Though journalist James Harkin‘s theory sits in the context of economics, it could be applied to the rise of niche fragrances we are currently witnessing. While large beauty corporations like Coty, Givaudan or International Flavors and Fragrances (IFF) continue to thrive, small ‘niche’ companies have proven to be highly successful competitors.
Fashion, sex and fragrance. All are, whether in a tactile, carnal or olfactorial sense, desires to be fulfilled but also generators of desire in themselves. A large motivating factor in dressing and scenting ourselves is in the hope of attracting a sexual partner; we dress to be undressed, and scent ourselves to invite someone to take a step closer.
Fragrance plays a pivotal supporting role for fashion companies by offering a democratic way for consumers to buy into an otherwise unattainable luxury brand. Fashion houses thrive, even depend, on something as seemingly transient as a bottle of perfume.
The main similarity between fashion and fragrance seems simple enough: we wear both on our bodies. However, there are more complex coinciding structures within these decorative matters of the human flesh at second glance. Beginning with Coco Chanel’s eponymous ‘No. 5’ fragrance to the more recent trend of celebrity fragrances, the following series considers the correlations between the consumer industries and ideologies behind clothing and perfume.
The digital screen and fashion form the cornerstones of modern day consumer culture. Now the two are increasingly fused, but back in 2009, Alexander McQueen was one of the first designers to capitalise on this. The designer brought his creations into the digital sphere by live-streaming the apocalyptic, sea creature-inspired spring/summer 2010 vision, ‘Plato’s Atlantis’, on SHOWstudio.com.