Dec 062013



Thanks for participating everyone. The drawing is now closed. Winner announced tomorrow.

MYEvery year, perfumer Andy Tauer does an Advent calendar, with daily giveaways on different blogs. For perfume lovers, it’s a highly anticipated event – a chance to win soap, perfume, and other things Tauer – and each year is more exciting because Andy is pretty prolific, and there’s always something new to try.

ingrid still for ingrid dvd

Most of my friends have heard me talking about Andy, or know about our Evelyn Avenue collaboration, now three years running (my film series Woman’s Picture, his accompanying perfumes through Tableau de Parfums), but most of them aren’t acquainted firsthand with his work.

A few weeks ago, we released Ingrid, the third Tableau fragrance, which is now available through the Evelyn Avenue store and at various retailers, among them Ingrid, like Miriam and Loretta before it, is pretty stunning, a meditation on the past from a decidedly contemporary perspective. Like Miriam and Loretta, Ingrid is a perfect fit for the character and story of the same name which inspired it. Ingrid the character has a lot going on under an impossibly poised surface, and for me the perfume captures the mood of the film (also available in our store) and of Calpernia Addams’ performance. It’s been a high point of my experience as a filmmaker collaborating with Andy, investigating together the ways scent and persona combine and influence each other, speaking across mediums through our work.


Now that the next film in the Woman’s Picture series is finished and going out to festivals, Andy and I are talking about where to go next perfume wise in relation to that story and its characters (played by Grace Zabriskie, Amy LaVere, Lindsey Roberts, Angela Dee, and Savannah Bearden). If Dark Passage, the limited quantity scent we did for the film’s kickstarter campaign, is any indication, the collaboration will only get better as we move forward. You can see the trailer for Only Child on the Evelyn Avenue home page.

You have to smell Andy’s work to believe it, so I’m excited to participate in the Advent calendar this year; even more excited that he now has an Explorer Set, which includes three 15 ml atomizers, a great way to get to know the scents. To be eligible in the draw for a Tauer Explorer Set, please leave a comment on this post telling us what films you saw this year that really spoke to you. We’ll draw the winner through the morning of Saturday, December 7.

(Pictured above: Calpernia Addams as Ingrid and Sally Stover as her mother in a still from the film “Ingrid”)



 Posted by on December 6, 2013
May 152013

I really love this picture from the shoot of Only Child, the next feature film in the Woman’s Picture series. The film is in post production right now, so I’m living it and breathing it and everything I do somehow informs it or goes back to it. I can’t watch a movie, read a book, or have a conversation that doesn’t somehow tell me something new about it.

I love the picture because it shows a naked view of the set, a view I never allowed myself to take in – not when I first found the room and decided to use it, not when I was decorating it, not even when we were filming in it. Had I allowed myself to see those wonky ceiling tiles and the totality of the room I would never have moved forward with it. I couldn’t have convinced myself it would work. If I have any kind of gift that serves me in filmmaking it’s this ability to see not what’s there but what might be or could be or will be as if it already is. The camera sees limited information, and you have to train yourself to see the way it will, to cancel things out that contradict the fantasy, zeroing in on things that will boost it.

You’d never know, watching the finished cut of Only Child, that the motel room this set is supposed to be looks anything like it does in the picture above. You’d never suspect the reality. It doesn’t look at all claustrophobic in the pictures taken on set. On film, it feels like a cave, a setting for overactive denial. In the picture it has definite boundaries, obvious end points. On film its space is conceptual and indefinite, suggesting more beyond everything you see.

I’m fascinated with the pathological mindset, what often gets called the borderline personality or I guess psychopathology, maybe because most of my characters are precluded from seeing reality the way everyone else around them does. Most of my characters are some degree of delusional. They narrow down the field of vision. They block stuff out. It’s often pretty harmless, until someone threatens that fantasy, smoking them out into the hostile realm of the real.

