THE STRATEGY OF A STORY,
THAT’S AN OLD STORY,
THAT’S A NEW STORY, RETOLD.
Why do you carry a story, that is another story (even brand story) that becomes your story — brought forward?
What does the listener hold? If there’s a scent – a perfume – could that story be an old story, that transforms to a new story?
Sometimes we’re telling a story that we’ve heard from another.
We listen — and take that story as our own, moving that forward — a trade to the newly transitioned. In that telling, the experiencer personally integrates that sharing.
A friend in London was talking to me about story and perfume — how, if the nature of the telling is provocative — the voice is more compelling; it transforms aspirations, ignites inspirations, dualizing the good and the bad. Interesting that the nature of much in the realm of fragrance seems to cross to — each generation — the wildly sensual, the physical, if not the wanton. Like Dakota Fanning and Marc Jacobs — “deplorable,” it’s been said. Banned, it has been.
Why — perhaps that scent lives in the memory space of the most deeply psychic — memory, meaning, recollection, environment experience. They all sync together — and come back to the body.
What is the story, the recollection, the memory that could be found here?
What is your story, why does this relate – carry forward?
This story goes back — and now, goes forward.
What’s an image, from this, you recall?
There’s something there — what is it?
To the notion of the scent, the containment, the packaged contentment. As designers, it’s an interesting proposition to the expression of holding brand. It’s something that we’ve written about, that idea of a degree of connection that the principle of something, an offering — it’s held, it’s beyond merely a “product.” It is something to carry forward. That story that is profound enough – that it is yours; you carry it forward, as your own.
I was thinking about that idea of holding — in this string, a new blast from Chanel [at the bottom], and the idea of the “woman, the bottle, the containment, the perfume.” What is the story, what container, what story — and how does a listener, an experiencer, relate?
Relate, coming from the Latin, relatus, “to carry.”
Lenthéric Parfums | 1920
Mystikum Parfum | 1925
Coty, L’Aimant Parfum | 1941
Germaine Monteil, Nice | 1944
Tuvache, Sumatra | 1946
Vent Vert, Balmain | 1947
Guerlain, Fleur De Feu, 1949
Caron L’Art du Parfum | 1952
Jean Patou Joy | 1955
Yardley Lavender | 1956
Dana, Tabu | 1958
Lanvin Arpege | 1959
Dana 20 Carats | 1965
Caron, Fleurs De Rocaille | 1966
Carven Ma Griffe | 1967
Guerlain Chamade | 1971
Chanel, No. 5 | 1972
Balenciaga, Rumba | 1988
Guerlain, Samsara | 1991
Kenzo, parfum d’ été | 1993
24, Faubourg, Hermès | 1995
Eden, Le Parfum Défendu | 1996
Tom Ford, Black Orchid | 2006
Stella McCartney | 2010
Bulgari, Jasmin Noir | 2011
YSL, Opium | 2012
Holding story. Holding containment. Holding scent.
Creating history. Creating content. Creating wholeness.
The point to the notation of story lies in the aptitude of the teller, and the listener. What is the story that the listener experiences, and how is that telling relatable, how is it carried, from one place, one person, to another. Brand lives on story — scent lives on the body, the memory gathered, the meaning held and the transformation of the wisdom of spectacle in experience.
tsg | the island
where it started, this goes back.
it’s a story that was.
And it’s a story that’s just returned.