Hi friends, it’s Nadia! Happy September! Today’s letter covers upcoming events to get you excited for a fun Fall season, and a spotlight on a brand I’ve been dying to share: Glass Candies. Homegrown in NYC by a perfumer and food artist—it’s a fun new way to imagine gourmand scents.

perfume intel~

Arquiste is unveiling something dark, daring, and very New York this Fall. Think nightlife, leather, night-blooming florals, underground energy, and a scent built for after-hours allure. 🖤

FRIDAY 9/5 — SUNDAY 9/7:

• Lattafa Bite Me Bakery Pop-up, 9/6–9/7

• The Maker Hotel presents Sophie’s Table with chef & curator Sophie Dalah, 9/1–9/8 (book via Resy)

• Maison d’Etto September pop-up at 140 Wooster St., SoHo—living gallery of scent + preview of Rodrigo Flores-Roux’s Fall/Winter release

• Stéle September celebration on Mott St., 9/6 3-6PM

• Emma of Perfumism at Commodity Soho for Milk Orchid, 9/6, 11AM-2PM

• D.S. & Durga launch Cognac Reign: caramelized bergamot, cognac & limousine oak. In-store celebrations at their Williamsburg shop—with cognac cocktails & complimentary engravings, 9/6, 3-7PM

• Lush Diwali 2025 Collection is now live: featuring Mango Lassi shower gel, Mango Kulfi body conditioner & festive treats

BEYOND NYC~

• Huff Smells Meetup in Richmond, VA, 9/6

• Bon Parfumeur Event at Ministry of Scent in SF, 9/6

UPCOMING!

• Phlur Cherry Stem Pop-up at Sephora Soho, 9/10–9/11

• NOYZ Pop-up in Chelsea, 9/12

• Blueme Fragrances opens flagship at 259 Elizabeth St. — Grand Opening RSVP, 9/27

• Spray It Loud & Proud — Travaulya Wallace + L’Oréal at Macy’s, 9/27

• Sniffapalooza Greneda Trip, 10/24—10/28

This interview is part of a new Perfumeverse NYC series called Beyond the Bottle. In these interviews, we explore the notes, noses, and narratives of the fragrance world for your scented pleasure.

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On a humid Friday the 13th in Brooklyn this past June, I found myself sipping a honeydew melon and jasmine tea float, surrounded by mini perfume vials wrapped in crinkled cellophane, like the Laffy Taffy candies I used to hoard as a kid. I didn’t reach for paper blotters or scent bells. Instead, I picked up porcelain swirls shaped like whipped Chantilly cream, so realistic they looked good enough to eat —a clever nod to a gourmand lover’s fantasy. This wasn’t your average fragrance launch—it was a pop-up portal into the whimsical world of Glass Candies, a passion project in ‘liquid gourmands,’ dreamed up by NYC-based designer and food artist Andy Chan and perfumer Bryson Ammons of The Alloy Studio.

Their debut line of five cream soda-inspired scents come in 2ml candy-like vessels, each fizzing with seltzer bubbles, creamy vanilla, and a touch of baking-soda bite—layered with fruits and florals like melon, jasmine, and strawberry matcha. Created in collaboration with Brooklyn’s Lazy Sundaes (known for childhood-inspired drinks from Korea and Taiwan) and Very Cool Ice Cream (a plant-based brand reimagining Asian flavors through rich, nostalgic scoops), the launch paired three floats with matching fragrances, blurring the line between what we wear and what we consume.

Each scent came with an illustrated character card, half art print, half trading card, and a flash of color stamped on the vial’s base. They felt less like samples and more like pocket-sized collectibles: playful, low-key, yet still strangely luxe. But don’t let the playful packaging fool you: Glass Candies is less about sweetness and more about flavor—less about luxury, and more about delight.

For this edition of Beyond the Bottle, Andy and Bryson join us to talk scent as flavor, the rewrite of gourmand, and why even the tiniest vials can hold big, joyful ideas.

What Even Is a Gourmand in 2025?

Traditionally, a gourmand is someone who delights in good food and drink—often to a hearty extent. While the word can sometimes hint at overindulgence, at its core it’s about savoring: the deep appreciation of flavor and the pleasures of the table.

