This fucking perfume thing really drives people a little bit crazy.
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After 30 years and over 100 cult fragrances, COMME DES GARÇONS PARFUMS 1994–2025 BY SIMONETT & BAER launches this month
Paige Silveria: Tell me about yourself. You make books.
Dino Simonett: My books are my art. Each book might be a painting or sculpture. And you should not do the same sculpture all the time. When you hike somewhere, you never should go the same way back home — this is something my mother taught me when I was young. In the same way, it's boring to make the same stuff all the time. So I try to find a way to invent my own language.
PS: This book you’ve made is really beautiful.
DS: It’s hyperrealistic larger-than-life images of boxes and flacons in an endless row presented on paper the thickness of a children’s book.
PS: I loved how it said in the press release that you woke up one Sunday morning and the idea for the book suddenly came to you.
DS: The backstory is that Remo Hallauer [COO of COMME des GARÇONS International] is a true book lover. We met at the Offprint book fair in Paris. And one day, shortly after peak COVID, this email came from him asking if I’d think about a possible collaboration with one of the young stars here — and no hard feelings, but it didn’t work out. So then, as it is in life, which is the essential thing, you have to have an idea. And most of the time, they’re not good enough. You have to have another and another and then you go, Ah ha! Perfume.
PS: And you’d already been pretty familiar with their fragrances?
DS: I’ve known this stuff since the beginning. I wore the first perfume they created. It was part of my life all the time, and I thought, It's so funny. There’s a connection with how I make the books: like two, three books a year, all collaborations and each is different. Just like their perfumes. So I immediately texted Remo.
PS: And what perfect timing, with the 30-year anniversary.
DS: Yes, but this was two years ago or so. I hadn’t had the jubilee in mind. It might not look like much, but there was a lot of work to do.
PS: Many of the advertisements and images weren’t archived, physically or digitally, right? You had to search all over for a good portion of the material?
DS: Well we also had to wait for the official deal to go through in the beginning. Adrian Joffe [President of COMME des GARÇONS International and Dover Street Market International] wanted to do it but he didn’t have the mind space at the time; they were about to open the Dover Street Market here in Paris. So we were on our own for a bit, developing the project from zero. We looked all over the Internet and tried to create the chronology. I had a young guy helping me. He kept reminding me to be patient and to continue to work on growing the book. The door was open, but we had to wait in front of the next room. So we took little steps to prepare ourselves. And stuff slowly worked out.
PS: And thank God for the Internet.
DS: Yes, because as you mentioned, there was no archive. We thought surely they’d have something in the basement. But no, that didn’t exist. At one point they sent us a list of all the perfumes so we had a clear checklist to manage. I had to become an expert.
PS: There are so many, over 100?
DS: Yeah, and at one point the CDG team was activated. It was like a machine and in the spring suddenly a load of stuff was coming. First we had to grow the grapes, then make the wine and then the grappa. And at the end, it's a really strong grappa. And so things came together, and then one day Adrian said, “All is fine, but Rei [Kawakubo] must now also approve it. This is how the system works.” But nobody had told me! So Remo met with Rei to show her the book.
PS: That’s a bit of pressure!
DS: She could have said no and we’d have to throw everything in the garbage, two years of work. There was indeed a little bit of pressure. But it was fine. She liked the book. Then at the end of this summer we met again and they asked if they could have some of the finished copies on 20 November in Tokyo. I said, “I’m sorry, what?” He was thinking that the book was finished, you know? I told him we still needed a lot of material to finish it. Sometimes it's nice though to have this pressure. It's motivating and thrilling when you finally accomplish it all.
PS: Let’s go back. How did your upbringing inform who you are?
DS: It has to do with nonconformal thinking. Most people think the same. And we’re constantly pressured as well, by everything around us to conform. You have to really fight to keep your head and so I had this upbringing with this rather eccentric mother who was absolutely nonconformistic in every way. She was resolute. Why should we follow the path of the masses? It was never my thing. Voilà.
PS: How were you in school?
DS: I was not so good at school. I was only skateboarding at that time. I was on the Swiss National Team. I even was here in Paris at a European championship when I was 15 at the Trocadero. And my mother said, “You are not going to school anymore. You need an apprenticeship. It makes no sense to send you to school any longer.” I was independent and had my first salary at 16.
