Color as a story: the Illuminum perfume brand explores the field of perfume through architecture


Color as a story: the Illuminum perfume brand explores the field of perfume through architecture

The Illuminum fragrance gallery in London unveiled a new installation by the architect Antonino Cardillo, which suggests a whole new way of communicating scent to a curious audience.

Originally the offspring of hairstylist Michael Boadi, already the creative force behind the Boadicea the Victorious fragrance line, Illuminum began life as a line of around 30 distinctive fragrances, and with the help of investors, s’ is housed in the main gallery and fashion retail. Dover Street plaza in London’s Mayfair in 2011. Last year the creative direction shifted from Boadi to Asakala Geraghty, a former Central St Martin alumnus, has so far been praised primarily for her own couture knitwear brand.

Under Geraghty’s guidance, the focus was on using art and architecture to present the olfactory stories generated by the brand. Earlier this year, abstract graffiti artist Remi Rough unleashed himself in space, transforming it entirely into a work of art, inspired by Illuminum’s latest launch, White Oud. Three months later, the space was redesigned by sultry architect Antonino Cardillo. Unlike Rough’s Color Explosion, Cardillo, who has a fascination with ancient architectural practices, neutralized the environment with shades of gray, focusing on creating a textured cave, where the mind does not can be influenced only by the textures of the interior, the light that hits it and the smell.

Surrounded by walls coarsely coated with Pozzolanic ash from Vesuvius (mixed with mastic lime, as would have been the case for the construction of the Pantheon, in a ratio of 6: 4), is an arched installation of glass jars. hanging glass. Designed by Geraghty and mouth-blown by Elliot Walker, they contain all 37 fragrances in the line. The most intense aromas gather at the top of the curve. According to Cardillo’s conception, it is the scents that bring color to the space. Visitors can remove the corks to taste the scents, and in an environment devoid of colors, graphics, names, ingredients, scents are able to capture their full attention, the essences being perceived in a purely intuitive way.

Called “Color as a Narrative”, Geraghty sees the installation as a link between scent, color and texture. “We believe our sense of smell is learned from deeply rooted associations with color and texture,” she explains. “By blurring the identifications and triggers of how the human mind categorizes, our impressions become less linear and more intuitive.”

While the line is renaming its graphic identity, this experimental approach to olfactory communication is refreshing. In place for three months, we look forward to the next takeover of the gallery and the concept of austerity.

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