In 2025, the obsession with gourmand fragrances is everywhere. From Perfumetok to think pieces and reddit threads linking the trend to Ozempic culture, and endless debates over who did it first—this category is having a moment. But Glass Candies isn’t joining the wave, its expanding the flavor map. This isn’t the usual vanilla–cake–sugar axis. It’s multi-sensory, culturally expansive, and deeply personal—a challenge to the Eurocentric idea of what a gourmand “should” be.

For Andy Chan, the brand’s visual and conceptual force, the goal is a world built on “delightful moments with every presence.” The name Glass Candies itself came from a simple realization: 2ml vials looked like tiny, precious candies. And if you grew up anywhere near a bodega, the impulse to grab a handful of treats just to try them all will feel instantly familiar.

"Accessibility with collectability," Andy says. "Like a buffet or a patisserie, I want to be able to taste everything."

How do you define a gourmand in 2025? What makes a good gourmand modern?

AC: Gourmand shouldn’t be confined to cake and cream. It can be herbal, savory, floral, even fermented. We’re not chasing “modern” gourmands—that word already feels like a timestamp. Instead, we’re reminding people that gourmand has always been global, timeless, and delicious.

For me, it’s about edible delights from all cultures. As a Vietnamese person, I grew up with edible aromatics: jasmine coconut pandan sticky rice in banana leaves, floral and green yet absolutely gourmand. I once smelled an “herbaceous” Jo Malone and thought, this is basically a Chinese steamed bun! Osmanthus, wheat, barley—delicious. When a friend and I visited Lucky Scent, we realized there were no gourmands that spoke to us as Asians. I told the team (who were thankfully open to it) that gourmand shouldn’t just be sugar, cake, and vanilla. It’s any edible delight, a memory of flavors that connect us. It should reflect the full spectrum of edible experiences.

You come from a world of flavor. What’s your favorite part about the dance between scent and taste?

AC: This is the ethos of Glass Candies. France may have industrialized perfume, but scent has ancient roots in South and Southeast Asia—Vietnam, India, and beyond—the true mothers of incense. When you look, taste, and learn from these cultures, it’s a phantasmagorical sensation: herbs, florals, spices, aromatics that blur taste and smell.

How do you want people to interact with these? Is it more like a perfume, a treat, or a collectible?

AC: All three! One friend displays the character card next to their shiny Charizard Pokémon card, which melted my heart. Others say the scents are playful, wearable, and not too sweet. Whether you wear them, collect them, or just smile while sniffing, the point is joy.

What was the collaboration like between you and Bryson—how did you divide creative roles?

AC: We started brainstorming together, but over time, I became the creative director—developing the characters, world-building, and vision. Bryson brought those stories to life through scent.

BA: Andy has such a vivid inner world and sharp sense of taste. I really just followed his lead on visuals and the whole vibe of Glass Candies. I brought the scent, he brought the world.

How did the idea of ‘liquid gourmand’ evolve into actual scent formulas?

BA: We wanted to stretch what a gourmand could be. Once we landed on cream sodas as the theme, I built a base of vanilla ice cream and fizzy soda, then topped it with different fruits and florals to create flavor-inspired “floats.”

For Strawberry Matcha Cream Soda, I layered in nutty notes to capture matcha’s true umami. Most “matcha” scents miss that nuance—it can go flat or earthy really fast. Getting the balance right was tricky, but essential. (And yes, big difference between brewed green tea and matcha powder!)

Scent and taste both rely on aroma molecules. Were actual drink ingredients part of the olfactory brief?

AC: Half and half. Strawberry Matcha is Lazy Sundae’s top-selling drink, so we made a scent to honor that. Melon Cream Soda also mimics a real-life favorite. Others, like the jasmine and cherry blossom floats, are just my personal fantasies—I wish I could drink them!

These aren’t just drinks, but full-sensory events. What mood or emotion did you want people to feel as they sip and sniff?

AC: Too many products rely on just one sense, and that flattens the experience. I wanted Glass Candies to be multi-sensory. Sight, smell, taste, touch, and soon… sound. My goal is for people to feel engaged, delighted, and fully present in the moment.

