The more I learned and wrote about it, the more important it became to me. It is as obvious as it is universally unknown that scent is as legitimate and important an art medium as celluloid. They said yes, and I began writing the Times’s Scent Notes column. But I also love art and art history, and I told the Times I’d do it as long as they made me an art critic – my medium would not be painting, or music, or theatre, but scent. I was a specialist in Asia and economic trade theory, and I’d invested years in my career. Remnick assigned me to go behind-the-scenes at Hermes to follow the creation of a perfume, "Un Jardin sur le Nil.” My article for the magazine became, eventually, another book – The Perfect Scent – and led, immediately, to a meeting at The New York Times, which asked me to write about perfume for the newspaper.īy this time, I was wondering what the hell was happening with my life. My agent sent it to David Remnick at The New Yorker Mr. As I waited for the Eurostar, I began talking to a biophysicist, Luca Turin, who was researching the human sense of smell I wound up writing a book about him, The Emperor of Scent. I’m a journalist, and I was on my way to London to research a piece on then-British prime minister Tony Blair. My own relationship with scent began in early January, 1998, in the Gare du Nord station in Paris.
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