A: Yes, I do still wear Chanel No. 5. And a few others. I really like vintage perfumes, and they're my only deviation from wearing all-natural perfumes. Natural perfumers - and the new wave of niche perfumers who are using synths - tend to be much more conservative and deliberate in their releases. Roudnitska and Guerlain released what - 10 perfumes each in their careers? It's a different world for the new mainstream perfumers, but I think a good niche perfumer knows to deliberate and only release gems.

M: Interesting comment Anya, especially when we see some modern niche perfumers releasing over 20 scents in their collection in just a few short years...

A: There was an interview with a perfumer a few months ago who creates commercial fragrances - I can't recall her name - but she was very honest and I felt a bit haunted by the pace and briefs she had to work with.

M: I think there are some perfumers who are just inspired and can effectively create entire wardrobes of fragrance in a short time - perhaps the ideas have been percolating?

A: I don't agree, unless they are geniuses. I haven't come across any. When I spoke before about the rigorous, painstaking process of evaluation of each aromatic, accord, and perfume that is needed, that is very, very serious. Unless that perfumer went through a lot of behind-the-scenes creation for years before the entire wardrobe was released, well, I don't know. I'm sure their heart and ambition is in the right place, but I am much more conservative. I like perfumes to be created and released like rare jewels.

M: Yes, I was surprised that you had retired some of your earlier scents like Riverside (I quite liked that one) and only released two new ones - Kaffir and Temple.

A: I only retired Riverside -- which is my favorite -- because everyone said "it's so "normal" compared to Pan and Fairchild. They really want unusual from me, I guess. I am reworking it.

M: That's not a bad thing, especially if you're able to pull it off. I read Andy Tauer's review of Pan, and he was enchanted!

A: A perfumer does have to listen to the public, and keep a lot of introspection at the forefront of every creation. I work from a design and artistic background. I have had to present many of my urban design drawings to the public and public officials and listen to criticism. The *worst* trait a perfumer can have, other than lack of training is the inability to listen to criticism.

M: Your earlier comment reminds me of a conversation I had with perfumer Mona di Orio last year - we discussed how some perfumers march to the beat of their own drums. I likened this to Ayn Rand's famous character from the Fountainhead, Howard Roarke. I even tracked down a French copy for Mona and sent it to her. I often wonder if perfumers create aromas that please their noses, or if they go through trials, developing their scents so that they will please others...

A: Very astute, linking to Roarke. Spot on.

M: Thx!

M: Ok, so back to you...you were obsessed with scent when you were a child - when did you create your first perfume?

A: I feel more like a sculptor or painter, in that the muse moves me, and I only put the essence of the scent into the blending bottle, nothing more, nothing less. Of course, I know the way to structure it, as does a sculptor or trained painter. Temple is not a perfume I would choose for myself. Either is Fairchild. Yes, I wear them, and love them, but they are not the choice of my nose. I'll bet that shocks you. I do not create or release perfumes because they are "pretty" or "smell good". I create for the art of creation, intent, purpose, and as a way to express what needs to be expressed.

M: Not at all - I think every artist creates output that *needs to be* created, but that doesn't mean it resonates with them as a "favorite"...

A: Fairchild, the opposite of Temple, was created to shock people, knock them a bit off balance, put them through the paces of a hurrricane-ravaged coast. It does.

M: I don't do "shocking" very well...I want captivating and memorable...Temple is captivating to me...but that's likely because of the Japanese influence present in that scent... and my experiences and deep spiritual connection to Japan...much as Fairchild likely resonates with those who know storm-ravaged coasts...

A: Temple is meant to make you focus inward in a good way, as is much of Japanese art/food/scent/spirituality. I don't do shocking well, either, and I can't wear Fairchild during the day, perhaps only at night, going out, very vampish and shocking.

M: So, back to you - first scent created?

A: The first scents were not commercial. I was following perfume books I had. The perfumes were very akin to AT perfumes. The first commercial ones, Anya's Tropical Essences, were sold on South Beach starting in the early 's. They were oil-based since I didn't have access to high-proof alcohol. They were thematic to locations. Riviera, East Africa, Indian Wood, etc. The perfumes evoked the locales, just as my current lines evokes garden locales or fantasy gardens. I think Ancient Amber may have been the first in the seven-perfume line. Meant to evoke ancient Egypt. Then several of the SoBe hotel owners commissioned me for private label work, and I began doing custom blends.

