L'Officiel Hommes engages in a conversation with esteemed French perfume designer Barnab&eacute; Fillion, delving into the intricate essence of Aesop's latest fragrance creation, Ouranon, to uncover its visionary concept and meticulous crafting process.

Renowned French perfumer Barnab&eacute; Fillion, the creative force behind Aesop's esteemed fragrance lines, including the captivating Othertopias series, has cultivated a distinguished career by elevating perfumery beyond the realm of mere olfactory encounters. His unique perspective on fragrances arises from his synesthetic sensibilities, a fascinating neurological condition that intertwines his senses.
As we commemorate the launch of the latest and final addition to Aesop's Othertopias collection, Ouranon, Barnab&eacute; Fillion, reflects upon his collaborative journey with the brand, delves into the narrative behind the genesis of Ouranon, and explores the profound concept of "an end without an ending."

(Image credit: press)

How would you describe your enduring collaboration with Aesop, which has been ongoing since 2012?
I feel pretty lucky to be working on both new research and expanding on our initial collaboration ideas. It's been great to take my fresh research and build upon the perfume concept, making something truly unique compared to what's out there. These innovations can touch various aspects, from the sensory experience to the overall theme, even delving into architecture and literature. It's like a fantastic playground for me to gradually develop and pay attention to every little detail.
How do you tackle the challenge of translating a concept into a fragrance?
For me, it's not too tough. I view concepts as a blend of imagination, intuition, and the result of some good old-fashioned effort. They tend to come to me quite naturally. Working with Aesop has been fantastic because they're very open to my concepts and ideas. We don't get bogged down by briefs or trends; instead, we focus on research and let it guide us down the path we had in mind from the start.
The process can take various forms. Sometimes we kick things off with an idea and then piece together the ingredients. Other times, we start with an idea and then visualize the perfume. And occasionally, we build the perfume step by step and only later develop its concept. It really can happen in many different ways.

During the development of Ouranon Eau de Parfum, did you explore any novel approaches or ideas?
This perfume has its unique strength, and it's closely tied to the concept of 'end.' It also explores the idea of the fleeting nature of things, which contrasts with the notion of something enduring and solid like a monolith. So, bringing these ideas to life has been quite fascinating. We've delved into using more volatile ingredients, employing techniques like CO2 extraction and experimenting with various processes along the way. 

What aspect of the new Ouranon do you find most appealing?
I really appreciate how the fragrance captures the sense of minerality. We've even gone a step further by infusing earthy seeds to evoke a sort of geographic memory of the spice root. The combination of ingredients gives it a light and present quality, with a hint of ephemerality. When it comes to the texture and the overall vision, we're aiming for a balance between the solidity of a monolith and the vastness of a desert. To achieve that earthy note, I've experimented with various ingredients and extractions to create that dry desert sensation.

Aesop Ouranon Eau de Parfum

How does the concept relate to the notion of 'end'?
The concept of "the end" isn't about something that already exists. It's about things that have disappeared but are still somehow present, constantly resurfacing and never truly vanishing. Monoliths, too, have their moments, appearing at times and then retreating to the core point of existence. It's not about closure, but more like an invitation to reflect on all the concepts we've introduced in this Othertopias collection. They're interconnected, all revolving around the idea of freeing both humanity and nature. If you think about it, it's like diving into the mindset of the boat's departure, similar to the captain in the story of Moby Dick. He's consumed by rage against nature, fully aware that he won't survive the hunt, yet he's pushing everyone on his ship toward that pursuit. It's the madness of his relentless battle against nature.&nbsp;
What excites you about the current state of the fragrance industry?
I'm looking forward to witnessing more projects that move away from extravagance and focus on elevating the senses. Using perfume as a catalyst to explore other creative mediums is incredibly thrilling. This is particularly exciting for my project at Arpa, where I collaborate with various individuals, communities, and clubs. We experiment with different forms of synesthesia, blending them into the realms of painting, photography, and music.

In your opinion, what is lacking in the world of perfumery today, and is that something you consider while creating new scents?
Perfumery has existed in its own bubble for quite some time, often playing it safe and sticking to the familiar. It's the smaller brands that have dared to step out of their comfort zones and explore new frontiers. However, there's still much work to be done to truly revolutionise the industry. I'm in the world of perfume because I've always believed that something was missing, and I'm convinced that we can make a real difference and fill that gap.&nbsp;
As the final fragrance for the Othertopias collection, how do you envision Aesop's future fragrance line?
I suppose they'll always revolve around the core ideas of the nucleus, forms, and the expansion of these concepts. It's about creating something that's inherently self-explanatory.

Visit <a href="https://malaysia.aesop.com/collections/fragrance/products/ouranon-eau-de-parfum">www.malaysia.aesop.com</a> to shop and for more information.

Aesop’s Ouranon through the eyes French perfumer Barnabé Fillion

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