Fragrance is an object of overlapping points of view. A scent, at any given moment, is made up of a series of simultaneous inputs and outputs, stimulations and exclamations. Its effects are both physical and psychological. While a scent can be worn by many, it still can feel quite personal by how deeply it individually touches us. Moreover, it is never static. I was thinking about this idea of fragrance as a combination of intertwining experiences while having a recent Twitter chat with Jane Daly. She had just shared an interesting article written by Kevin Depew of The Awl, telling the coming of age story of a man through a selection of his fragrance choices. A quick personal scent memory diary based on his active, aromatic life. Here is the original tweet:
Any guys out there identify with this? Smell Like A Man theawl.com/2013/03/smell-…
— Jane Daly (@daly_beauty) March 8, 2013
I really enjoyed the article, and suggested the idea of an article sequel based on some of the alternative fragrance points of view in Kevin’s life, perhaps a narrative told from experiences felt outside of his own personal connections to each fragrance; another person’s point of view added for richer context, recounting some of the same stories but from other perspectives; this could include scent alternatives worn by Kevin’s circle of friends and family. But what exactly do I mean by different fragrance points of view? To explain, let’s take a closer look at three other POV examples: Geometry, the writing of Bret Easton Ellis, and the directing style of Robert Altman.
Geometry and Fragrant Tangents
How do you draw a picture of fragrance?
In my mind, I always imagine fragrance as a curve. Why a curve? Two reasons really. First, whether worn by me or just present and experienced by me as I’m passing by, the scented stimulus has a beginning and end point. That same fragrance also has movement, never contained once released, dancing until it fades away into the air. This combined image of impermanence and movement reminds me of geometry class and drawing curves. (As a side note, I also used to do research in a GC lab. The readings output by the machines were literally series of curves, so this may also play a part in the why.)
Of course, a curve could symbolize a lot of things: a person, a brand, a fragrance… For now, let that curve represent Kevin’s original story. Life (and scent) seen through his eyes (and nose). Each point on that curve, another one of Kevin’s tales.
Now isolate a single point. How about Hai Karate Age 9? What else is captured in that point? Dwight, his mom, the den, the telephone, the couch… all these pieces are present in the scene and will have tangential relationships to Kevin’s curve. In geometry, tangent refers to a line, curve, or surface meeting another line, curve, or surface at a single common point. All of these other components mentioned are possible tangents to our Kevin curve. Now visualize walking away from our original Hai Karate point in the direction of one of these other curves (i.e. Dwight’s POV). Go off on a tangent. Doing so provides other opportunities to learn more about “Kevin Hai Karate Age 9.” It enriches our understanding of that one particular scent memory but looking internally and externally at that moment.
Thinking of tangents and curves reminds you to look in (take in your own personal thoughts on a fragrance) and to look out (absorb how the same fragrance effects your surroundings). To better understand the full effects a fragrance can have, allow yourself to look at a fragrance from multiple points of view.
Ellis and the Art of Switching Point of View
If math is not your thing, how about trying to view things from the perspective of the world of fiction? Take the example of Bret Easton Ellis’ “The Rules of Attraction,” a novel written using switching points of view.
When we wear fragrance, we sometimes forget that we are not the only ones who can smell us. Just as people come and go from our lives, they also share certain olfactive experiences with us. Each person has their own thoughts and reactions on the odors our bodies put off, some positive, some negative… but always their own individual thoughts. They may also be influenced by some of our personal scent rituals, before charging down their own paths. The world of fragrance is one of mixing and mingling. It is a series of overlapping narratives.
In “The Rules of Attraction,” Ellis drops us in the middle of Camden College to tell a non-linear story of three students caught in a debaucherous love triangle. It is an hysterical commentary on the death of romance told through the bouncing perspectives of its main characters (Sean, Lauren, and Paul) as well as a few minor ones (Victor, Clay). It capitalizes on the idea of a college at any given moment, being a collection of the stories of its students, staff, and visitors. A personal, yet shared experience.
Back to Kevin’s article, imagine adding points of view to his story told from outside perspectives in Kevin’s life, yet each still maintaining the original theme of fragrance. Will Dwight have another Hai Karate experience at age 15? Did Sharon notice Kevin’s Stetson? Suddenly the story is no longer just about Kevin, but about the larger world in which Kevin plays a part. It could remain a story that centers on Kevin. However, by looking to the related experiences of others, adding pieces from their points of view, the story could also help expose readers to a larger language of fragrance being used as communication throughout Kevin’s world, providing further insight into how and why scent was such an important component in his life.
In essence, we are retelling or expanding Kevin’s original fragrance story by looking through other sets of eyes, something I am asked to do every day in the world of fragrance creation. Looking in. Looking out. Looking all around.
Altman’s Unending Tracking Shot
Imagine fragrance is the camera shooting this opening scene from Robert Altman’s “The Player.” It wonders passed people, never breaking. It pans from character to character, lingering on some for a brief few seconds, while tracking others longer. Some effects of its path appear more meaningful than others, foreshadowing possible plots and subplots as characters dance in and out of the frame. Over time, the action settles in one place before finally ending at the 8 minute mark. It is a work of pure cinematic beauty, exposing multiple layers of substance in one elegantly uninterrupted shot. So, too, is fragrance.
Take inspiration from Robert Altman. Look all around you. Ask yourself, what is the fragrance story you are trying to tell? Is it personal? Does it effect other parts of your world? Who and what else is part of that story? And just how important are they to your narrative?
For another example of fragrance points of view, check out Christopher Street.
We share an history in olfaction. What’s your fragrance point of view?