What can fans of The Alloy Studio expect from this new line that feels different—or familiar?

BA: Glass Candies shows a different side of my perfumery. Alloy Studio fragrances tend to be bold, complex, even a little weird. These are much more lighthearted, playful, easy to love, and built for pure enjoyment.

Will Glass Candies stay mini, or could we see full-size bottles in the future?

AC: For us, mini is full-size. But we do offer 10ml customs for anyone who wants a little more. One day, when we can move on to custom glass packaging, I already know exactly what it’ll look like. Until then, every bit of support counts.

How do you want people to feel when they wear one of these—cute? chaotic? edible?

AC: Represented. Educated. Expanded. Fun. And always—tasteful.

While the summer floats have melted (but still available to sniff), the brand isn’t stopping there. Their Halloween collection drops this October. Expect the same playful twist on gourmands, but with darker, spookier flavors perfect for the season. Stay tuned, because we’ll be sniffing. 👻

That’s all for today, friends! Have a lovely weekend :)

Thank you for reading, sharing, sniffing, and staying nosey. :) If you enjoyed this, share this with someone who loves ice cream floats. <3

The indie fragrance scene has a rebellious heart, and Alie Kiral, the founder of Pearfat Parfum, embodies it with an effortless charm. There are no safe, crowd-pleasing florals or predictably sensual musks in her lineup. Instead, her brand is a surrealist playground, bottling the oddly specific emotions that haunt her brain: A Catholic childhood, lapsed but lingering (Sister Hildegard: church incense, milk, and blood orange). The sweaty, metallic thrill of a pinball machine (Multiball: spilled cola, waxy floors, sparking metal). The kind of heartbreak that lingers longer than it should (I Broke My Own Heart: hot cocoa, jasmine, teenage angst).

Meeting Kiral, you instantly sense the unique energy she infuses into her brand—nostalgic yet bold, playful yet deeply intentional. Pearfat is an extension of Kiral herself: fun, irreverent, and deeply rooted in a love for scent as pleasure.

For her, perfume isn’t about adhering to luxury or tradition. Even the name, Pearfat, is an inside joke; a play on parfait (French for “perfect”) but twisted into something unique, more Midwestern, more Kiral. This ethos is what makes Pearfat Parfum feel deeply personal, even as it pulls from niche film references, historical oddities, and bizarrely fun note combinations.

In today’s Beyond the Bottle, we sat down with Alie Kiral to explore her cinematic approach to scent, building something without a rulebook, and the art of being play in a serious industry.

Instead of building perfumes from notes up, Kiral builds them from the inside out—with a scene, a feeling, a memory that won’t leave her mind. She has what she calls “an unhinged notes app” filled with inspiration: random thoughts, overheard conversations, movies, music, and fleeting smells that refuse to let go. When one of them lingers, she starts building a story around it.

Before she was blending perfumes, Kiral studied cultural anthropology, a field obsessed with how objects hold meaning in different cultures.

”I think this is where that part of my life connects and lends itself to perfumery. I specifically researched and worked with material culture—things people decorated with, used in the home, used for fun—and I think perfume really fits into that idea in a fascinating way. Tying something material and physical to something more abstract—like the mood of a Cronenberg movie or the vibes of an Italian Christmas folk story—into a 4D experience is endlessly inspiring to me.”

Only once she’s seen the perfume—its mood, color, texture—does she start formulating. Her note pairings reflect that approach. Nothing is predictable. Nothing is easy. Stomped on Bed of Lettuce smells like a riot of rhubarb, civet, pink pepper, and saltwater. Inspired by the cult Czech film Daisies (1966), it captures the chaotic, food-fight feminism of its heroines. "Playfulness is everything—it’s a cornerstone," she says.

The Indie Perfumery Renaissance

Kiral didn’t study chemistry or go to perfume school in France. Instead, she found her way into scent through the Institute for Art and Olfaction, where she took an online experimental perfumery class at the start of the pandemic. "It blew my world open," she says. "I realized I didn’t need a legacy family connection—I just needed ideas, practice, and a willingness to experiment." One year later, she released her first fragrance, 2030 Park Avenue.