PS: What were you doing?
DS: I was a carpenter making tables, chairs, all that stuff. All my friends went to high school with like 16-week holidays, while I had only four. And so it was really, really tough shit for a 16 year old. But I learned two important things. The first one was discipline; seven o'clock each day it started and lasted nine hours. And the second thing was precision; you have to do things right. People always said to me that the apprenticeship was good as I’d really use it for the rest of my life. And I always thought that was such bullshit. But actually, it's kind of true. And so anyways, the moment I finished my apprenticeship, the very last day of the last test, I went on the Interrail for one month and never went back to a carpenter shop.
PS: What’d you do after?
DS: I wrote a letter to this very super famous music guy, Claude Nobs who was organizing the Montreux Jazz Festival in Switzerland, telling him I’d like to work there that summer. I mentioned that I’d just finished my apprenticeship for carpentry. He phoned me back immediately after getting the letter. He said, “Oh you’re a carpenter? You can come right now.” He was renovating his apartment in Montreux. So I stayed and worked there alone while he was up at his chalet. I felt like Kevin McCallister from Home Alone in this completely furnished apartment. And then the festival started, and there was this guy from New York doing a large mural painting. It was Keith Haring. I had no idea who he was. We became friends. Then I met George Benson and Herbie Hancock. It started from nothing and then one thing comes, another thing comes, another thing comes. This is how I started, which is maybe not the natural way. But I was following my intuition and taking chances and putting myself out there.
PS: And you're going after what you have a passion for.
DS: I think that’s the best way to live one's life. It was like my own private art school. I met all the guys I was totally hot about. I met Joseph Beuys and told him I wanted to do an art project with him. I got his number and he told me to ask for his assistant. But I took everything for granted, what people said to me. So I had this phone number in Berlin. And I called the guy 20 times until this fucking meeting with Beuys finally happened. And we met and made a small collaboration art magazine called “Quer.” You just have to stick to the stuff.
PS: Wow. You don't still have one of those copies around, do you?
DS: I had one and I brought it to Remo at one of our meetings. Adrian saw it and immediately took it … I hope he gave it back to Remo. Adrian has a pile of my stuff that he wanted to see, so that’s good.
PS: Yeah, of any coffee table in the world for it to be displayed, his is probably in the top 10.
DS: So then I decided my dream was to be a film director. There was a film school in Berlin that I applied to. They only took about 18 people from 600. We waited all week to see this list on the wall for the final call back meeting. And my name wasn’t there. I was like, “Shit!” And then a week later, I received a letter saying I’d been accepted. Later the director told me it was clear enough with my application and the art magazine I’d sent that I’d be accepted. I don’t say this to brag. I say this to tell you that every young person that wants to go somewhere, all they have to do is fight. You have to get out of your house and your small town and your comfort zone and all that shit.
PS: I agree. So you’ve made films?
DS: I made a feature movie and went to the film festival. It was really amazing and everything, but I was not Tarantino, you know? So it’s the last semester and Tilda Swinton is supposed to teach a seminar. I really wanted to attend it. It would be the cherry on top of the cake. Then she postponed it once, then twice. The third time, I’m on the tube and there’s a woman in front of me with a newspaper that says that Tilda’s super mentor, Derek Jarman, had passed away. It’s the very Monday morning that her seminar is set to begin. And I thought, Oh shit. She’s not going to be there. But then she was there after all and it was a fantastic week. There were only five of us students and we all fell in love with her. And she fell in love with us. I’ve known her since.
PS: I can only imagine. How’d you make the transition into books?
DS: You have to find out what you're really good at. I had long discussions with this guru, an old guy who was a very diligent, very bright guy. I was really miserable, feeling directionless. He asked me why I wasn’t continuing with filmmaking. And I couldn't give him an answer. Then he said right into my face, “Probably it’s because you’re not good enough.” The message was one-hundred percent received. It was a relief; I'm not a bad person. This guy told me the truth, and I could accept it. And when you can do this, you can figure out what you actually want to do, what you’re actually good at. I started making books. I made one with another film director. And we visited Tilda at her hotel, bringing one to her as a present. As we’re knocking, I thought to myself, If I did another book focused on people in this business, it’d have to be her. And she opens the door, looks at the book and says, “Oh, I would like to have a book like this on me.”
