Entrevista com o perfumista amador Erik kormman

As we speak different languages, the interview with Erik Kormann would be impossible if Facebook or Google Translate had not been invented. But now it's just a matter of synchronization and just two hours later we have an interview with one of the most successful amateur perfumers of Germany who blogs about his perfume creation experience. (Well, the transaction was not perfect but understandable—one can always ask one question more.)
 

Serguey Borisov:
I am so sorry I cannot read German—your blog seems very informative. No doubt you have inspired many young perfumers to start experimenting. Do you remember the smell or perfume that inspired you to start a perfume brand?
 

Erik Kormann:
The idea for my perfume brand started by neither a perfume, nor a particular smell. I always cherished the idea of Aromatherapy, so I started taking lessons. I know a woman who has worked as an aromatherapist for about 30 years, so she has taught me. First, I have only worked with natural essential oils. Everything should have a positive effect. Synthetics came later.
 

Serguey Borisov:
Do you remember why you started to use synthetic molecules? How did it happen?
 

Erik Kormann:
That's Geza Schoen who changed my way. We had lunch together and I showed my fragrance blends to Geza. He smelled them and said, “You must use chemistry in your mixes.” Two days later I started to use chemicals: Iso E Super, Hedione and various Musks

Serguey Borisov:
Before you discovered perfumery, what had you planned to do as a career?
 

Erik Kormann:
Before that I studied Social Sciences, Aesthetics, Gender Studies and Musicology. While studying at the Humboldt University of Berlin, I worked at the university. I have helped students with the realization of their cultural, scientific, philosophical and video projects. Together we made their ideas come alive.
 

Serguey Borisov:
There are some different perfumes under your brand name: some of them were made by Dr. Philip Kraft and Alain Alchenberger from Givaudan, and some of them were created by you. Do you feel yourself a perfumer or art director? What kind of future are you and your brand are headed for?
 

Erik Kormann:
Borobudur was created by Dr. Philip Kraft as a variation on my Eau de Toilette No.9 September. Eau de Froehliche 3 (The Raven) is my own idea but we have worked on it together: Alain Alchenberger, Philip Kraft and me. Because the Givaudan captive molecule Cassyrane was used, Givaudan had to produce the scent as far as pure captives should stay in the factory. Famagusta was created by Dr. Sebastian Reuter(Bell Flavours & Fragrances), who is my friend. All the other Erik Kormann perfumes are created by myself!
 

As for my position in the brand—I don't know. Perfumer is such a strong word for me. I have not the proper perfumer education. I am still learning.

I think it's embarrassing when I say I'm perfumer, but I do everything myself. I know a lot of aroma materials, I know how they work in composition and how I have to work with the chemicals. And my perfumes are produced professionally. Light protection, preservation, quite unusual formulas and non-conformist niche ideas, a lot of manual work. Taking all that into consideration, who am I? I don't know. I have studied a philosophical subject. I am not a chemist, but I'm working with chemicals. My perfumes, my ideas are not accidental. Everything is intentional. Who am I? I'd rather be cautious. I have often said, I am a hobby perfumer. Maybe I'm a perfumer of passion.

As for my future—I would like to live on. Still, some lovely shops are interested in my perfumes. That's easy to earn some money to live. A new saxophone, a beautiful piano, and I need two new sails for windsurfing, and finally to be able to take a vacation again. I would like to see. Carefree.

I have to do so many other things that I can live with so I can earn money. Things that make me not so interested and rob my time. I want to be able to focus on my work. Parfum.
 

Serguey Borisov:
Originality is often sacred for creative people. When Dr. Kraft with Alain Alchenberger remixed your ideas, did their creation frustrate you or make you happy?
 

Erik Kormann:
I like it when other people pick up on my ideas. Really. It's almost like an honor. And in my blog I often describe the creative process of how I make my perfumes. I tell people what chemicals and essential oils I have used in it. My recipes are no secret.
 

Serguey Borisov:
In order to keep innovating, how do you find time to recharge your creative battery, since you are famous for working on many projects simultaneously?
 

Erik Kormann:
For me, colors are very important. When I make music, I play piano and saxophone, I see colors. And these colors remind me of aromatherapy. For aromatherapy colors are very important. In order to describe the effect of essential oils, they like to use colors as an idea. I'm going through the music and the colors in my head. Synaesthesia. And often when I 'm on the water, windsurfing or hour up paddling (my hobbies), I think about these ideas of color and aromatherapy.
 