M: I see - what was the deciding factor that brought you to the creation of your first perfume, though? What made you decide "yeah, I'll make one on my own?"

A: Just guts and naive belief in myself, I guess. NOBODY else was doing it at the time.

M: Can anyone be a perfumer, Anya?

A: No, not everybody can be a perfumer. You may have the greatest "nose" in the world, able to discern minute qualities of a raw aromatic, but without a great scent memory - which I am emphasizing in my class, along with tools I believe can help create that skill - and the ability to be self-critical, you can't be a perfumer. With the right tools, training a "good" nose can become a perfumer, they don't have to have a "great" nose. But they must have the other qualities mentioned. It takes a rare combination of big ego and humility, also. Like Roarke. Destroy (or discontinue) what does not live up to expectations.

M: Ok, so this brings me to my question about perfumery, music, and art. As a composer, I very often "play around" on the piano and I hit upon many of my favorite melodies and chord combinations this way. Other times, I have a melody in mind before I even sit down to compose. As a sometimes-artist, I know the same can be true of sculpture and painting - sometimes a creation comes from another realm, deep within one's psyche, etc, without any recognition that it is present until it forces its way out. Other times, the creation is intentional, starting from a specific place with an endpoint in mind...

A: You're working from auditory/practice memory, Marlen, the analogy being the Scent Memory I've spoken about. You know, after years of practice, what works together. Sometimes the Muse moves you, a flash of intuition might move you, and since you are skilled, you are able to sit down and compose. Think back to when you were years old with that teacher. You weren't able to do that then. It takes years of study - music, art or perfumery - to make it look easy. Of course, if a client comes to you and wants a custom musical piece or painting or perfume, you work within their wishes.

M: Excellent point!

A: You'll still know, because of the training that is now part of you, what to put together.

M: Anya, how has your history and background influenced your perfumery?

A: My history is that I've collected raw aromatics and books on perfumery since the 1970's. Since I thought it was impossible to become a perfumer, I worked for my own pleasure, and that of those close to me, just studying on my own and blending. My background as an Economic Botanist and Landscape Architect/Urban Designer got me intimately involved in the plant and build worlds, learning physiology and design, plant evolution and real-world construction. My gardening in the tropics allows me to grow rare and exotic plants and extract their fragrance for my perfumes. I have varieties of jasmine here, many of which are not available as extracts in the industry, plus many others. I have been making herbal extracts for years, so it was a small step to start over with perfume plants. I now have a system for analytical evaluation of the extracts that allows me to standardize them. So, my botanical, science and design backgrounds all merged to bring me to this point. I have to add that Mandy Aftel's book Essence and Alchemy gave me, and hundreds others, the impetus to become really public perfumers. That was the big turning point. Mandy had the vision. I may have had the background in perfumery, but I wasn't taking it anywhere. For those that are niche perfumers who do not use all-naturals, I'm sure they got courage and a lot of ideas from what's out there on the internet now.

M: Anya, you mentioned the magic word. I am a jasmine fanatic, and ever in search of different varieties of attars and natural jasmine essences. Indolic aromas, while fascinating, are not really my thing....yet. I like the almost fruity quality some of the blossoms offer...there's something that resonates with me, much like sandalwood, on a deep personal level. Put the two together, sandalwood and jasmine, and voila! The ultimate soul scent for me...There is something about the two that seems to suggest a balance for me...

A: That's a nice AT perfume, Marlen. I, too, adore both those scents. I got my first jasmine absolute in the early 80's from a place in Philadelphia. I thought I had died and went to heaven. I already had a good sandalwood source, so yes, they were immediately paired. I have several jasmines that aren't indolic at all. Fruity, or with a touch of vanilla.

M: When am I coming over?

A: Summertime is best!

M: So Anya, your own perfumery, teaching, the Guild, philanthropy...what does the future hold for Anya's Garden?