Kiral is part of a larger wave of independent perfumers redefining what it means to make scent. They didn’t come from Givaudan or Firmenich. They didn’t graduate from ISIPCA. Instead, they carved out their own paths, learning through YouTube tutorials, Basenotes forums, and hours of trial-and-error blending in bedrooms and home labs. As Highsnobiety noted in a recent deep-dive, the next generation of indie noses is here—and they’re rewriting the rules.

Early on, she connected with perfumer Michael Nordstrand of Mythologist, who became a creative sounding board and mentor. The two collaborated on I’ll Never Learn, a fragrance steeped in bittersweet nostalgia. With notes of bergamot, fog, candied violet, suede jacket, and moss, it smells like heartbreak on the back of a borrowed motorcycle jacket—a maudlin pop song cut short by memory. “When I was first starting out, Michael smelled what I was working on and told me I had cool ideas,” she says. “That validation—that I was making something worth smelling—pushed me past imposter syndrome. That meant everything to me.”

That DIY ethos extends to Pearfat’s visual identity, which feels less like a polished ad campaign and more like a cherished mixtape passed between friends. The labels are retro, the sample vials were once handwritten by Kiral herself, and the perfumes feel like deep cuts, obscure references only the right people will get.

"I think people who love Pearfat get that these aren’t everyday scents. They’re meant to be worn when the mood strikes—when you want to step into a scene, embody a feeling, or tap into a different version of yourself."

Pearfat is, in many ways, an autobiographical project made wearable. Rabbit Rabbit is built around the childhood ritual of saying "rabbit rabbit" for luck on the first of the month. Kewpie Doll distills the warmth of an Italian-American grandmother’s back porch—ripe tomatoes, sun-warmed wood, and the sticky sweetness of summer. La Befana nods to the haunted coziness of Italian winter—a softer, sweeter Italian counterpart to Krampus.

But some scents, like Bread and Roses, go beyond personal nostalgia. They carry a larger message for the zeitgeist. Inspired by the early 20th-century labor movement, it embodies the idea that people deserve more than survival—they deserve dignity, beauty, and joy.

The phrase "We want bread, but we want roses, too" became a rallying cry during the 1912 Lawrence textile strike, where thousands of women fought for fair wages and humane conditions. Originally from James Oppenheim’s 1911 poem, it speaks to the need for both sustenance and a meaningful life.

For Kiral, this message resonates deeply. Bread and Roses balances that duality: warm and earthy like fresh-baked bread, yet lifted with delicate floral notes that echo the poem’s call for beauty. A portion of its proceeds goes to the Midwest Access Coalition, which helps individuals access abortion care.

The Art of Community and Collaboration

In an industry where niche brands often operate within their own silos, Kiral takes a refreshingly different approach—one rooted in collaboration over competition. From the start, she’s been open about how much she’s learned from others, and she actively pays that generosity forward. “There’s room for all of us," she says. "The best perfumes come from people being excited about scent together—bouncing ideas off each other and sharing the love of it."

Pearfat has already worked with fellow indie brands like Odette Parfum Co., proving that collaboration fuels creativity in niche perfumery.

Les Chaussons Rouges is inspired by the haunting elegance of The Red Shoes (1948). With notes of saffron, oil paint, red dahlias, ginger caramel, and oud, this woody gourmand conjures the world of a prima ballerina, the scent of pointe shoes on aged theater floors, the warm decadence of spiced bread, and the bittersweet romance of a life devoted to art. (Odette’s founder recently spoke about Kiral’s influence in a Perfume Room episode).

But beyond collaborations, Kiral is committed to fostering a sense of community. She teaches fun-themed workshops, mentors new perfumers, and embraces a no-gatekeeping approach to fragrance. For Kiral, accessibility is key.

Her advice for anyone who wants to start? Start smelling. Start mixing. Start playing. She encourages curiosity, urging people to train their noses by exploring everyday scents—spices, flowers, even the air after it rains—insisting that the more you do it, the better you get. It’s this spirit of openness that makes Pearfat feel less like a brand in the ether and more like a shared creative playground. And judging by its devoted following, Pearfat’s enthusiasm for scent play is contagious.

