After Olivier Polge took over the reins as Chanel’s fourth in-house perfumer from his father and legendary perfumer Jacques Polge in 2015, Chanel’s olfactory offerings have evolved and embraced novel interpretations that honour Gabrielle Chanel’s legacy. Armed with a background in art history, Polge embodied an artistic sensibility in his craft that intertwined history, culture and scent. This perspective allowed him to view fragrance as an expressive storyteller beyond merely a product of Chanel’s enduring style.

“A good scent lifts the spirit. It’s like the smell of fresh bread or coffee in the morning — simple yet evocative, much like the understated elegance Chanel embodies”

— Olivier Polge

Polge’s journey into the world of perfumery was not an unequivocal path carved out by virtue of his father’s career. He distanced himself from his father’s work and delved into art history. “Since my father was a perfumer, I didn’t want to follow in his footsteps as a teenager,” shared Polge. It changed one summer when he caved into scent’s compelling nature during a summer internship in his father’s fragrance lab. That discovery of how delicate the dance of perfection is between technical prowess and creative intuition drew him in. The hands-on experience ignited a fire within him, one intoxicating enough to steer his life towards the path of perfumery. However, contrary to what most people would expect, Polge did not learn the ways of perfumery from his father. “When I wanted to train in perfumes, my father thought it was a good idea to send me away. Instead, he sent me to learn from others,” said Polge. “He taught me more about building my sensibility and taste and indirectly shaping my professional approach.”

At the heart of Polge’s philosophy lies the commitment to create and transform instead of simply reproducing an existing fragrance. Polge’s work on the N°5 L’Eau, released in 2016, showcases this philosophy. He revisited the foundational elements of the original N°5 but reimagined them with a modern twist. It was fresher, lighter, and spoke to contemporary sensibilities while retaining the N°5’s signature complexity. Polge has since created 20 new scents for Chanel, including this year’s latest addition to the Les Exclusif range, the Comete.

As the global landscape evolved, so too did scent preferences. Polge remains acutely aware of the importance of creating universally appealing fragrances. Instead of chasing trends and fads, Polge roots his creations in Gabrielle Chanel’s pioneering spirit and universe, weaving them into each new fragrance he creates. We spoke to Olivier Polge during his first-ever visit to Singapore and Southeast Asia about Chanel’s olfactory universe and more.

It’s your first time in Singapore, and you have visited Chinatown and Little India. How do you think different cultures influence perceptions of fragrance?

Diversity is important, and I’m glad we live in such an interconnected world. Perfume is a cultural element, and even though Chanel is a globally recognised brand with roots in French and European culture, we create scents from France for the world. It’s beautiful to see how different countries have their preferences.

Fragrances can smell differently on people. Can you elaborate and share what someone should look for when choosing a fragrance?

There’s a chemistry that makes a perfume bloom differently on each person. This individual reaction is part of what makes perfumery so interesting. There isn’t a single correct answer when choosing a fragrance. I create scents with a specific identity that’s meaningful to the brand. I believe it’s intriguing when someone chooses an unexpected scent for themselves, much like how they might decide to dress uniquely.’

“Gabrielle Chanel’s vision was about transformation — taking the ordinary and making it extraordinary. It’s this philosophy I carry into every new fragrance creation”

— Olivier Polge

How do you reinterpret a classic like Chanel N°5 to appeal to a modern audience while respecting its history?

Rather than focusing on legacy and history, I view it as a style. When we celebrated 100 years of N° 5, I realised we no longer make perfumes the same way. The N°5 has a strong identity, allowing us to experiment with its structure, like with N°5 L’Eau, where we dressed the classic elements differently.

How do you push the boundaries of perfume making at Chanel, and what traditions do you choose to honour?

You always have to play with the boundaries. Chanel perfumes are not tied to specific raw materials, giving us the freedom to explore. However, it’s crucial that the creations are meaningful to the brand and add something new to our signature.

“Fragrances bloom differently on each person; this is where the magic lies. It’s about creating something personal yet universally resonant, just as Chanel intended”

— Olivier Polge

Can you give us an example of pushing boundaries in a fragrance?

For instance, with Le Lion de Chanel, one of my creations in the Les Exclusifs line, I aimed to capture an impression we didn’t already have. It’s a powerful scent compared to others. Sometimes, links emerge with past creations, even if they weren’t intended. That’s the beauty of it.

When creating a new perfume, do you look back at past creations or start from scratch? Has there been any creation you felt wasn’t ready and revisited later?

It depends. For N°5 L’Eau, I examined previous formulas to find its essence. However, I started with a new formula with Gabrielle Chanel (the perfume). I always have ideas outside of specific projects. Sometimes, I experiment with a combination of raw materials that can later become part of a perfume. It’s an ongoing process of exploring potential scents.

Are there ingredients in Chanel’s fragrances that you find fascinating or versatile that can appear in different perfumes yet take on unique characteristics?

Yes, certain raw materials can have a subtle or transformative role. For instance, iris is not an outspoken ingredient but interacts beautifully with woody notes. Flowers often play a crucial role at Chanel, either major or secondary, creating a thread that links the different elements. Some raw materials, like gardenia or lily of the valley, have incredibly strong scents that the industry doesn’t know how to extract.

Given your heritage, I’m sure life has always been filled with fragrances and perfume making. At what point did you realise you had a passion for perfume making, and what made you decide to pursue it?

Well, I realised it quite late. Since my father was a perfumer, I rebelled against following in his footsteps as a teenager. I was studying art history instead. One summer during my university days, I interned at my father’s lab, and that’s when I discovered the appeal of this craft.

Would you say that stepping away from perfume-making gave you a new perspective when you eventually returned to it?

It was a more intimate process. It’s like watching your kids grow when you become a father. You guide them but allow them to find their way back if they want to. In my case, I was fortunate that the door was still open for me.

You succeeded your father in 2015. Did you discover surprising facets about him as a father that you hadn’t noticed before while researching his work?

I knew his creations well before I joined Chanel. It’s hard to separate his professional persona from being my father. He didn’t teach me perfumery directly; instead, he sent me to learn from others. What he did teach me was more about building my sensibility and taste and indirectly shaped my professional approach. On a professional level, I began to understand his taste for patchouli and certain fragrances when I researched his work more deeply.

This article was first seen on Men’s Folio Singapore.

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