Summary:
- Francis Kurkdjian, Dior's perfume creation director since 2021, prioritizes storytelling over conceptual frameworks in fragrance development
- His latest creation, Bois Talisman, draws inspiration from Christian Dior's personal superstitions and wooden good luck charm from the 1950s
- The perfumer combines traditional craftsmanship with personal talismans, using a sugar cube as his own lucky charm during career milestones
Francis Kurkdjian sits in a quiet art gallery in Paris's 17th arrondissement, away from the chaos of Fashion Week outside. The 55-year-old perfume creation director at Christian Dior Parfums presents his newest work: Bois Talisman, a unisex fragrance for La Collection Privée, the house's most exclusive line.
The fragrance represents Kurkdjian's philosophy of narrative-driven creation. "A story has more possibilities; you create a story", he explains. "A story resonates, there is a different savour. It's more tactile, more tangible". This approach contrasts with what he sees as the sterile nature of conceptual work, which he compares to a chemical formula.
Since joining Dior three years ago, Kurkdjian has approached each creation as a dialogue with the house's founder. His research into the archives revealed footage from a 1955 American television interview where Christian Dior discussed his collection of good luck charms. Among these was a small piece of wood that the designer touched throughout each day for comfort.
Dior's relationship with superstition was well-documented. He consulted fortune tellers before major decisions and carried multiple talismans including hearts, lily of the valley sprigs, a gold star, and a four-leaf clover. "He wanted reassurance and wanted to be guided or have direction", Kurkdjian notes.
The perfumer's own connection to superstition differs in intensity. He recalls childhood memories of his mother using ouija boards and family members reading coffee grounds. "It was always playful, but for Dior it was very serious", he observes. Kurkdjian maintains his own talisman: a sugar cube in his left jacket pocket, though he has relied on it only twice in his career.
The first occasion was in 1995 when, at 26, he created Le Male for Jean Paul Gaultier. This fragrance launched his career and achieved global success. The second time came four years ago during his interview with Bernard Arnault, LVMH's chairman and CEO. He secured the position at Dior.
At Dior, Kurkdjian has pursued dual strategies. He has updated house classics, launching L'Or de J'adore in 2023 as a new interpretation of the signature scent. Last year brought Sauvage Eau Forte, the maison's first alcohol-free, water-based men's fragrance. Simultaneously, he has expanded the fragrance portfolio with entirely new creations.
For Bois Talisman, Kurkdjian imagined Dior's wooden charm as a cedarwood pencil, connecting it to his own sugar cube talisman. "The story is there: a piece of wood, a piece of sugar, see that, wood in vanilla – done. Easy. I think the great stories are the simplest ones", he explains.
The apparent simplicity masks complex construction. Without access to Dior's original wooden piece, Kurkdjian worked from archival photographs showing an object resembling "the tooth of a tiger or the tail of a pig". He chose cedarwood because both he and Dior used pencils in their work – Kurkdjian for writing formulas, Dior for sketching designs.
The fragrance layers multiple vanilla variations, from synthetic vanillin to expensive vanilla essence. "Vanillin is more powerful in terms of strength and it's more long-lasting, but the vanilla brings the complexity and richness", he explains. He compares this layering to couture construction: "You have your outside fabric, which is your vanilla bean, and inside it's lined in linen, which is a cheaper fabric, but it's the one that helps to maintain the whole thing".
Born in Paris to Armenian parents, Kurkdjian discovered his passion for fragrance at 13. He studied at ISPICA, the prestigious perfume school in Versailles, followed by a master's degree in luxury marketing. Le Male established his reputation early in his career. In 2001, he opened a bespoke perfume workshop, later collaborating with designers including Rick Owens, Hedi Slimane, and John Galliano.
His 2013 commission from Baccarat for their 250th anniversary resulted in Rouge 540, which became one of the century's most sought-after fragrances. This success preceded his appointment at Dior, where he applies his distinctive creative process.
Kurkdjian possesses extensive knowledge of ingredients and essences, but relies primarily on intuition. "Basically, it's like when you have the story in mind, you smell the perfume, at least I do", he describes. "I have this story in my head and in my body, the feeling I have if I would smell the perfume, but there is no scent and my whole work is to create and blend with my raw materials the perfume that will give me that feeling".
The development process involves careful experimentation as formulas evolve. "I stop when what I had in my head matches what I have in my bottle. When I get there, then I am happy. And relieved," he says. This satisfaction isn't guaranteed – some projects remain unfinished when his vision doesn't translate successfully to fragrance form.
With Bois Talisman, the elements aligned successfully. The woody oriental fragrance combines smoky cedarwood with layered vanilla notes, creating what Kurkdjian describes as warm, creamy richness. As he discusses the challenges of his craft, he unconsciously touches his pocket where his sugar cube talisman rests, a reminder of the personal rituals that continue to influence his professional practice.
Share this article
Kristin Kaye
Insatiably curious about human expression, she immerses herself in literature, theater, art, and dance. Her academic journey led to degrees in Modern Literature, where she delved into The Furioso, and Historical Sciences with a focus on Contemporary History. Her studies took her to the prestigious Erasmus University Rotterdam, broadening her international perspective.
Her passion for culture isn't confined to personal enjoyment—it spills onto the pages of various publications. There, she explores not only artistic endeavors but also civil rights issues and the myriad ways human culture manifests itself. For her, writing about these topics isn't just a profession; it's an irresistible calling that stems from her deep-seated fascination with the human experience.