Above all, Pearfat is about joy. “Perfume is for sweeties and lovers. Smells can be funny—smelling good is an act of pleasure. I remind myself that it's just perfume—it's not that serious. I care deeply about what I do, but I also like to have a good time while I do it.”

You can explore Pearfat's fragrances at pearfatparfum.com and follow along @pearfat.parfum for new releases, behind-the-scenes glimpses, and more scented mischief.

For 13 years, Carlos Huber, founder of Arquiste Parfumeur, has been a fixture in New York City’s fragrance scene, charting his own path long before 'olfactory travel' became a trend or marketing copy. Combining his expertise in architecture and historical preservation, Carlos doesn’t just create scents—he crafts little liquid time machines.

Known for bottling the essence of historical moments, from a 17th-century convent in Mexico to the gilded opulence of Louis XIV’s court at Versailles, his approach blends rigorous historical research with modern olfactory storytelling. His precision and historian heart ensures each fragrance tells its story in full detail. Arquiste’s website even features a complete bibliography for every creation—a testament to his meticulous research and dedication. Dubbed the 'Renaissance Man of Good Smells' by Forbes, Carlos has a genius way of making history wearable, vivid, and timeless.

Carlos’ architectural training is more than a background detail—it shapes his entire approach to fragrance creation. Just as vernacular architecture reflects the materials, climate, and culture of a place, his scents are immersive environments, layered with olfactory and cultural details that evoke compelling stories. His journey into fragrance was serendipitous but now feels destined. While studying in France, a chance encounter with a fragrance evaluator eventually followed him to New York City. It was here that renowned perfumer Rodrigo Flores-Roux welcomed him into an 'after-hours' perfume club. What began as an immersive hobby after work evolved into a mentorship that, along with his friendship with Yann Vasnier, became the foundation for Arquiste’s future.

In today’s Beyond the Bottle, we sat down with Carlos to discuss New York’s vibrant fragrance scene, his creative process, and why authenticity is key to standing out in today’s crowded perfume market.

You started talking about “fragrance architecture” in 2011. How do scent and space intersect?

Carlos: Architecture and fragrance both create immersive environments. Scent defines a space as much as design. For instance, Japanese architecture incorporates Hinoki wood for its fragrance, and historical mosques infused resins into their walls. These ideas inspire me to treat fragrance as part of an environment—not just a product you wear.

My architectural training taught me to preserve and honor history. With fragrance, I aim to transport people to a time or place, much like how a well-designed building tells a story. ‘Arquiste’ is a play on ‘architecture’ and ‘history.’ Even the logo is designed to feel timeless—subtle yet permanent, like the patina on an old building.

New York and Paris are often seen as the twin capitals of fragrance. What sets New York apart?

Carlos: Because perfume is a very French industry, people often think of France as the center of fragrance creation. But New York is just as central. All the major fragrance houses have offices here, which are just as large and influential, as the city caters to the entire world as a major center of commerce, retail, and fashion.

New York also has a distinct ability to blend the old and the new. It’s a place of old-school luxury and, at the same time, a creative hotspot for the dynamic, quirky, and young. Brands like Arquiste, which some might see as more old-world, coexist with experimental brands like D.S. & Durga. That diversity, together with the distinctively American spirit of entrepreneurship and openness is what makes New York so special.

How do you decide which stories to bring to life?

Carlos: I have total wanderlust, and travel is a huge inspiration for me. I like to say that Arquiste is “olfactory restoration.” Visiting a site is usually the starting point for a perfume story. That’s where I get the “olfactive experience” of the place. Travel and research guide my process in selecting stories that are creatively exciting, while ensuring they make sense within the collection. It’s important to offer something new, but above all, it should be interesting and beautiful.

Your recent launch, Almond Suede, is a delicious marzipan leather beauty. What’s the story behind it?

Carlos: Growing up in Mexico City, I felt a deep connection to Spain—through its food, culture, and history. I also lived in Spain for a year and worked on a restoration project in Ibiza. Almond Suede is inspired by the city of Córdoba during the golden age of Andalucía, a time when Arab, Christian, and Jewish communities coexisted. That idea of harmony feels so relevant and beautiful today.

