Glass talks to Christopher Chong who has now brought his creative fire power to fragrance house Thameen London, re-invigorating the brand
Christopher Chong’s journey into transforming perfume brands into global names has taken a very unconventional route. Hong Kong-born and raised in New York, the London-based Chong hasn’t studied chemistry or branding and did not train at a fragrance company. Instead, he has a background in the arts and academia, studying at London University and the London College of Fashion and is also passionate about music, especially opera.
This makes him something of an enigma in the fragrance world. But what an enigma he is. He may not have a traditional background in perfumery, but he certainly has a brilliant instinct to what makes a great fragrance.
Christopher Chong Brand and Artistic Director at Thameen London
He began his entry into perfumery in 2004, when he was hired by the Omani perfume house Amouage as creative director, where he transformed it into a global name with his bold and unexpected choices. After 15 years there, where he made almost 50 perfumes, some of which are regarded as classics, he resigned in 2019.
Three years later, he was appointed Brand and Artistic Director at Thameen London – a fragrance brand founded in London in 2013 know for perfumes, inspired by precious jewels, that were opulent and complex – and best-selling.
Since then, Chong has invigorated the house – drawing on its London influences and music of all kinds, from opera to Hendrix – inventing a new perfume category, Britlogne and creating some of the most beautifully composed perfumes of the last few years.
What is the first perfume that was important to you?
I’ve said in the past Chanel No 5 was the scent I smelled as a child and it left a memorable impression. A lot has changed since then. It was memorable at a time when I didn’t know there were jobs in creating perfumes. I thought they happened to appear on counters placed there by perfume fairies.
Both Jubilation 25 and XXV, which I created for Amouage, mean a lot to me. They were my first fragrances and entry into the perfume industry, which started an exciting and enjoyable rollercoaster ride for the past 18 years. There was no looking back once I went down into the olfactory rabbit hole.
With a background in academia and the arts, you had an atypical route into perfumery – what advantages do you consider this has this given you?
The major advantage I have is that I’m not restricted or controlled by any methodology – both technical and corporate. I’m very fortunate that I’ve always been able to be my own person without having to compromise. For me, when one has to compromise one’s artistic integrity, then it’s the end of a love affair and it’s time to move on.
There should never be any regret when the affair ends because one takes valuable memories to the next relationship. My route and directions depend on trusting myself. I feel that’s most important because perfumery is subjective. Like conceptual art, one must be able to have that self-belief to convey the message or scent to the world. It’s never easy to articulate and explain one’s story to everyone.
Some will understand immediately and some will think I’m arrogant or a hoaxer. Whatever it may be, trusting my feelings and emotions, plus listening to that little voice inside me give me the edge. I know this sounds surreal. Maybe I have been too conditioned and brainwashed by the arts and academia since I spent so many years studying all those cultural -isms and -ologies.
When I was at Amouage, it was an exciting time since it was the beginning of the rise of real niche perfumery in the very true sense of the word – artistry and creativity come before superficial marketing. I was also very fortunate that I didn’t have any history in perfumery. I had this insane burst of creative energy. Plus, I was very lucky to have so many people in the industry who supported that new direction.
I had so much fun that I worked non-stop. I never took a day off or went on vacation. How fortunate I was that I only had to be deep in thoughts with my crazy and convoluted mind. Having a blank page without any precedence is an amazing feeling. The biggest drawback was that my life moved at such an insane pace that I didn’t have the time to enjoy the moment and to appreciate what I had done.
At Thameen, it’s a completely different experience. I am no longer the rookie without any history. Like walking into a new relationship, I come with perfumery baggage and a reputation – some may be good and some not. I’m thankful to Thameen for this residency that’s given me the opportunity to work in the current niche perfumery since styles and methodologies have progressed with the digital media world. I’m fortunate to be able to embrace niche perfumery from the “old school” practices to the current state.
Bold as Love, Thameen London
Music, art and London seem to be important for your vision of Thameen. Where else do you find inspiration for your work?
I find inspirations in myself. Things I have experienced personally, like books I have read, performances I’ve attended and music I’ve listened. I piece these fragments together to weave my own perspective. My process has evolved in which I share my stories and experiences with the perfumer I feel best matches the intentions and directions of the scent at its early embryonic stage. Sometimes, the concepts and inspirations come from a casual chat with a perfumer about something irrelevant to perfume. I don’t restrict where the references come from. For me, it’s best to keep an open mind and look at everything around me. Originality comes from one’s own personal point of view and understanding.
Can you share some of that creative process with us?
My process is quite unconventional. I don’t do mood boards or concentrate on the technicals of perfume creation as marketing selling points. Sometimes it’s quite erratic – depending on my moods and emotions. I don’t smell other brands’ creations because I don’t want to be influenced. I need to stay focused in my own space. What’s important is to stay free and innocent with the mind and spirit of an uncontaminated child and look at the world with a fresh and excited eye.
What is the idea behind the Britologne – where did it come from and are you pleased with the results?
The concept of the Britologne is to visit the heritage of British perfumery with current tastes and technology. Cologne has been the heritage of Western and British perfumery. What I wanted to do is to pay tribute to this perfume heritage and reimagine it for current use and enjoyment.
We altered the classic structure of citrus and herbs with other molecular accords focusing on explosive projection and longevity, which happened to be my creative DNA since I joined the industry. My approach is inspired by inclusivity in the sense that I turned the classic cologne into an explorative hybrid with other olfactory styles.
The Britologne Collection’s inclusivity motive has brought in new customers who’ve never heard of the brand. It has brought in a new generation of consumers who have high expectations and are extremely knowledgeable about artistry in perfumery. The Britologne Collection is doing what we intended it to do.
Chords, Thameen London
What are your favourite notes or accords to work with?
At the start of my career, I preferred dark tones, woods and resin. I’m older now and my taste and style have evolved. I enjoy the sensations of skin and clean tones, light florals and – don’t be shocked – fruity and gourmand accords. I’m learning every single day about ingredients and different ways of combining them.
Technology is forever evolving to enhance our senses. Looking into the future, I’m learning about airy tones and their lyrical nuances and the best ways I can alter the structures to make it my own.
In Thameen, you collaborate with some of the world’s leading noses such as Bruno Jovanovic and Nathalie Lorson, what do you enjoy about building relationships with them?
They are old friends who have known me for a long time since the early stage of my career. Sometimes I wonder if they are more understanding mentors than friends. I’m not the easiest person to work with. But their patience to be explorative in my child-like fantasy approach must be amusing for them.
Building relationships is about having a good laugh and giggle. Most times when we meet up, we don’t even talk about perfumes. We talk about things like musicals, restaurants, vintage watches and cats. I guess this is my new approach in that I find it necessary to be friends first, so I know who they are as people and not as perfumers.
What plans do you have for Thameen and what do the next 10 years look like for you?
Thameen will always be Thameen and I’m sure it will be successful in certain regions and markets, especially in the Middle East. As for me, I wish to stay being visionary, progressive, inimitable and most important of all, still living up to my reputation as an enfant terrible.
How do you see the world and business of fragrance developing in the next decades?
The world of prestige will be the dominating force. There will be more niche brands coming into the scene, but many will be part of a beauty group from the beginning. As seen in recent years, the practice of niche has become more and more like prestige, especially with marketing. This takes a lot of money.
Customer experience will become more and more gimmicky and digitalised. New brands will be created by Artificial Intelligence with AI founders and creative directors. It’s all about the bottom line. Maybe prestige will reach a creative pinnacle in line with profit. It’s a business after all and everything will be beautiful with progress.
by Caroline Simpson