Grace Zabriskie’s character in Only Child was something different for me. Delores has spent most of her life institutionalized, and she’s had a few traumatic breaks with reality along the way. She’s not content living in her own reality the way most of my characters are. She wants others to acknowledge it as their own. She wants to bring them in with her. She’s a mother looking for her daughter, Loretta, who has tried to escape from being shut in with her in that mindset over the years, where fantasies lock together like nesting dolls.

I’ve been reading a lot of Ann Rule books, mainly because they’re full of psychopaths – not just people who believe they can get away with the unthinkable but people who live in a totally different reality, blind to whatever doesn’t support what they perceive. Somehow, I stumbled onto the Casey Anthony case, which is old news now to most but revelatory to me; I guess I’m struck by the similarities between daughter Casey Anthony and mother Cindy Anthony and my fictional mother-daughter pair, Delores and Loretta. According to Jose Baez, her lawyer, Casey Anthony lived in a pretty complex world of her own construction, with a made up cast of characters and events which only indirectly involved the truth. The line between her belief in those people and her awareness of her deception is so fine you’re crossing it before you see it.

The relationship between Casey and her mother, like the one between Delores and Loretta, is a sort of folie a deux no one who isn’t inside their reality can ever hope to break down or begin to understand. At the center of this spell, the death of a child. Setting aside what the media made of the events surrounding the death of Casey’s daughter, it’s obvious that at the very least Casey lived in another dimension. She was in that room and didn’t ever allow herself to see the ceiling tiles. Setting aside whether or not her mother believes she’s innocent or guilty, it’s obvious Cindy Anthony doesn’t see the tiles either.

It probably seems like a leap to make a connection between the creative process and Casey Anthony, but I think a lot about the fact that the inner life of a filmmaker or an artist in general involves a kind of borderline – if far more benign – pathology, sublimating what is to what isn’t yet, superimposing fantasy over reality. Making films doesn’t involve homicide usually. It does involve believing in something that doesn’t exist, sharing it with a group of people and, crucially, seeing it vividly even at times when no one else can.

We shot in that room for something like four or five days. I prepared it for something like a month. I’m not certifiably delusional: I know there’s no such thing as that motel room in the film; I know there’s no such person as this woman named Delores. But every night when I’d go home she lived in my head, very much alive, an unreal person who represented very real things, to such an extent that she took on some sort of unusual real time presence in the process. And for the last year, working on the edit of Only Child, she’s been, like Casey Anthony’s cast of characters, an imaginary friend of mine that no one else can see, the existence of whom can’t exactly be verified. Making a film is full of those powerful delusions, and when I saw this picture of our set for the first time I was amazed just how much I’d blocked out to make my vision feel real, and just how close to crazy I might have seemed.

(Illustrations: top photo by Philip Horowitz, featuring, left to right, Jessica Jones, Grace Zabriskie, and Brian Pera; middle photo by unknown, featuring, left to right, Cindy Anthony and Casey Anthony; bottom photo by unknown, featuring Casey Anthony’s defense lawyer, Jose Biaz and a chart he called “Casey’s Imaginary Friends”.)

 Posted by on May 15, 2013
Jan 032013

It’s been a weird year. The ratio of highs to lows were pretty even, but the dips low have been kind of off the charts. A friend died in October. Another friend relapsed in a spectacular way last May. All the accomplishments of 2012 (shooting the feature ONLY CHILD, the month long kickstarter campaign which preceded it, releasing the second Tableau de Parfums fragrance) would feel major any other year. Judged against the senseless loss of a friend, they haven’t felt like much. I’ve struggled the last several months to get some kind of perspective on things – on what I do, why I do it, why I should bother. I’ve struggled more than “done”.

