In a world saturated with noise — both olfactive and otherwise — Francis Kurkdjian remains a quiet master of refinement. With creations that have redefined the perfume industry over the past three decades, from Le Male to Baccarat Rouge 540, his work has transcended trend and time. In this exclusive conversation, Paulo Meixedo sits down with the celebrated perfumer to discuss memory, authorship, the changing role of fashion, and why true luxury is measured in time — not projection.
This interview appears in the latest edition of Serendipity Vol. 1.
photography and words Paulo Meixedo
Francis Kurkdjian is one of the most influential names in modern perfumery. From Le Male in the ’90s to Baccarat Rouge 540 — one of the most talked-about (and imitated) fragrances in the world — his creations have helped shape how we experience scent. Today, as the Director of Fragrance Creation at dior, he continues to define what fragrance can be. This conversation was recorded in Paris at the new Maison Francis Kurkdjian headquarters — I was the first to sit down with him there. What followed was a candid exchange about memory, creation, the business of beauty, and why he’s always more focused on what’s next than what’s already been done.
Paulo Meixedo: My obsession with perfumes started because I remember people by smell. I don’t remember faces — I remember scents. So my first question is: do you remember your first memory with a scent?
Francis Kurkdjian: I honestly don’t. I mean, I have a few childhood memories related to scent, but not a single first one that stands out. I couldn’t tell you when or what. Maybe I just wasn’t that focused on it yet.
PM: So when did you realise you wanted to become a perfumer?
FK: That actually came through fashion. I wanted to create fashion — not be a “fashion designer,” because that term wasn’t used the way it is now. Back then it was all about the couturier. Yves Saint Laurent, Ted Lapidus… these were makers, craftsmen. They could sketch, cut, sew. It was hands-on, and that’s what I admired.
PM: Would you say fashion today is more about creative direction?
FK: Definitely. The whole system has evolved. Couture once set the tone for ready-to-wear, but not anymore. I wouldn’t call it nostalgia — I enjoy the present — but it’s clear we’ve moved into a very different era. Back then, being fashionable had codes, like sleeve or skirt lengths. Today, things are much more open and individual. But my early vision of the couturier always included perfume. That connection started a long time ago — Chanel No. 5 in 1921, for example.
PM: And now we see perfume-only houses sometimes gaining more respect than fashion brands.
FK: Yes, and that’s something we’re working on at the Maison — reestablishing the perfumer as the creative center. That vision has value.
PM: Yet fashion houses still produce fragrances regularly.
FK: Of course. There’s a century of history linking perfume to fashion. It’s deeply embedded. That’s why, for example, Dior brought me in — to ensure the creative integrity of that legacy. Houses that take their identity seriously tend to bring in people who truly understand the craft.
PM: I mentioned my first scent memory being orange blossom from my childhood garden. Is there any raw material you feel you can’t live without in your work?
FK: No, not really. I don’t have favourite materials. I just need something with scent. That’s the only essential.
PM: So there’s nothing that always finds its way into your compositions?
FK: Not at all. That kind of formula doesn’t exist for me.
PM: When you’re working on a fragrance, how do you know when it’s finished? I photograph, and often I can’t even look at the result right away.
FK: I completely understand that. Time and distance are crucial. I work in phases, and over time you learn how to handle the pressure. Like with a couture show — it starts whether it’s ready or not. With experience, you know how to manage the moment and when to stop.
PM: Do you feel a sense of responsibility once a perfume is launched?
FK: Yes, absolutely. It’s not just a creative object. It has to function — to succeed. We’re responsible for a team of 200 people here, and even more worldwide. It’s a business.
PM: So you see yourself more as a merchant?
FK: Yes, in a way. A merchant of beauty, of happiness, of perfume — but yes, a merchant.
PM: Have you created fragrances for specific individuals?
FK: Many. I started with bespoke perfumes 25 years ago, even before the Maison. It’s a very structured process — meeting the client, creating samples, exchanging feedback. It’s personal. Very different from commercial launches.
PM: And with commercial fragrances?
FK: There, I listen to broader audiences. Not one individual. For bespoke, it’s personal. For example, we just completed one for a couple getting married in July in England. We worked together for two and a half months to finalise it.
PM: I’d love to ask you about Baccarat Rouge. It’s incredibly popular, but also widely copied. Do you feel distanced from it?
FK: Not at all. Why would I? It’s part of my portfolio. I’ve created other fragrances — Le Male turns 30 this year. Narciso is still leading in Italy. Rouge is known, yes, but I’m not the one making copies. The ones buying the copies are the ones being misled.
PM: Have you smelled the copies?
FK: Of course. They pretend to be the same — but they’re not. They last ten minutes. People realise that quickly.
PM: And you’re pursuing legal action?
FK: Yes, we are. These are counterfeit products — like a fake Birkin bag on Amazon. It might look similar from afar, but the quality, the feel, the longevity — it’s not there.
PM: Do you have a personal favourite among your creations?
FK: I try not to think in those terms. Once a fragrance is done, I let go. I move forward. I’m always more interested in what’s next.
PM: Even for personal reflection?
FK: Not really. I find more energy in what’s ahead. I already know my past work — I’ve lived it. What I haven’t created yet… that’s where the excitement lies.
PM: I relate. When I photograph, sometimes I can’t look at the image right away. I need that distance.
FK: It’s important. I always remind the team: don’t fall in love with something too quickly. Give it time. Let it breathe. Smell it a day or two later. In luxury today, time and space are everything.
PM: And how do you see the luxury market evolving?
FK: It’s hard to predict. Rouge took off two years ago, but it was created ten years ago. We didn’t rush it. Rodin said: “Time respects what is made with time.” I believe in that.
PM: No major campaigns, no ambassadors?
FK: None. The perfume speaks for itself. It fills the room — that’s enough. Good leather doesn’t need a logo.
PM: do you wear your own perfumes?
FK: Only during development. Once they’re finished, I stop. I need to move on. After two or three months, I’m ready to create something new. That’s when I know I’m ready to start again — when I have something new to say.
PM: The latest, Keurky — are you happy with how it’s been received?
FK: Yes. At first, people didn’t know what to make of it — it’s a new olfactive family. It wasn’t developed like a traditional perfume. But the desire to create it was strong. That matters. After months of working on something, you need space. And when you return, you should be able to feel it almost as a consumer would.
PM: Thank you.
FK: My pleasure.
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