PS: These situations seem unreal.
DS: I spent five years on her book, which was an enormous success. It included stills from all her films and launched it in different cities. Fantastic shit.
PS: And now you’ve just released this soon-to-be iconic CDG book.
DS: I've learned to be patient; things can take you years. This book with Adrian and Remo took two years and I didn’t even know if it was going to be approved! Follow your dreams as much as you can. It's not so important which dream it is exactly. If I see a step in front of me, I try to take each chance I get. This is what I wish for everybody, in whatever situation you find yourself, start to do something with nothing. This book started with just a simple idea. You can not find anything like this on the Internet, this compilation, this narrative. It’s something we had to bring together with enormous work. And here we are. I think in our digital, splattered times sometimes you have to make something which is real. That you can sit with and focus on in silence and really take time alone with it.
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Curtain Calls! Lara Violetta Brings Us the Second Edition of Violet Papers
Paige Silveria — You just released your second issue. How are you feeling? You can maybe relax a little bit?
Lara Violetta — It is very exciting. But it also never stops, there’s so much work that goes into the whole making of the magazine. Then there’s the aftermath as well, all the logistics and everything, so hopefully in two weeks or so I can slow down a bit.
You’re doing all the distribution by yourself?
We're a really small team; we basically do everything ourselves. I love working on it; it's super interesting to get to know all these structures, like building our own relationships with bookstores. Also for the online shop, there is so much going into it, thinking of all the packaging, trying our best to get the best rate for each country, etc. This time thankfully we have some help from a warehouse.
Can you describe Violet Papers for me?
Violet Papers is a fashion and beauty magazine. It is quite text-focused and a mix of emergent talent and people that have been in the fashion industry for a while. I love mixing things, always in every aspect. In getting dressed, doing my makeup or in our pages. It's always really important for me to have a great balance and contrast.
Tell me about the theme, Curtain Calls.
It's the theatrical issue, so we really wanted to create a whole fantasy. Like in the fashion world, looking back at the Margiela show, for example, with the performative walk — everything can be so theatrical in a way. I'm thinking about a quote from Capote, where he says something about how all the future exists in the past. That’s also really the magazine’s core in a way. We were aiming towards a ’90s kind of publication vibe. Less like typical modern magazines, which mostly are very image focused.
And what have you learned now that the second issue is complete?
If you think about how many people are involved, you can get a glimpse of how much work it is in the end. You have to be really obsessed with it because you dedicate so much time to it. I've definitely learned to be really straightforward, to push myself out of my comfort zone. It’s a never ending learning experience for me.
I can imagine it’s a bit of a story of personal growth as well, learning a lot of patience! Tell me about your background. You’re from Bavaria?
Yes, I grew up really outside of Munich in the countryside. It wasn’t even a village, it was more of a house in the forest.
How far was your closest neighbor?
It was very isolated, but I really always loved being by myself. I was a crafty kid, very dreamy and happy when I just could be by myself and draw.
Tell me about your parents; what do they do?
My love of magazines definitely also comes from my father who’s worked for a publishing house my whole life. He was the Art Director of German Vogue for over 18 years. He definitely had a huge impact on me.
And you went to Berlin for studies?
I was really happy to move to Berlin for my bachelor in communication design and my master in design management. My bachelor was more creative; I learned the whole spectrum, like typography, editorial design etc., later I focused more on marketing. Design management focuses on the structures in design, more about business strategy.
These sound pretty relevant to both of your focuses: running a fashion magazine and also the influencer part, of putting yourself in front of a camera and marketing yourself.
When I moved to Paris I had no job and didn't speak french. It was COVID, we were all at home and I was like, Okay, fuck. I have this one shot to be in Paris. I can't mess it up. I started as a freelance graphic designer. I would make 3D animations; it was really like all over the place. But I felt that I could experiment more since I was in a new country and nobody knew me. I always loved making videos, so I uploaded my first YouTube video and, luckily, it grew. But my father, who has been a part of the golden times of print, didn't like how the world was evolving with social media. He's always supportive but I don't think he really understood what I was doing.