Serguey Borisov:
I remember the stories of your first fragrance and Borobudur … What are the raw materials or accords that inspire you today?
 

Erik Kormann:
I am going to launch a new Eau de Toilette, November No. 11 in two to three weeks—and thank you, I am the creator. To be honest, No. 11 is an old idea, it is a variation ofEau de Froehliche No. 1 (the pug). An oriental fragrance with a lot of incense. Romantic? Yes. Something like that. Not too sweet. Very transparent. Clear structures and plenty of space for the content. This is important to me. I use the detergent sparingly (targeted).

Serguey Borisov:
What? Detergent???
 

Erik Kormann:
I mean my perfumes are something simple. As a simple shape (which should not be cheap, by the way!) nothing distracts the thoughts (the nose) from the clear idea. Like Bauhaus architecture.

Perhaps one could say: Minimalistic perfume?

I do not need 50 different chemicals and essential oils if I have the same effect with 20. I'd rather have 10 expensive and precious ingredients and waive inconsequential content.
 

Serguey Borisov:
Are there any inspiring accords you are working with now?
 

Erik Kormann:
A new Steampunk perfume will come. The name: Aero Steampunk—I cannot tell you everything, but maybe you know elderberry blossoms? One that makes very aromatic syrup mixed with lemon and sugar. The mixture's smell is almost like a tropical fruit. This is the top note for the perfume—I had better say no more. Not yet. I must windsurf it for a few days before it will be ready to be finished.

Serguey Borisov:
About new perfume Famagusta by Erik Kormann: what was the starting point of it? It smells very familiar, like Azzaro pour homme, Jean Patou Pour Homme or some other classic fragrance made lighter and fresher, like after plastic surgery. What is its main accord in terms of synthetics?

Erik Kormann:
About Famagusta I cannot say much.

The fragrance is the brainchild of Dr. Sebastian Reuter. It's his baby. He wanted to make a completely classical chypre. A chypre with a lot of oakmoss. It has a very interesting sweet top note: Cassie. This is unusual for the chypre concept. The scent is completely androgynous for me. And Sebastian wanted to imitate the scent of a very expensive, fine soap.

The perfume name was found by another friend. I asked Sebastian what we should call his baby, and he said, I have no idea about it. Chypre as many other perfumes. But that's just boring. Famagusta is a Cyprus city. And the translation of Famagusta is beautiful: it means “Hidden in the Sand.” I believe, it's a beautiful name for a chypre perfume.
 

Serguey Borisov:
What has been the response to the new perfume so far?
 

Erik Kormann:
The reactions are very positive.

I'm very happy for Sebastian Reuter, because many people like his idea. There is almost nothing but positive comments. Only one comment is uncomfortable (not a criticism. Just a stupid comment.)
 

Serguey Borisov:
As far as I know, you launch perfumes by series in a very limited quantity. Your perfumes are really great and I enjoy Famagusta very much, as well as Borobudur and Eau de Froehliche #3 (I hope one day to buy them). Why there are so few original perfumes nowadays? And what is the main problem of good niche perfumery?
 

Erik Kormann:
I think most people want to have a good smell. You want to smell pleasant. That is also important and that's ok, I understand that. But it's the perfume of the mainstream. This perfume is sold as a fashion item. Today and tomorrow as that. Who thinks about perfume, really? Who cares about the content when the sales are great?

Niche perfumes work for a smaller number of customers.

It becomes a problem when niche perfumes imitate the mainstream. That happens very often now. I think it does not work. And it means that customers who do not want mainstream are bored. Niche means for me that I can try out things that are not really mainstream and are still worn by many people. A niche perfume could not smell likeHugo Boss.

Serguey Borisov:
So problem = imitation? Do you remember the Hugo by Hugo Boss slogan “don't imitate. Innovate”?
 

Erik Kormann:
The imitation is the problem, yes. A niche perfume that smells like mainstream perfume by a great brand, is almost a lie to your customers.
 

Serguey Borisov:
Thank you very much, Erik, for your time and shared vision. I believe it is a very inspiring dialogue for me and Fragrantica readers.
 

Erik Kormann:
Thank you, Serguey!