The sense of smell is one of our body’s strongest senses. Smell has at least as strong an influence on us as what we see. This means that scent is also highly relevant for us as designers. We design not only what we see, but also what we do not see. This course is precisely about this design. The design of the invisible. But even the invisible has to be marketed somehow, which is why the design of a perfume also includes the brand and its appearance. We used two images as a basis for the development of the brand and the fragrance. One image that represents how we see ourselves and one that shows how we would like to be. A fragrance that we wear always changes the way others perceive us. That is why the choice of a fragrance is often also a change in our external image and transformation into someone we would like to be. Images can also be used to work out certain smells and atmospheres. We then use these as a template for the fragrance that is to be created in the end.
At the beginning, I decided on the name Tyndall. This refers to the Irish scientist John Tyndall, who researched the scattering of light in cloudy media. The Tyndall effect, which describes scattering by small suspended particles, was named after him. This effect often occurs when the sun is low in the forest. I also experimented with other names that could be used in the „forest“ cosmos. In the end, I decided on „miasma“.
Miasma is an ancient Greek term that originally described a bad haze. It was also used to describe pathogenic substances that were transmitted through the air. Nowadays, the term is more commonly understood as a haze or mist, but the toxic connotation has not yet completely disappeared. The term is suitable for the name of the perfume in that the fragrance is intended to embody the exact smell of the mist in the forest. However, the toxic or mystical component also describes the fragrance well. This can also be found in the heart accord of the perfume.
The key visual shows the perfume bottle, the word mark and a mystical forest in the background. The bottle is based on amber, which is made of resin and ultimately finds its origin in the forest and trees. The actual bottle is enclosed in amber, as is sometimes the case with insects. The color of the actual bottle is intended to evoke the slightly toxic connotation of the name. The aim of the key visual is to make the mood of the perfume tangible.