-crafted glass bottles — really takes thoughtful production and consumption to the next level.

Alice— When we initially set out to design the collection, we envisioned a vanity with beautiful vessels, no branding, just pure oils and scents in colorful shapes and silhouettes. Life is already so cluttered; we think of the beauty routine as a quiet time, a private, sacred space. The entire line is plastic-free and every single item in the collection comes in an individually handblown glass vessel. Behind each bottle is an artist blowing out the glass, one by one. They’re not producing mass quantities; everything is designed to be treasured.

Tell me about the Kindred Black community. Not only do you work closely and travel to meet farmers and herbalists, but you also partner with artists and artisans for your one-of-a-kind glass bottles. What does this community mean to you?

Jen— They’re everything for us and we couldn’t have such a special line without them. We’ve met such extraordinary people doing this — a chemist turned perfumer who only creates using ancient methods of extraction with the flowers and plants that she grows. An herbalist that specializes in Sonoran Desert flora. Glass blowers from all over the country who show their work in museums and create our bottles one by one like unique sculptures. Even a collective in Mexico that creates bottles using glass from residents and restaurants because there is no municipal recycling. They all have different specialties, but our community shares a set of values when it comes to our planet.

You also mentioned that the brand is historically rooted. How does the past inform every scent, cosmetic, or rich skin serum?

Alice— We’re both hugely into history and just curious people. When you start to look into it, some botanicals have been used for thousands of years to heal and scent the skin and as primitive cosmetics and ‘medicine,’ dating back to the earliest civilizations. People have always used what’s around them for beauty. Our formulas all start with who used this plant, what for, and whether or not there is a good reason to still use it on the skin. For example, our Aker Fassi lip and cheek pigment is a recipe that makes use of a dried poppy flower that North African Berber women have used as makeup for centuries. It’s a beautiful, flattering shade of berry red and we were just so taken by its place in history.

What is your favorite scent you have created to date?

Jen— This is hard — I love Earthly because it’s just so different from anything I’ve ever smelled. It’s like grassy damp moss and violet leaves but also has a lot of lilac enfleurage in it. Not many people use real lilac because it’s incredibly difficult and time-consuming to make and has a more subtle scent than say a jasmine or a rose. But real lilac is incredible and complex.

Alice— Delta Dawn is my current favorite. It's a classic floral rose but has real depth to it — an underbelly. The star ingredient is a night-blooming Damask rose that’s harvested before the sun rises. You can smell the cool night air, but also the warmth and muskiness of the jasmine oil, known as the perfume of love.

How does art play a role in Kindred Black? Many of the handmade bottles sold are antique or vintage-inspired. Where did that shared interest spur from?

Alice— We’re both big collectors, verging on hoarders, and have shelves and boxes full of trinkets and treasures we’ve picked up over the years — everything from piles of shells and rocks to antique Lalique perfume vessels, antiquarian snuff bottles, folk art liquor jugs, and on and on. We often find ourselves using an old glass piece as a jumping-off point — or a piece that we’re lusting after in an auction or Museum catalog. The halls of The Met are filled with incredibly beautiful glass perfumes and cosmetic tinctures that have survived millennia. Pre-plastic everything, in the early 20th century, many cosmetics were refillable and came in the most exquisite packaging — lipsticks in sterling silver canisters, blush in bejeweled compacts. They were practically pieces of jewelry. We like to think of our bottles as precious objects that people will hold on to and cherish as the years go by.

You just launched your refill program. How do you hope this sways the wider beauty industry?

Jen— We were really excited to start doing refills for our skincare — like I said, our bottles are like little, individually made sculptures. We chose aluminum for the refills because the necks are wide enough to clean the bottle out and aluminum is the most easily recyclable material. We’re hoping that if a tiny company like ours can spend the money and do it, more of these million and billion-dollar brands will start paying attention to their footprint. They have such power to create real change, it’s heartbreaking so many of them choose to sidestep the opportunity.

Tell me about one of the strangest ingredients you have worked with.

Jen— We made a light summer perfume and skin treatment once to benefit the Ocean Conservancy and infused the ingredients with sea salt from the Sea of Cortez. Not a strange ingredient but it definitely gave the scent a unique profile. We once gathered large sacks of rose petals from the world’s largest rose bush that sits inside the courtyard of an old hotel in Tombstone, AZ. We had a lot of grand ideas for it but the petals couldn’t be cleaned well enough to be made into anything marketable, so we had to give up on it. Sometimes these experiments fail!

Alice— Maybe the strangest right now is quite widely used for cosmetics by everyone from Chanel on down because it’s a safe alternative to chemical dyes. The rich berry red of Night Venom is from a pigment that is made from the cochineal beetle, an insect native to parts of North and South America. It’s actually a stain that has been used for centuries – Cleopatra is said to have ground up the beetle in beeswax to achieve her renowned red lips. The Aztecs also used the pigment for dyeing and painting, and it was then brought back to Europe with their Spanish colonizers.

You just celebrated eight years. What do you hope is in store for the next few and how do you hope to continue revolutionizing the beauty space?

Jen— We’re always looking to make things less wasteful in everything we do. There’s always room to improve. We’d like for our line to be 100% refillable and are working on bottle design tweaks that would make that achievable. We’d also love to expand the glass operation down the road and begin recycling our own glass. Our mantra is “love for our mother” and it informs everything that we do.

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