Olivier Polge – Behind Chanel’s Scent

Maria Joudina: You succeeded your father as Chanel’s in-house perfumer. How did it feel to inherit that legacy? Did you work together before taking on the role?

Olivier Polge: I consider myself very lucky. People often speak of legacy, but I see it more as style. It’s a gift to work for a brand that values a strong creative identity. Before joining Chanel, I didn’t work with my father professionally – only a brief internship during my studies. That experience inspired me to pursue perfumery. I trained in the south of France and even spent time working in the U.S. When I eventually joined Chanel, I worked alongside him for a couple of years. We didn’t talk much about technical formulas – it was more about know-how, intuition and style.

MJ: What are your earliest scent memories?

OP: Like many people, my strongest scent memories come from childhood – particularly summers in the south of France with my family. The warm air filled with aromatic herbs made a deep impression on me. One vivid memory is the scent of cold stone in my grandparents’ house. During hot afternoons, I had to stay indoors – and that cool, mineral smell became part of my childhood.

MJ: That’s so interesting. When I think of the south of France, I picture lavender and sunflowers – but for you, it’s cold stone. Fragrance is incredibly personal.

OP: Exactly. It’s the most subjective of the senses. Our connection to scent is deeply personal and emotional.

MJ: What defines a Chanel fragrance?

OP: Gabrielle Chanel was one of the first designers to link fashion and fragrance. She believed that scent could express style just as much as clothing. She once said she didn’t want a perfume to just smell like a flower. That idea is central to our philosophy: we aim for abstraction, for style, not literal interpretation. That’s why you don’t see “Jasmine by Chanel” or “Rose by Chanel” – our perfumes are layered, evocative, never figurative.

MJ: Are there trends in perfumery the way there are in fashion?

OP: There are trends, but we move at a much slower pace. Taste evolves gradually. I don’t really like the idea of trends in perfumery – many influences coexist at once. Ultimately, we aim to create something lasting, not fashionable.

MJ: That longevity is part of Chanel’s identity. I smelled Bois des Îles earlier and was shocked to learn it dates back to 1926 – it still feels modern.

OP: Yes, Bois des Îles and No. 5 are both singular and timeless. The more time passes, the more unique they become. We don’t create scents like those anymore, which makes them even more distinctive.

MJ: Many fragrances today are marketed as genderless. Is that something you consider?

OP: Yes and no. Chanel is a feminine brand, and No. 5 was created with the idea of capturing “the scent of a woman.” That said, times have changed. A man can wear a floral scent and a woman can wear something woody or fresh. We don’t strictly design by gender anymore – it’s more fluid. Fragrance is like fashion in that sense. Just as no one is surprised to see women wearing trousers, no one should be surprised by unisex fragrances.

MJ: What’s your first step when creating a fragrance – and how do you know when it’s finished?

OP: It starts with a strong idea – a specific combination of elements that forms the identity of the scent. That first concept is crucial. If, after a few weeks, I still haven’t grasped the essence, it usually means the idea was weak. As for knowing when it’s done, I notice the adjustments become smaller and more precise. When I find myself fine-tuning instead of reshaping, I know I’m close. Then I wear it for a few weeks to feel how it lives.

MJ: Let’s talk about Bleu de Chanel Extrait. How did you evolve it from the original while preserving its identity?

OP: The goal was to amplify its identity – enhance the sensuality, depth and texture. Bleu is built on rich woods, and I wanted to push that richness further. Years ago, this kind of complexity might have been seen as more feminine. But I believe men’s fragrances now allow for this kind of expression. Bleu combines freshness with depth. It’s no longer just about being clean or sharp – it can also be elegant and expressive.

MJ: You studied music and piano. If Bleu de Chanel were music, what would it sound like?

OP: I’m not always comfortable with comparisons, but for Bleu, I’d say jazz. It feels urban, introspective – something that fits the later hours of the day.

MJ: That’s beautiful. I also associate fragrance with weather. What’s the Bleu de Chanel weather, in your mind?

OP: Rather than weather, I think of time. For Bleu, it’s that moment just before sunset – dusk, when the light begins to fade. Romantic and reflective.

MJ: Timothée Chalamet brings a modern energy to the campaign. Do you think about that kind of persona when you create a fragrance?

OP: I like his personality – he fits well with the spirit of Bleu. But my focus is always the scent itself.

Once the perfume is finished, it belongs to the world. I enjoy seeing how people interpret it. It’s not my role to decide who should wear it.