APPROACH

I work with scent as a condition rather than a statement, with no need for performance.

I’m not interested in perfume as ornament, seduction, or display. I’m interested in how scent behaves over time—how it opens, settles, and remains without asking for attention. I think of fragrance the way I think of light in a room or weather on skin: something you enter, inhabit, and carry with you, rather than something that announces itself.

My materials are familiar, but I use them structurally. I’m less concerned with novelty than with behavior—how sweetness disciplines itself, how air holds form, how warmth can exist without comfort. I let time do part of the work. Many of my compositions are incomplete until they’ve rested, until early softness recedes and something truer takes its place.

Provenance matters to me, not as story but as grounding. I’m drawn to materials that carry a sense of place or weather, and to processes that respect their natural limits. I avoid excess. I’m attentive to what can be removed without collapsing the whole. When something feels decorative, I take it as a sign to step back.

My anchors are truth and beauty, both understood as quiet things. Truth, for me, is structural coherence—nothing forced, nothing compensating. Beauty is what remains when a composition no longer tries to persuade. I trust the intelligence of the senses when they are given space.

If my work succeeds, it doesn’t impress. It steadies. It makes room. It allows the wearer to remain themselves, simply more present in their surroundings.