Córdoba is renowned for its Cordovan leather, this incredibly thin, embossed material used for luxury goods. In the city’s streets, you might find a Moorish leather craftsman on one side and a bakery or convent on the other. The scent of freshly worked leather would mingle with the sweet aroma of almond pastries, creating a sensory snapshot of this cultural mix.

With Almond Suede, I wanted to combine something universally addictive and comforting—like marzipan—with something more nuanced, naughty, and sensual—like leather. It reflects Córdoba’s layered history and celebrates the beauty of exchange, influence, and coexistence.

In today’s world, cultural appropriation is a hot topic and people often don’t look beyond the surface. How do you stay true to your identity while respectfully telling these global stories?

Carlos: I was born and raised in Mexico and have spent 19 years in the US. I once wore a traditional Mexican costume and some stranger on social media commented I was appropriating Mexican culture, without knowing who I was or where I was from. They were so clueless. People have told me that I should make Arquiste all about Mexico and “lean into my identity” but I realized they wanted me to lean into their own idea of Mexican-ness, and I would feel like a fraud if I did that—my Mexico is multicultural, it's a crossroads of the world, and I wouldn't want to fall into clichés, especially foreigners' ideas about Mexico. I want my fragrances to reflect the broader, multicultural experiences that inspire me.

When I create a fragrance, I approach it with respect and care. I look for narratives that resonate with me personally and that I can explore in an open, authentic way. I like to focus on places that are culturally diverse. That gives me the chance to highlight the rich ingredients and stories that feel true to me and talk about cultural exchange. For me, it’s about celebrating these influences in a way that’s thoughtful, respectful, and meaningful.

How has it been working with Rodrigo Flores-Roux, and most recently, Calice Becker?

Carlos: Rodrigo is one of my best friends, and forever my teacher. Working with him is more than a collaboration—it’s the unraveling of a fragrant story in many chapters. You can see our evolution as designer and perfumer in our work together. To have this type of partnership with one of the world’s best perfumers is a huge privilege. Calice is one of the loveliest humans and an absolutely masterful, iconic perfumer. I feel so fortunate to have worked with her. This industry is pretty old school in some ways, and the importance of human relationships is one of its most significant and positive aspects.

Your bottles haven’t changed much in 13 years (clearly, you nailed it from the start). What’s your design process like when it comes to crafting the bottles, typography, and colors?

Carlos: I wanted a round, ergonomic bottle that wouldn’t overwhelm the concept behind each perfume. I love how they feel like scent grenades or baubles. The color story developed gradually, and I aim for something rich and nuanced—colorful but with good taste. The typography connects to each perfume’s background story; everything ties back to the fragrance’s character.

Tell us about who inspired the recently launched Little Paws Candle.

Carlos: My dog, Chorizo! It isn’t a historic scent but a deeply personal one. It captures the comforting smell of a dog’s paws—corn chips, popcorn, musk, orris root, vanilla—with a chic twist. It’s cozy, fun, and heartfelt—a tribute to the joy pets bring.

You’ve collaborated with prestigious brands like St. Regis, J.Crew, and Trudon, helped craft Vacation’s award-winning scent, and served as an advisor for Chicago-based Bianco Profumo. What has your experience been like working on such diverse projects?

Carlos: Collaborating with other brands is an important part of my career—it’s both rewarding and fun, though not without its challenges. My role involves digesting the vision of each brand, helping them translate it to the perfumer, and guiding them on what works within the fragrance industry. It’s like having an insider.

What advice would you give to aspiring fragrance entrepreneurs?

Carlos: Be passionate and authentic—fully commit to what you’re creating. Don’t chase trends or make products just for money; it dilutes the industry. Focus on quality, make sure your product is perfection. The product is what people will remember. And, treat perfumers as the artists they are. Great fragrances take time; respect the process.

Do you have a favorite scent or a particularly challenging one?

Carlos: They’re all dear to me, but Misfit was especially challenging. We had to balance patchouli’s richness with elegance, using ambers and lavender to refine it. Conversely, A Grove by the Sea came together effortlessly and transports me straight to the Mediterranean.

