Christine Nagel – The Alchemy of Scent

Maria Joudina: You began your career in a laboratory, far from the poetic world of fragrance. Do you think your scientific background gives you a different creative lens than most traditionally trained perfumers?

Christine Nagel: Yes, absolutely. I have a background that’s quite different from other perfumers. Undeniably, it gives me a different way of working. I won’t claim it makes me better, but I do have a different approach. I’m not afraid of anything because the technique is really there, it’s completely present.

MJ: From science to art: you’ve described perfume as a kind of painting. What do you see first when the scent idea comes to you? Is it colour, material, memory or something else?

CN: When I think of perfume, the first association I make is texture. Then I think of colour as well, but I never think of music for example. Other perfumers might think of music, perhaps, but not me.

MJ: Your transition from Firmenich to Hermès feels almost cinematic – precision giving way to poetry. Was Hermès always the dream?

CN: When I started in perfumery, my dreams were modest. First, to become a perfumer. Then to work in Paris – I’m from Switzerland. When I came to Paris, my dream was to work on beautiful projects. My first was Eau de Cartier for Cartier, which felt like a dream. Over time, I worked with key creators like John Galliano, Karl Lagerfeld, Narciso Rodriguez – each a little dream in itself. About 15 years ago, ‘I asked myself, what’s your dream today?’ To become an in-house perfumer was a dream. Paris’s six great maisons – Chanel, Dior, Louis Vuitton, Cartier, Guerlain and Hermès – Hermès was the one that truly made me dream. It felt unattainable. So when they offered me the role, it was incredible. Today I’m living that dream, with total freedom.

MJ: That must be an amazing place to be.

CN: Yes, it’s wonderful to fully enjoy the moment instead of always chasing what’s next.

MJ: Are there fashions for fragrance? What influences those?

CN: I’m not a priestess of trends – by the time you spot a trend, you’re behind. But yes, there have been periods: unisex fragrances 30 years ago, dramatic floral notes and unfortunately, a long spell dominated by overly sweet notes that make perfumes indistinguishable. Today, post-pandemic, people realise how important smell is. Losing it during the pandemic was hard. Many seek strong signature notes, often layering scents to personalise their fragrance. Niche perfume houses have opened up, focusing on signature rather than just classic.

MJ: That’s a great point – losing smell changes how you experience the world. You mentioned you don’t think about fragrance in gendered terms, but do women approach fragrance differently as creators or wearers?

CN: It’s more about sensitivity than gender. A woman can have a more masculine sensitivity or vice versa. I don’t believe in gendered perfume. It’s more about personal culture and background. Indian perfumers and Middle Eastern perfumers experience fragrance differently – that’s very interesting.

MJ: Speaking of your latest creation, Barénia Eau de Parfum Intense, you said touching Barénia leather creates a fusion with skin. How did you translate that sensation into scent?

CN: In Barénia, patchouli plays a key role – it’s present throughout the perfume. I wanted to work differently with patchouli absolute, which is like a magic potion – deep and sensual. The other key is Barénia leather, a heritage leather for Hermès. I spent time with artisans and was fascinated by their passion. They explained how a scratch on leather disappears when rubbed – turning caress into art. This idea of the perfume living well on skin and giving a caress back was inspiring. Leather gains patina over time – the older it gets, the more beautiful it becomes. The same is true for chypre fragrances, which gain patina over time. I wanted to capture this tactile softness and sensuousness. Though I couldn’t use actual leather extract, I recreated the sensation with a soft, tactile palette.

MJ: That’s beautiful. Who is the Hermès woman you envisioned when creating this bolder, more complex Barénia?

CN: I didn’t think of one Hermès woman in particular. I see Hermès women as women of character – adventurers, artists like Sonia Delaunay or Nancy Cunard. Women who trust their instincts, choose their lives deliberately and embody simplicity and quality without ostentation.

MJ: Trusting instincts – definitely a superpower.

CN: Yes, women are very strong when it comes to that.

MJ: This scent feels very gender fluid to me. Is that intentional?

CN: Honestly, I was inspired by strong women, but I was surprised and pleased that men also wanted to wear it. It’s very good on men, which is a pleasure.

MJ: Lastly, with all these beautiful bottles behind you, what fragrance are you wearing today?

CN: I’m lucky to have such heritage around me. I can’t pick a favourite – I always prefer the next one. Today I’m wearing the Barénia cream and eau de parfum intense together – they go very well.