‘There is an evident interplay of materials, combined through mechanical equations,’ says French designer Benoit Lalloz. ‘A central light axis seems to pierce the structure from top to bottom and bottom to top. Every function is visible.’ You could be forgiven for thinking these are the words of an architect describing his new skyscraper, but the structure referred to is actually Byredo’s ‘Infra Lunar 2.0’ – a device that blurs the lines between scent and lighting design.
Masterminded by Lalloz, this invention features a striking lantern-like cage of hot- pink, anodised aluminium that surrounds one of the Swedish scent house’s signature smoked glass candles. Above, a halogen bulb melts the candle wax, gently releasing the scent without the wick needing to be lit, while from beneath, a second light shines through the slatted circular base. Even the electrical cord (inspired by the wings of a butterfly, encased in vibrant, woven stripes of red, black and yellow) brings drama. It is proof that design is increasingly being seen as an integral part of home scent, elevating domestic fragrance into something that’s a treat for the eyes as well as the nostrils.
‘When designing a space, the first thing I think about is the fragrance, and how the materials would interact with it,’ says Miminat Shodeinde, adding, ‘scent is one of the most important senses for me; I feel it has such a strong bearing on how someone experiences an interior.’ Her interior studio, Miminat Designs, crafts bespoke scents that are integral to each scheme. ‘It often depends on the client and how they want the space to feel,’ Mimi says. ‘Some prefer a subtle, background aroma, while others enjoy a more immersive, enveloping scent experience. It’s all about finding the right balance to complement the he space, mood and, of course, the person.’
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‘I think there has been a societal shift post-Covid – we are much more invested in creating beautiful, all-encompassing experiences in our homes,’ adds the interior designer Franky Roussell, whose Manchester-based practice, Jolie Studio, incorporates scent design at the start of each project. ‘I think we want to soak ourselves in our spaces to reconnect with the real world for our wellbeing. We’re ready to feel a full range of emotions again.’
As well as asking clients about the textures and colours they love, she also collates their most-loved aromas and songs as part of a project’s initial moodboard. ‘We know there is a correlation between certain scents that support our mindset in different areas of the home,’ she explains. ‘It’s wonderful to lean into these, be it fresh, herbaceous notes in our kitchens, or comforting tonka and lavender-based scents in our bedrooms. The research is there; we can shape the purposes and memories of places for the better; adding a layer of value that is felt rather than consciously perceived.’
It’s this new desire for a more holistic home that permeates a fresh swathe of collaborations between fragrance brands and noted design forces. Take, for example, Diptyque’s ‘Artisan Masterpieces’ range, which includes a bronze reflector cocoon for its candles created in collaboration with Maison Intègre, a Burkina Faso studio specialising in an ancestral lost-wax casting technique. Or Italian scent stalwart Acqua di Parma’s recently launched ‘Chapeau!’ candles featuring a playful, dual ceramic container by Parisian designer Dorothée Meilichzon that riffs on the fragrance brand’s iconic art deco bottle. Then there’s Aussie wellness brand Aesop’s tapping of Vogel Studio and Studio Henry Wilson to craft voluptuous metal vessels for its fragrant incense and oils respectively.
The Brits are at it, too. At London Craft Week (12-18 May) EJM Studio launches the ‘Censer’, an incense holder that can be suspended, with scents by FKAH (Formerly Known As Haeckels). Fragrance-crafters Moro Dabron recently collaborated with antiques company Jamb on covetable (and refillable) bronze candle urns inspired by Pompeiian frescoes. And last month, Devon- based organic perfume house Ffern launched its first subscription candle, encased in a high-shine metal vessel featuring bespoke enamelled artwork by Cory Feder, created especially for each season (the first is an ode to Eostre, the Old English goddess of spring).
Designers are also taking it upon themselves to create inspiration-sparking repositories for all manner of scented accessories. Take Milan-based 6:AM Glassworks, which has just released a hand- blown palo santo burner. Ceramicist Henry Holland is leaning into the zeitgeist too – his vessels filled with candle scents are as eye- catching during the burn as they will be afterwards as objets d’art.
Ana Patricia Nikaido, founder of home- fragrance brand Aromaria, appreciates this intersection of the olfactory and the optical. In her collection, you’ll find eye-catching perfume sticks wrapped in petals, or barks infused with botanical scents. ‘These are all invitations to experience fragrance in a new, more immersive way,’ she explains. ‘A beautiful object elevates the ritual of scenting a space, making it something that lingers in both air and memory.’ Change, like an alluring scent, is in the air.