Would you ever make a fragrance based on New York?

Carlos: Hmm…maybe I already have. Stay nosy in 2025.

DON’T MISS: Carlos is celebrating Almond Suede at Stéle on Thursday, 12/12, 6-8pm. If you want to catch a of whiff of history right in NYC—RSVP HERE.

Chana (pronounced Hah-nah) Goodman, the visionary behind Parfums Obim, isn’t just creating perfumes—she’s crafting modern-day alchemy. With a background in mathematics, philosophy, and winery, Chana approaches life with a deeply metaphysical lens. For her, perfumery isn’t just an art form but a way to merge science, emotion, and storytelling into a sensory experience that transforms the intangible into something tangible.

Her appreciation for alchemy is woven into her love for fragrance, where she explores how elements—like burnt wires, dusty metal, or a whiff of wet pavement—can be blended into complex creations that evoke memory and emotion.

In today’s Beyond the Bottle, Chana shares how this philosophy shapes her work, how flamenco inspired her artistry, and what it’s like building a fragrance brand as a proud Brooklynite.

Chana is hard to miss when you meet her. Dressed almost exclusively in black, with her long, glossy black hair woven into a perfect braid and dark eyeliner framing her eyes, she carries a presence far beyond her petite frame. Though eclectic and creative at first glance, it’s her warmth and wit that stand out.

I first met Chana at her cozy boutique in Bushwick, tucked into the ground floor of her two-story home. She had invited me to explore her latest creation, Lestat’s Kiss — a “blood fragrance” inspired by the magnetism of a vampire’s bite, with notes of amber, red musk, and a dry down of metallic flowers and hemoglobin.

We hit it off instantly as she blended drinks in the café for a group of local fragheads. Fans of the brand describe the scents as “boundary-spanning” and “conceptual yet wearable.” Chana’s creations tell nostalgic, vivid stories, pairing notes like wet pavement and crayon wax with coffee, blue chamomile, and white oudh.

When asked about the name of the brand, she smiles softly. “It’s an ode to my love,” she says. In Igbo, “Obim” means “my love” or “my heart,” a term her husband frequently uses for her—though, as she jokes, nowadays its more like, “Babe…”

A multi-disciplinary designer with a background in philosophy, math, and graphic design, Chana spent years blending strategy with creativity. But, Chana’s journey into fragrance started long before Parfums Obim was even a dream. Her stepfather, a sommelier, introduced her to the world of winery and the olfactive arts. It was there that she began to refine her sense of smell, learning the craft of blending and the art of winemaking.

She began experimenting with aromatherapy blends nearly a decade ago, but a serendipitous encounter with perfumer Iris Parker at a department store a few years later changed everything. Parker became her mentor, guiding her in formulation and the art of world-building to create what is now Parfums Obim.

Her talents extend far beyond the boardroom—she’s also a trained flamenco dancer, having studied under original gypsy masters for twenty years. Now, Chana brings these experiences and design expertise into the world of fragrance, crafting bespoke scents with experimental packaging that invite you into a journey of self-expression.

Do you think there’s a fragrance revolution happening?

CG: Absolutely. People are tired of predictable fragrances, “nice” smells for women and “strong” scents for men. They’re looking for movement, transformation, and inspiration. There’s a hunger for scents that evoke mystery and emotion. In that sense, perfumery is experiencing a renaissance—a return to alchemy and creativity.

I believe there’s real magic in art and fragrance—something witchy and deeply artisanal at its core. I think of the small, hidden perfumeries of the Middle Ages or the ancient, chaotic markets of Turkey. Back then, people had a more intuitive understanding of the universe's mysteries. After the industrial revolution, society started dismissing anything outside accepted scientific theories. Any scientist and mathematician knows there’s so much about reality that remains unexplained.

Alchemy—the attempt to harness the mysteries of matter and transformation—has never disappeared. Today, with breakthroughs in AI, materials science, and even dimensional theories, we’re moving out of the age of rigid, linear thinking. Alchemy is alive and thriving again, right in someone’s home. They want fragrances that are larger than life, and I’m here for it.

How do you approach creating a fragrance story?