Today I’m leaving for a month long trip to LA with the intention of shutting everything but ONLY CHILD out of my head. I was charmed during the edits of my first and second films; I don’t remember any problems focusing or burrowing into the material. The edit on Only Child so far hasn’t been without focus, but my thoughts are in a different place, and I’ve been doing a lot of re-evaluating. Right after the shoot wrapped, I started applying the standard pressures to myself – when to be finished with the edit, when to do a website, when to do a trailer, when to talk about it, how much to talk about it. None of that has anything to do with the film, and it’s not the way I’ve worked before. I think it’s just what things have become. A lot of us are hurrying to get things done. I keep thinking of the old adage about Hollywood – You’re only as good as your last film. I feel like that’s not so localized any more, and much more accelerated. Really, you’re only as good as your last tweet. It astonishes me that anyone can do anything meaningful or the slightest bit sincere under those circumstances.

I also feel like we control the circumstances. That pressure is a lie of the mind. Eight months ago I got off Facebook. I figured it would last about a week or two. I just needed some down time. I haven’t been back since deactivating my account. It’s not a moral thing. I’d talked so much to so many people during the kickstarter campaign and the shoot for Only Child, every day, that I didn’t want to hear so many voices for a while. I got tired of my interests being so all over the place and at the same time so strictly guided. I missed meandering around from one interest to another. I didn’t want them laid out on an endless scroll. I didn’t want to feel there were a thousand other films vying for attention. I know there are, and that some of them are worth seeing. But during the edit process I need to luxuriate in the fantasy that mine is the only one in the world. I want to focus on what it’s saying to me. It’s not that I don’t want to hear about yours. It’s just that I want to hear mine more clearly.

At my friend’s memorial there was the standard “moment of silence”. For the first time I realized how flimsy a moment like that is. What good is it if it only lasts a few seconds? How do you extend it more meaningfully, so that maybe it informs your daily practice? I feel like that’s what I’ve been doing: observing a moment of silence. I think maybe I’m trying to make the moment most of my life. And I want to make sure I feel those moments in Only Child, or whatever I do.

(Photo of a moment in time on the Only Child set, by Philip Horowitz. The set was made to look like it had been there for years. I spent months gathering the props and furniture. Last month, I dismantled the last bits of the room – lamps, bed frame, chair. The moment exists only in the footage now)

 Posted by on January 3, 2013
Aug 122012

From set full of comrades to army of one: better gear up for both, with a rigorous nap schedule…

I was at an event a few weeks ago in Massachusetts full of filmmakers and visual artists and I guess industry types, and we were all encouraged by the facilitators to reach out to each other and be open about what we need. Filmmakers need a lot – money, producers, distribution support, talent – and you’re crazy to ask for something stupid and inconsequential, like rest. But during a presentation I forgot to turn it on and said I needed, essentially, a nap or something.

Filming ONLY CHILD in April was exhausting, and I’m still recuperating, and it’s not really over. The shoot gives you the raw materials, and you have a lot to do ahead of you. Like the edit. Design a web site. Sound work. Score. Filming is the easy part, for me, and it’s back breaking. But I’m pretty tired, and after the congregational experience of the shoot, where I was surrounded by and responsible for people everyday, all of us focused on the same immediate objectives and challenges, I’ve had trouble switching gears comfortably.

You have a kind of family, then they’re gone. You’re tapped into them, then you aren’t. You don’t feel the exhaustion much during the shoot, or you feel it in a different way, the way a hamster feels the wire rods of the wheel as it spins, maybe, because you’re thinking on your toes. You can’t afford not to think on your toes. You can think about the fact that your toes feel funny but it’s not an option to think about getting off them for a while. After it’s over and everyone moves on to different things, you try to figure out what to do with yourself. You worked twelve hour days, thinking nothing of it. Now the day is just interminably long. and all you think about is your dogs barking.

I’ve been resting as much as I can. I’ve been taking naps. I’m not much of a nap taker but it’s all I know to do. There’s so much time in the day, and so much of it is busy in a very diffuse way. Napping shuts it all down. I look forward to the dreams during these naps because they’re rare surprises. Today I dreamed we were filming somewhere and a corrupt cop warned us a bomb was going off on set at zero whatever hour. We were all totally unified trying to solve the problem, sharing the panic. We all knew exactly what to do with our time and how much of it was said to be left.

