| I was most fortunate to work as an executive in the | | | | aesthetics, design, tooling, production and breakage |
| cosmetic and perfume industry in the 1970's and | | | | are satisfactorily addressed. The closure is often the |
| 1980's, the "Golden Years" for creativity in that | | | | most difficult, detailed component in a perfume |
| wonderful business. That was the era before the | | | | flacon. The closure must have the most exact |
| immensely destructive wave of retail consolidations | | | | tolerance to contain the liquid (which is prone to |
| and corporate mergers and buyouts that has | | | | leakage) and can add significant costs to the bill of |
| severely crimped innovation in the years since. My | | | | materials. |
| experience was blessedly timed to coincide with an | | | | Mr. Dinand remains involved in all aspects of the |
| explosion of entrepreneurial activity. | | | | packaging of the scent until the product is on |
| The beauty industry gave me an opportunity to | | | | counter. He appears at press presentations, will |
| work with retailers, artisan craftsman and component | | | | attend key trade shows for launch purposes, meet |
| vendors from all over the world. One of the most | | | | with major buyers and lend his considerable personal |
| rewarding and enjoyable collaborations I experienced | | | | network of associations whenever necessary to |
| was working with Pierre Dinand to create an original | | | | assist a brands success in the international |
| perfume flacon for a new scent I was launching. | | | | marketplace. He is a true professional and the roster |
| In the world of perfumery, Pierre Dinand is a living | | | | of hugely successful brands he has creatively inspired |
| legend. Over half of the perfume units sold around | | | | is testament to his genius. |
| the world to this day are packaged in customized, | | | | Pierre Dinand has also enjoyed great success as a |
| crafted bottles designed by Mr. Dinand. He has | | | | mainstream, consumer product container designer. |
| uniquely sculpted over 500 flacons for some of the | | | | One of the most famous packages he crafted is the |
| most successful and famous perfume brands in the | | | | world famous orb bottle for the popular soft drink |
| world. Opium (Yves St. Laurent), Eternity (Calvin | | | | Orangina. The ubiquitous Orangina shape is renowned |
| Klein), Fendi, Valentino, Azzaro Pour Homme, Rochas, | | | | around the world and is further proof that this design |
| Armani, Guerlain and Givenchy are only a tiny sample | | | | giant digs deep to understand the needs of every |
| of the brands he has designed for. | | | | client he services. |
| Pierre Dinand works in a light, airy atelier in Paris. | | | | The world of high-end perfume is populated with |
| When Mr. Dinand accepts a commission to create an | | | | artisans that demand the highest levels of quality, |
| original flacon he initially receives a sample of the | | | | craftsmanship and creativity. Corners are never cut in |
| scent to be contained in his creation. He interviews | | | | the pursuit of delivery of the perfect scent. Closure, |
| the perfumer, seeking to ascertain the notes and | | | | bottle, box and coffret graphics, tester units, sales |
| moods the perfume is meant to convey to the | | | | collateral, sampling and signage are all absolutely |
| consumer. Dinand lives with the scent until his mood | | | | essential elements necessary to present the scent in |
| has been piqued and he forms a creative template | | | | the most exclusive presentation possible. |
| for the initial silhouette he imagines. | | | | I have launched a number of fragrances, skin care |
| Mr. Dinand is an internationally acclaimed sculptor. He | | | | lines, hair care programs, color cosmetics, bath and |
| uses favored sculpting techniques to generate initial | | | | body ranges, nail care, hand and foot care brands |
| concept pieces. The production of molding tools for | | | | over the years. Collaborating with top craftsman is |
| the glass and the manufacturing process must be | | | | essential in order to properly position and |
| considered when crafting the prototypes. After | | | | differentiate new products. Working with an old-world |
| drawings, clay models and initial acrylic pieces are | | | | artisan such as Pierre Dinand is rewarding, and |
| sculpted the client is brought in to critique and review | | | | refreshing in a modern world where attention to |
| the early prototypes. | | | | luxury, detail and styling is almost a lost art. |
| The process is continued until all issues regarding | | | | |