CG: I always start with a concept, a memory or a story, like a movie. Something that is very pressing in my mind and waiting to be brought to life.

The Stoop feels like a love letter to Brooklyn. How does the city continue to inspire your work?

CG: Brooklyn is in my blood. My mother was from Brooklyn, my grandparents lived here, and I visited often. I’ve been here for eighteen years now. The Stoop comes from a childhood memory—the first time I understood Brooklyn had a unique smell, different from my home when I was growing up in Seattle. I was five, and that moment has stayed crystal clear in my mind ever since.

Owning anything in Brooklyn or NYC is a chaotic freak show. If you want to own a part of NYC—you will pay a price. But, the energy here is unmatched, with so many people ready to collaborate and experiment. Honestly, our world here in this borough is bigger than in most places. Brooklyn literally has it all. No one is cooler, more beautiful, more innovative, and more free than a Brooklynite. Basically you can do whatever the  f—k you wanna do here. The only limitations here are the ones you set for yourself. (Minus the rent costs and garbage problems).

Is there a pattern to the current collection of perfumes?

I wanted to offer a wide range of my fragrances so people would understand my breadth and flexibility as a perfumer, while still being approachable. I chose ideas and concepts that people are thinking about currently—colors and textures, AI, and the 4th/5th dimension, but also I wanted to make a nod toward the classics like with Attila and The Dark and their uses of Arabic Ambers and Oudhs.

You’ve got such a unique background with math, philosophy, wine making, and flamenco—how do you think all of that has translated in the world of perfumery?

CG: It’s helped me classify, break things into logical steps, and understand proportions. But I think that need for structure has always been in me. Even as a child, I remember my thoughts being very ontological. My formal training in math built on that, giving me the tools to create and quantify my ideas in perfumery.

Any serious artistic practice will widen your scope of the world. Flamenco very much opened my eyes to the idea that time is elastic. The more you practice, the more time and space feel fluid. It’s a sacred experience—musicians and dancers trust and support each other to create something timeless. That ability to stretch and bend time inspires how I approach fragrance composition.

Wine and perfume are almost the same, though wine takes longer because vintners grow their own botanicals. Both require respect for nature’s gifts and the ability to perceive their stories through aromatic clues. My Italian stepdad, who was a sommelier and wine importer, taught me that beauty comes first, not profit. He was a legend, bringing brands like Ruffino, La Spinetta and San Pellegrino to the U.S. long before they were known. That training instilled in me the value of artistry.

What notes have been fun to play with? What are you currently working on?

CG: I love the wet stone accord in The Stoop. It captures Brooklyn’s dusty, mineralized vibe. I’m also obsessed with Juniper and Taos Sage, which I’ve featured in other perfumes. Both are magical ingredients that make you high—quite literally—they lift you. But I love all my molecules. They are like little creatures waiting to shine. RV_Wax was inspired by the Crayola Red-Violet crayon—a childhood muse. I wanted to bring its cellophane, fuchsia-magenta deliciousness world to life. I’m working on something with Barbaresco wine; I want to explore things like caterpillars, Asian 10 cent stores from the 70s and 80s, the flowers from the privet bush during spring time.

How do you want people to feel when they wear your fragrances?

CG: I want them to travel back to their childhoods and rediscover moments buried in their memories. I also want them to fantasize and move closer to their dreams.

What advice would you give to someone who wants to start a fragrance brand?

CG: Take a leap of faith and invest in your art. I sold my home to start this business, but it took years of planning. See your future and be very stubborn about the decisions needed to get there. There are many ways of going about it though. I wish I had known this was a profession to actually consider when I was younger but I was on another bender back then. I was obsessed with academics, mathematics and the technological sciences. So I’d say just f—king do what you gotta do. Trust yourself and the universe to guide you. Save money and build your resources so that when the time comes to invest in yourself—you’re ready to go bananas.

DON’T MISS: Parfums Obim currently offers a discovery set for their five perfumes online, or you can visit their Brooklyn shop to experience them firsthand. Chana is also hosting a festive party on Dec. 13 to debut a new holiday fragrance.

If you liked this piece, let us know. If you want to share a local creative shaking things up—definitely let us know. <3