I woke up and there was laundry to do and a film to edit and a house to clean and a website to figure out and taxes to pay, and it was all my problem.

Photo of the crew and some of the cast from ONLY CHILD, shot by Jamie Harmon.

 Posted by on August 12, 2012
Jun 202012

If you donated to the kickstarter campaign for our next film, Only Child, your package is on the way…

Here’s a photo to prove it.

Last week, co-producer Eileen Meyer and I got together to pack up all the goods (perfumes, soaps, scarves, more perfume). I needed a beer. And, after a while, glasses.  I guess one of the tests for how well your campaign did is how much your eyes and head hurt after organizing all the shipments for donors. We started mailing the packages today, just as my eyes had started to adjust. But I couldn’t be happier:

The other test, maybe, would be whether or not your movie got made. Thanks to you, ours did. And after we finish getting all these items out, we can move forward with the editing.

 Posted by on June 20, 2012
Jun 112012

How a chair, a broom, a mug, and a vintage car came together for a sequence in ONLY CHILD…

These stills are from the ONLY CHILD shoot, taken by Jamie Harmon on April 16th, 2012.

We were scheduled to shoot interiors at this location, Fuel Cafe over on Madison Ave., Memphis, TN. I’d already worked Bennett Foster into a scene inside but I wanted to do something else with him. The place looked so great on the outside that I wanted to get exterior shots too.

I pulled this chair out the day before to get some distance from things while we were shooting. When I saw it there the next day, I wasn’t looking at it the way it was but the way it might look in a film. The chair, against the wall, had a quality I liked. When I added a broom it looked even better. It felt like some kind of story was going on there.

We’d already used Alice Laskey-Castle’s car, a vintage blue Mercedes. We decided that would be the car driven by Delores, Grace Zabriskie’s character. I saw the chair and the wall and I thought Bennett would look fantastic sitting there, with the car right up against him and a broom leaning nearby. So we got Alice, who did wardrobe on the film, to pull the Mercedes in. And I got a coffee cup I’d seen inside the day before, and set it on the chair to see how that would look.

Delores is in town looking for her estranged daughter, and comes to this diner almost every day. She sits at the same table. Has a tuna melt. Glares at her fellow patrons. She makes friends, cautiously, with her waitress. In the script you always see her at the table, after she’s already entered the place and been sitting there for a while.

I wanted to see her get out of her car and enter the building. What does she look like when she’s not where I’m used to picturing her? Whatever this story was – this broom and the chair and Bennett sitting there – I wanted to see her pass through it. So we set up a scene where Bennett, who works at the diner, was maybe sitting outside, drinking coffee on a break. Maybe he wasn’t supposed to be taking a break. Or it was only a break because there weren’t any diners inside.

We started the scene as if Delores had just parked her car, and we positioned Bennett’s legs where it felt like Delores had practically parked the car on top of him. As Delores gets out of her car, they stare each other down and it makes you wonder what they’re thinking. And Bennet, all seven feet of him, leans clear over in the chair watching Delores scope out the building. And when she enters, he gets up, and puts his coffee down on the chair, and goes inside to wait on her.

Bennett’s outfit matched the wall – white on top, black below. Delores was all in black except for a leopard print scarf around her head. She carried bright orange plastic grocery bags and stopped with them at the hood of her car, staring down Bennett like he might steal her hubcaps if he got the chance.

 Posted by on June 11, 2012
Jun 082012

Flood Pants: Back story on a still of Bennett Foster from the set of the feature film Only Child…

Bennett Foster has been around midtown Memphis for a while now. His father’s pretty well known in the area and Bennett’s been somewhere in the general vicinity since he was a kid I think. I worked at a coffee house briefly with him about ten years ago. He was probably still in high school at the time.

I always thought he looked interesting. He’s very tall, slender, and his scale seems to be off when you put him up against other people. He’s one of maybe four or five people in town I’ve always wanted to put in a film. Generally I’m shy about asking.