Is it better now?
I hope so. I'm also really grateful for being an influencer. It is a great tool and generous in so many different ways. You can really make it your own.
Where do you think that negative connotation comes from?
Maybe it comes from people thinking there are people making a lot of money while not really working, as it all looks so easy.
So maybe they’re just envious? Because since the beginning of time, the rich haven't worked either. They’re born into family money that generates wealth for them. But from my understanding, there’s often a good amount of work that goes into being an influencer.
Yes, I’ve always been very protective of my work. For example, I’ve never had an agent or a management team. When I started the magazine, I realized how much I benefited from building my own relationships in this industry.
The magazine’s biannual? How big is your team?
Yes, it’s every six months. I have two amazingly talented writers and a brilliant art director. We work super closely. I feel really lucky to be able to work with people who also like to put so much dedication into their work. The structures are a bit blended, so everyone has their input for everything. And I've learned so much from them. It's really a great atmosphere.
It must be fun to get creative with the advertising as well as an influencer who already comes up with new ways to create branded content digitally.
When getting into the planning of this project at the beginning of last year, I would be at home by myself writing documents and documents about my ideas. I thought, how can I transform what I post online into print? When I open a magazine now, there are the advertising pages with all these high glossy brands, which I desire and love to look at. But I think you also need something that is more accessible and personal. So how do we mix this? It’s nice to see products that maybe one day I could imagine purchasing, but I decided to also feature ads for fashion podcasts that I like to listen to, vintage archives and maybe even a nice coffee place. It has to be a mix.
Taking it beyond just those little squares of classifieds you’d see in old periodicals and doing proper ads with these establishments.
It's interesting to see how it performs on printed paper. But in the beginning, when I started to reach out to brands they said they’d love to be a part of it but they were so confused as to what I had in mind. I was cringing, they would be like, yeah, Lara, “It sounds great, but I don't know what you want from me.” Trying to push this idea, of course that means that some of the ads might need extra attention and work from our end, to make sure it all works out perfectly for both sides. That's another thing I appreciate about my whole team, they see the value here and put in the extra work.
I recently did a studio visit with Laura and Deanna Fanning who created an ad specifically for your first issue, right? It must be so fun to see how the community comes together and supports one another’s creative projects.
Oh, I love them. Yeah, I’m so grateful for their support. It's a great honor. When people see that there is real dedication and compassion for the project they are open to support the vision.
Limited budgets often lead to such innovation, whereas too much freedom can sadly lead to some pretty bad work. Thinking of film directors for instance.
If you don't have a big budget, you try to find solutions and have to get creative; that's where the interesting things happen. Our covers being text covers is a great example for this. It was a solution for the first issue, since our options were limited. It worked great as it stands out and awakes interest. Which is why we continued this idea.
Will you bring back the paper bag? It’s such a great idea. So much to do with it.
Yes, I got the idea because I always carry magazines around. But since the publications got bigger and bigger as they released fewer each year, you basically need a backpack. As we know, necessity is the mother of invention. We found an amazing production in Italy, the Paper Bags are Handmade. As I put all my energy in the project I was a bit burned out after the release. Now for the second issue I feel stronger and am also very excited to work on the Paper Bag again.
You had to build that muscle.
Indeed, when the project was finished, I of course wanted to post both the magazine and the bag on socials. But I was so close to the project that I couldn't even talk about it anymore for a bit. Then we finally took some time off and when I came back to Paris, I made another video about the paper bag, really explaining it. The video went viral and suddenly it was sold out and everyone was obsessed. We are now working on the second edition.
For the first issue, you focused on parasocial relationships. It was interesting to me, studying Marx in school, we discussed how he believed human relationships to be paramount for a happy, fulfilling life. And I always felt like some of the most pivotal of those in my formative years were that with characters in books, like Jane Eyre. Feeling so seen through this one-sided communication with the past.
Exactly, because you also put your dreams into that person because it sparks something in you and then you add it up to it. And whether the person in the end is the person that you think it is in the head or not, it creates something in you that might be much bigger.
