For as far back as it is possible to investigate such a thing, it appears that Indians have concerned themselves with making their environs, and themselves, smell good. The sensualists and master perfumers of yesteryears have created a sophisticated culture of fragrance aesthetics – not entirely surprising in a land that’s home to 18,500 varieties of aromatic plants.
The vivid narrative of Divrina Dhingra’s book The Perfume Project blends the science of aromatics with travel writing, history and insights into India’s contemporary perfume trade, to investigate scent as a powerful trigger for memories and emotions, as well as a mode of self-expression and identity. Her meticulously researched accounts show that the obsession with aroma is not a mere indulgence, but instead, the backbone of the country’s struggling perfume industry and a source of livelihood for many. In a conversation with Scroll, Dhingra talked about her book and how anyone can cultivate a refined taste in smell. Excerpts from the conversation:
Your book The Perfume Project is all about beautiful fragrances. So tell us about the first time you decided to find out for yourself how a fragrance is made.
When I went to summer perfume school, in 2015. At that point, I knew the theory of it, from reading, but I wanted to do it for myself and really understand how it’s made.
How long has the book been in the making?
Six or seven years all considered.
Rose, jasmine, sandalwood, saffron – we know these as things that smell very nice. Did you chance upon any unexpected source of fragrances in your travels across India?
The most unusual source of fragrance I came across was nakh – shells that are roasted and then dry distilled to obtain a very phenolic, tarry essence called choya nakh that is overpoweringly strong.
With the advent of deodorants and the availability of high-end perfume brands, where do Indian fragrances stand in the market?
Quite apart from both of those. In my opinion, they don’t need to compete with deodorants because they don’t and were never intended to serve the same purpose or be used in the same way. With other perfumes, it comes down to personal preference of course, but traditional fragrances need better marketing and visibility.
You know, as I read your book, I realised how time-consuming making traditional perfumes is. You have to wait for the tree to grow, and for flowers to bloom, climate and weather play such an important role. In the age of FMCGs, what is the future of traditional perfumery?
All perfume that uses any amount of natural ingredients (most of them do) is dependent on those same cycles of climate and time, and these are a real issue across the world. I imagine making any perfume with natural ingredients is a time-consuming process – including our traditional perfumes.
I was also thinking about how rarely we read about the difficulties that the traditional perfume industries face. What has state support been like (if any)? Are younger generations keen to carry forward the legacy?
There is more recognition of the craft now, and Kannauj perfume has a GI tag, as does jasmine in Karnataka, and there are state policies for agarwood. I have met some families where the youngest generation are indeed continuing the business, but perfumeries are a small niche, so it’s hard to compare it to other businesses.
Did you learn about any traditional perfumes or fragrances that have become extinct – let’s say from the lack of resources or demands? If so, are there any hopes of a revival?
Natural musk is one. It’s been illegal for decades because it required killing musk deer which are endangered, so no hope for revival there and happily, no need either. The synthetics are amazing.
What are some of the research roadblocks you faced? And apart from travel, what are some of the resources you took help from?
Travelling by myself was sometimes challenging, as was gaining access. It took time and persistence. Because a lot of my work was done during the pandemic, I didn’t have access to as many libraries and records as I would’ve liked to study.
I suppose you are equally interested in fragrances from around the world. In what ways are Indian perfumes unique in their production and smells?
Production more than smells – many other countries also grow and produce essential oils – because it really is completely handmade and there is a lot of labour, time, knowledge and patience required, as you noticed yourself, and that sets it apart in my opinion.
I also realised that while it’s easy to pick a “favourite” or “signature” fragrance, the skill of truly knowing a fragrance has to be cultivated with time and patience. How does one get started on this journey?
Just smelling more, I’d say. Disregard brand names and gendered marketing, smell a fragrance over time to see how it develops and how you like it. If you’re really curious there are some great blogs and reviewers online to check out. That said, fragrance is a pleasure and just picking what you like is just as good a way to do it.
What has studying perfumes taught you about life and living?
Mostly patience, and more respect for nature.
Other than perfumes, what are some of your favourite smells?
It’s a list, but a few are boiled rice, cut grass, gardenias, and petrol.
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