Bennett’s a musician so I guess he’s used to performing. He’s in a band called Magic Kids (first album, Memphis, is out on Matador). Before that he was in band called The Barbaras. Both bands are sort of orchestral pop, with harmonies that remind me of Brian Wilson and the Beach Boys, though the Barbaras were a grungier move in that direction.

We were about two weeks from our start date on ONLY CHILD, the latest feature film in the Woman’s Picture series, when I walked into the coffeehouse Bennet and I used to work at. He’s working there again off and on and happened to be in that day. I got a coffee and a bagel to go and he was making the bagel. He had flood pants. I think it’s probably hard to find pants with the right inseam, but he’d pulled them up so high on his waist he wasn’t giving this pair much of a fighting chance. I thought I should just ask him if he wanted to be in the film. Then I decided against it. Then I grabbed my bagel and blurted out something pretty inarticulate.

He said he might be interested as long as the story wasn’t sexist, capitalist, or several other things I can’t remember. I wasn’t really sure the script didn’t fall into any of those categories, so I said I’d send it to him.

I didn’t hear from him for a week or so and thought the film probably wasn’t his idea of a good time. Then I was there again having coffee and he came up to me in those pants and sat down and told me he liked the script. He thought it was really dark and hoped I kept it that way.

He was on set for two days. I asked him to wear those pants or something like them. The set was a diner in midtown, located in an old converted gas station. The tablecloths are black and white plastic gingham. Every table has one of those outdoor citronella candles  on it. With his white t-shirt and his high tide pants and his skewed flop of hair, Bennett looked like somebody who’s watched a lot of James Dean and tried to dress like him but got stretched out a little.

Photo by Morgan Fox.

 Posted by on June 8, 2012
Mar 122012

Zurich perfumer Andy Tauer talks about the upcoming fragrance Loretta ( October 2012), second in the Tableau de Parfums line…

Loretta, the second fragrance in the Tableau de Parfums line created by perfumer Andy Tauer, doesn’t officially launch until September of 2o12. Inspired by the character of the same name, played by Amy LaVere in the series, Loretta is a surprising take on tuberose, as full of mystery as its namesake.

There’s been a lot of advance interest in Loretta since we announced the Tableau line in 2011 with Miriam, our first fragrance.  This week, we’re adding the fragrance Loretta to the available incentives on our kickstarter page for Only Child, the next film in the WOMAN’S PICTURE series.

If you haven’t checked out our campaign, please do. It’s easy to make a donation and there are many new perfume packages for people who love fragrance. Your support will help us reach our goal and make the film. If we don’t reach our goal, we won’t be able to use any of the money raised and Kickstarter won’t allow any of our incentives to go out.

See the ONLY CHILD campaign and read more about the incentives we’ve added here.

We’re excited to provide this sneak peak of Loretta, because it’s a pretty fantastic scent, a uniquely moody take on tuberose, something of a departure for Andy, and we want to take this opportunity to share it a little early with our supporters.

Recently we talked to Andy about his thoughts on both the character and the fragrance…

EVELYN AVENUE: Can you give a few thoughts about the character of Loretta? When you started thinking about her fragrance, what were your initial impressions?

ANDY TAUER: Contrary to Ingrid’s fragrance, scheduled for 2013, and the fragrance Miriam, launched last year, Loretta was easy. Super easy. I watched the movie and by coincidence or not, I knew immediately how to create it. I knew that I wanted to create a fragrance that is as a dreamy as Loretta is.

Loretta is a dreamer, she is lost in her dreams and we cannot reach her. She is incredibly sensual and in my eyes she is also very sexy. And I felt a contradiction in her, a paradox …I am searching for the right word here… an incongruity: She seems very vulnerable, yet she is not, but in the end she might be.

In Loretta’s dream world there is this man who falls in love with her and wants to take her with him to save her and to start a life with her. Loretta’s dream world is quite romantic and I feel very close to her there.