A: I just love the naturals so. There is such a complex beauty about them. It is a lifetime's work to get to know them and unlock their secrets. I have just finished laying the foundation for the future, it's been two and a half years of non-stop work, and I believe with just a few tweaks that will be needed, as all things evolve and need tweaking, everything is in place that needs to be in place. The Guild will continue to educate the public on the art of natural perfume, and address legislative issues as we did early this year by joining Cropwatch in the boycott of the adoption of IFRA's 40th Amendment. That effort alone took weeks out of my perfumery business, but was worth it, we stopped them in their tracks and have opened up a dialogue. That's a huge issue I won't go into there, the reader who is interested can read further on the Guild site.

M: Ok, are you ready for the lightning round?

A: The teaching is very exciting, and something whose time has come. So many lovers of natural perfume are located all over the world, isolated, not able to study it, since no classes were nearby. Well, maybe a short course, but that isn't what is necessary. Now Anya's Garden can really bloom, I have all the public work in place. Lightning round? Yikes. What, like ten things people don’t' know about me? LOL

M: Lol...here we go! What's the last fragrance you purchased for yourself?

A: Mitsouko EdP. Loved it, but it was too strong, lasted too long.

M: What's the first fragrance you ever wore?

A: Can't remember back to age two, but the Chanel No. 5 story shows I was obsessed with it, so I'll call that my first.

M: What's the last scent you purchased for someone else? Who was it for?

A: I can't remember! I always give my perfumes. Well, maybe some sandalwood after shave/cologne for my twin brothers about 2 years ago.

M: What fragrance would you most like to have in your possession?

A: I really don't know how to answer this. I don't crave anything. I only would like to have something new by me, that I'm proud of, a fragrance that excels and has never existed before.

M: There's no retail fragrance you've been curious about or wanting for your own?

A: No, not really. We didn't touch upon, in this interview the differences between those who like big sillage, long-lasting perfumes, and those who don't. I feel most retail perfumes are overpowering, so I tend to avoid them. I may like a spritz on a card to see the structure, but I wouldn't want it on my skin. It's like some folks like cold weather, some like hot. I could never live up North, I remember you don't like the heat. It's just relative to our personal preferences.

M: Anya, is there anything else you'd like readers to know about you or your creations?

A: To expand, I have no desire to experience or evaluate 99% of what's out there. I prefer to work within my own Muse's sphere, to never critique another's perfume. My art is singular, not influenced or connected to what's on store shelves, even natural perfumery store shelves. About me -- I want them to know I'm dedicated to spreading the word and educating people about natural perfumes. Although it's a time-eater, I'll continue the huge Yahoo group to nurture and assist everyone interested in the art. I'm very, very happy where I am in life right now, personally and professionally. I have a wonderful support system and network, and life is full. Interacting with Mandy and the Guild members and my students on an almost-daily basis if incredibly rewarding. My perfumery and creations follow in the wake of that wonderful high. I'm truly humble at how fate has pushed me along this path, I had no idea a few years ago all this was going to evolve. I had no idea what my perfumes would be -- it's all a mystery, and I love seeing it unfold.

M: I dare say your passion has a lot to do with how your path is unfolding...

A: Yes, the passion is a big part. I have collected and used aromatics for so many years. It's like food or air or water or human touch -- I can't live without it, so I've been able to ride this wave - naturally.

M: That's the beauty of PerfumeCritic as it stands now, a collaborative effort of creative minds from around the world. Many people asked me why I would move from a blog to a group site, and I think the answer is now becoming obvious...

M: Well, Anya. As I knew it would be, this has been a very exciting and enjoyable chat!

A: PC.com is as complex and has as many depths to be plumbed as a well-constructed perfume. Always a surprise as the site unfolds another layer of information! Thanks, Marlen, it's been wonderful on my end, too, since I feel so close to you after all these years of correspondence. Glad we got together!

M: Thanks, Anya - and this is completely in part to the collaborative approach. Yes, we really should try to meet up when I'm down in SoFlo this winter!

A: So I guess we can call you the "top" note of PC.com.

M: Awww, I think I want to be the basenote that holds it together!

A: PS speaking of Basenotes - ahem - I was asked by Grant to write a regular column there. Please check it out!

M: That's wonderful! I wish you all the best with this new endeavor, and continued success with the others! Have a wonderful summer and thanks again for chatting with me!

A: Thanks, Marlen, it's been fun.

M: Yes! Talk to you later!

A: Bye now.

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