Sensitive to design, fashion and art, Jérôme Di Marino chose, very young, a carrier path in perfume. After a chemistry degree, he entered a nose training at ISIPCA.
Graduated in 2008, he joined Givaudan as a trainee perfumer with Nathalie Cetto.
In 2011, he enriched his training close to Françoise Donche at the olfactory cell of Givenchy Perfumes. She sharpened his sense of development and his perception of the stakes of perfume creation. Jérôme arrived at Takasago in 2012. Trained during 3 years by Francis Kurkdjian, who passed on his knowledge and rigor, Jérôme learned how to translate his ideas in perfume. It seems critical to him to be fed on and inspired by other universes: «Perfumery, as all other arts, is a sensitive reflect of society.»
Mélanie Leroux: “The main idea was to create a collection by working different olfactory families. I have selected the most emblematic notes and raw materials of each family: orange for citrus, lily and rose for floral, cedar and vetiver for woody, while adding an elegant modernity. I created simultaneously the five notes by working them on the same way, in order to have this spirit of collection and unity within the fragrances. For each note, I have selected the material’s origin region that was to me the most emblematic, for example Java Island for vetiver and Atlas for cedar. I have been inspirited by the origin of these raw materials, and I developed these perfumes with the desire to make people traveling, by remembering them memories until the origin of the selected material.”
« I have selected the most emblematic notes and raw materials of each family »
M.L.: “As I said, it was a challenge! But the fundamental idea was above all else to sublimate a raw material. Each composition is a real perfume that can be wore alone. The fact to construct each perfume around one raw material helps their superimposition. I love this possibility for people to recreate at home a composition thanks to an olfactory contrast, it’s very original. This allows them to create their own perfume.”
M.L.: “I have selected natural raw materials. Most of them are essential oils. I only did reconstitution for synthetic notes as white musk or for notes that didn’t exist in absolute or essence as flowers named silent, especially lily and lily-of-the-valley.
All raw materials are treated locally or in Grasse. I bring a special attention to materials harvest and I love to assist to the harvest of these ingredients. When I had the idea of developing Rosa Damas, I traveled to Isparta valley in order to be present for rose’s harvest. This allows me to control the material treatment and to inspire me by the origin region, by the cradle of these materials in the creation of each perfume. ”
« I only did reconstitution for synthetic notes as white musk or for notes that didn’t exist in absolute or essence »
M.L.: “The creation of these perfumes started by the selection of an olfactory family. Then I chose one emblematic note within the family and I selected its first place of origin, the most common. I constructed the perfumes around this note. The other notes highlight the First Note (Premiere Note). They were selected in link with the place of origin of this First Note, in order to reconstitute the heart of the region.
My desire with this collection was to do “belle parfumerie” by favoring raw materials quality and choice, while treating them in a modern way.
I chose orange from Calabria, in the South of Italy, for its bitter taste.
For the lily, I realized a reconstitution of Toscane universe with its numerous gardens and vineyards, and its numerous white flowers. I created Lys Toscana by trying to reconstitute the elegance of the region.
The rose from Damask was obvious. It is the older cultivated rose and the most famous. It is cultivated in Turkey but conserves its legendary name Rose from Damask.
For the cedar, different varieties are used in perfumery. The most used is the one from Virginia, which has a “pencil lead” aspect. I preferred employ the cedar from Atlas that inspires me more. I wanted to work a woody-leathered note and Atlas cedar was more adapted for that thanks to its animal aspect.
For the vetiver, I selected Java wood that is more earthy and smoked.”