That’s how I experience her, seeing Loretta on the screen. Now what do you do with these impressions when you create a fragrance? Maybe our readers want to dream their own perfume here, too. I dreamed it on the rich, sensual and dark side. It could be a fragrance from the eighties. Notes are ripe dark fruits, a velvet rose, a spicy and powdery tuberose, a note of sparkling orange blossom, all nicely arranged on a queen-size bed of dark patchouli and woody notes with vetiver, ambergris, a touch leather and sweetened orris root.

EA: Does the Loretta fragrance relate to Miriam in some way? What makes these Tableau fragrances different than the Tauer line?

AT: I am pretty sure that a creator is the wrong person to ask about his or her creations. I am actually convinced that others like you or perfume lovers out there can make more sense of my creations than I can. I can speak of lines and notes and language, but I am much too much linked into them.

Having said this: From an eagle perspective, looking at the aesthetics, the language of the scent, I do not think that Loretta and Miriam relate strongly. Miriam is referencing back 60 years; it is a modern fragrances but reaches out to the grand perfumes of the thirties and forties. Aldehydic, heady, floral it speaks a different language than Loretta.

Loretta references the fragrances of the eighties. Please do not get me wrong: the goal was not to copy/paste a perfume from the past. I am just pointing back to a time where I was making my steps into university and wore super large glasses and had these shirts that are so hilarious to look at today. But some of the fragrances created in this time period are great! Of course, Loretta and Miriam relate to each other in the sense that they are inspired by characters that you created. There are many forces that hold the WOMAN’S PICTURE universe together.

EA: How do you feel fragrance relates to film? Do you feel there’s a connection at all between the way a fragrance works on you and the way a movie does?

AT: Yes and no. I rarely smell fragrances that touch me so much that I get tears into my eyes. Movies do this quite often. That’s the no. The “yes”: Movies and perfumes have the magic of transporting me to another place where memories and emotions are at home, where I forget time and where I am at peace.


 Posted by on March 12, 2012
Mar 062012
Musician/actress Amy LaVere talks about her role in Only Child, the next film in the Woman’s Picture series…

After seeing Amy LaVere as the character Loretta in our first film, WOMAN’S PICTURE, filmmaker Ira Sachs said that it was one of the best performances he’s seen in years.

If you haven’t seen that film, you can by donating only 15 bucks to our Kickstarter campaign for ONLY CHILD, the film we’re shooting in April. You get a download with your donation. The trailer is on the kickstarter page.

It’s well worth the price of admission. What Amy does with the role I think would probably surprise most people who think they know her. In some way, she puts on film, in that performance, many of the characters she’s sung about for the past several years, bringing them life in a different way. Loretta is a quiet, slightly vacant character on the surface. It’s hard to play that kind of thing. It’s hard to be still on camera. Amy gives her so much depth with so much subtlety that it completely complicates what you’re seeing on the surface, making Loretta a much more dynamic character than she might have been.

ONLY CHILD picks up with Loretta a few weeks later, and introduces her estranged mother, played by Grace Zabriskie, who comes looking for her daughter when she disappears. When we started the Woman’s Picture series I told Amy she’d have to feel pretty comfortable with Loretta, because they’d be stuck together for the duration (the series will last 10 years). I wasn’t sure where we’d take Loretta, and she wasn’t either, but she said great, okay by her.

A lot has changed for both of us since we first filmed Loretta together. Recently I asked Amy some questions about the character.

Evelyn Avenue: How do you see Loretta, your character in the Woman’s Picture series?

Amy LaVere: I see Loretta as having evolved into this helpless mess but she’s also far more uncomplicated than the characters she interacts with or even the audience realizes. Her edges are rounded. She’s numb in reality and electric in her imagination.

Evelyn Avenue: It’s been a few years since we filmed the first part of Loretta’s story. Now we’re filming something that takes place several weeks later. So a lot’s changed for you – but probably not for her. How do you approach getting back into a character like that after some time away? And are you trying to bring new insights to her this time?

