To tell stories beyond the threshold of conventional artistry is to go against the grain. But how can storytelling be reimagined as a sensory experience? Francis Kurkdjian reorients this by integrating cross-disciplinary ideas into his perfumery, leveraging a melting pot of influences to enrich his creative philosophy. “Fragrance is the language I use to express my creativity and tell stories. A writer uses words, a painter uses colours, and I use scent. By blending fragrance with other art forms, I can explore emotions in ways that transcend traditional boundaries,” Kurkdjian said. “This approach enables me to create immersive experiences that engage the senses fully and break conventional rules of scent-making.”
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True to his artistic integrity, the master perfumer conceptualised an olfactory installation that was exhibited at the annual West Bund Art & Design in Shanghai, the city’s largest contemporary art fair. “It’s fair to say that there has been a longstanding relationship between art and perfume throughout history—a relationship characterised by shared aesthetic principles and sensory engagement,” Kurkdjian remarked. An inception built upon Kurkdjian’s love for roses and porcelain—two components native to China—the sculptural piece Sparks of roses (Éclats de roses in French) came to life through a collaborative effort with France’s finest porcelain workshop, Manufacture de Sèvres, scenographer Cyril Teste, designer Nina Chalot, and composer Yannick Kalfayan.
Although the emergence of porcelain in sixth-century China and its evolution in Jingdezhen are well-documented, the history of the rose—introduced from China to Europe in the 18th-century—is a lesser-known tale. Kurkdjian’s intention of unearthing this cultural wealth and its diplomatic ties to France led him to experiment with creating a new type of porous paste designed to retain fragrance.
Cyril Teste and Francis Kurkdjian.
“Porcelain is a tangible representation of artisanal skill and history, while roses symbolise beauty. Together, they embody the heritage of two distant cultures, connected through centuries,” Kurkdjian elaborated. “Sparks of roses reflects this interplay, illustrating how art can capture fleeting emotions, while honouring the enduring legacy of ancient craftsmanship and fostering cultural dialogue.”
The creation process, however, was complex and demanding—entailing extensive trials and a deep understanding of the materials and techniques, with input from six ateliers over three months. The petals were fashioned from soft-paste porcelain, a traditional medium known for its pure whiteness, which is still produced on-site at Sèvres. Moulds were handcrafted in the plaster workshops to imprint each petal individually before they were carefully unmoulded and sculpted for a unique finish. Finally, the petals were fired at 1,050°C for 10.5 hours, polished and infused with fragrance. This painstaking process not only tested the technical abilities of the artisans involved, but also deepened Kurkdjian’s appreciation for the construction behind the piece.
“We must embrace experimentation with new materials, technologies and creative approaches. This spirit of innovation ensures that both perfumery and traditional arts stay dynamic and relevant, while still preserving the wisdom and techniques passed down through generations,” Kurkdjian emphasised.
The scenography was divided into three stages. The experience began with a poetic narration of the rose’s passage from China to France, mapping the growth of the ‘Queen of Flowers’ in terms of species, scent and colour. Lighting embedded within the installation’s walls evoked the fluid motion of the petals as they appeared to flutter, while sound effects contributed to the immersive quality. The second phase presented a documentary film, offering a behind-the-scenes look at the creative process and spotlighting the artisans at Sèvres. To heighten the immersion, visitors were invited to utilise iPads in augmented reality mode, where they could view three-petalled porcelain roses releasing virtual petals into the air.
“Perfume always resides on the positive side of life. It never crosses into the darkness of life or afterlife. Art, however, encompasses the full spectrum of emotions, both positive and negative. This is why I believe olfactory installations can create an entirely new realm in the world of scent, offering real art and new emotions,” Kurkdjian reflected. “It’s a territory where I can explore feelings that I could never express within the confines of a wearable fragrance.”