Amy LaVere: I relate to Loretta in a way that I’m finding pretty difficult to clarify here without sounding really strange. When reading the WOMAN’S PICTURE script I really knew her. I could feel myself in her skin. Now that I’ve met her mother and learned a little more of her past through the reading of ONLY CHILD I feel that I understand her somewhat less. I’m going to not concern myself with trying to figure her out too much as she wouldn’t be curious to know herself any better either – again, I’m not sure that I can  make this make sense.  Loretta lives almost totally in something like a state of dreamy dull bliss that she doesn’t wear on her face. Her face says something sadder and more lost. She has an awareness of reality but mostly doesn’t live in it, only “tries it on” from time to time. Her longings and desires can be periodically lived out pretty successfully through her fantasies. In this film I think Loretta continues to try on love and sexuality like a child tries on her mother’s or father’s clothes. I will be “trying on” Loretta. The new insight for us all will be discovering how she reacts when forced to see her past.  Even I cannot predict whether she will awaken dangerously, with acceptance, fear or not at all. The process of being her will lead me there.

(Photo from Woman’s Picture by Tommy Kha. Left, Amy LaVere; right, Corey Parker)

 Posted by on March 6, 2012
Mar 052012

In creating Dark Passage, the limited edition fragrance available at the kickstarter page for the next Evelyn Avenue production, ONLY CHILD, Andy Tauer and I thought a lot about how to remain playful and imaginative, and somewhat free, as we move forward together making films and perfume. Here Andy talks a little about that thought process, and about the Snapshot line of fragrances, our latest endeavor mixing film and fragrance.

EVELYN AVENUE: Dark Passage is what we’re calling a snapshot fragrance. It’s still within the Woman’s Picture universe but different than the portrait fragrances. What are the differences to you (not necessarily between the smells but between the concepts and practices of creating them)?

ANDY TAUER: The idea of coming up with some “snapshots” for the Woman’s Picture universe allowed me to come up with fragrances that fit this universe but are different from Miriam and Loretta and Ingrid, the first three portrait fragrances in the Tableau de Parfums line. These three are inspired by woman portraits in your film, Woman’s Picture. Snapshots are different in many ways. Allow me to dig into this question in some detail.

As some of your readers may know, I live from my hand’s and nose’s work since more than two years. In order to do so, to live my passion and continue my way and build my brand Tauer, I had to grow. Thus, you find my creations increasingly in more places, especially in Italy. This comes with a lot of obligations. It means a lot of registration and legal work, it means protecting the intellectual property, building complex supply chains and fighting with stock and a lot(!) of communication. Bringing products to the European Union, especially, becomes expensive and troublesome. Thus, whenever I launch a new scent I start an avalanche: labels, bottles, raw materials, paperwork, pictures. And there is a financial risk and this gets bigger, of course. Here come the snapshots.

The snapshots allow me to go back to where I was 6 years ago, playing with scents in all seriousness and sharing them with perfume lovers who care, without having to worry about logistics and supply chains. I do not have to make thousands, just 100 or 300 smaller bottles. And it is easy to get a liter or two of a scent done. Of course, without registering it in the European Union.

On a side note: I was thinking a lot about it, in fear of disappointing many perfume lovers who do not like the idea of limited editions or fragrances only available for once and then gone. But in the end, I thought, that 95% of all fragrances launched this year will be gone next year. And I would rather present 200 bottles of an interesting scent than none, because I cannot keep up with logistics.

Snapshots are also different from an aesthetic point of view. Let me be very honest with your readers here: I tried not to worry about a scent’s success when I launched it in the past. Yet, still I am convinced that the creative process is sublimely infested as soon as you start creating anything that addresses a larger public later and that will allow you to make a living. I’ve wandered with these questions for years: to what extent does the recipient of a creative endeavor influence its creation? The snapshots do not aim at being sold to a large crowd, nor will I make a living from them. We talked about this in conceiving them: They come wrapped in innocence 🙂

Finally, I hope that we will one day a project together where I make the snapshot and you make the film. That would be cool.

(editor’s note: Dark Passage is available only until the end of March, and only on our kickstarter page)


 Posted by on March 5, 2012