Bruno Fazzolari is the nose behind FZOTIC, a colourful independent 'indie' perfume output from the States. Bruno is an artist of both the visual and the olfactory, and we couldn't wait to gather his thoughts on the creative practices that define his approach to perfumery. The synergy between these realms are clearly apparent.
We are passionate about the creative process and how this translates into beautiful and highly appreciable things - and what makes this possible. In this article, Bruno reveals a mindset intent upon good things.
Your training as an artist and experience as an art professor cannot be downplayed. What can the world of perfumery (and its consumption) as a whole learn from art and aesthetic philosophy?
Perfumery has a lot to gain from the world of art and aesthetic philosophy. Art encourages us to dive deep into emotions and stories, and I think perfumes should do the same. It's about creating an experience, something that goes beyond just smelling nice—something that resonates personally.
How would you then define your practice?
For me, FZOTIC is an artistic playground where I can be true to my vision with a lot more freedom than I ever had in the artworld. It's also about serving my customers and bringing them something they can't find elsewhere.
What unwavering principles are integral to the brand, its ethos, and its quality?
Authenticity is non-negotiable, and I try to steer clear of the expected. I'm devoted to taking risks and using rare materials to redefine what perfumery can be. It's not just about making scents; it's about crafting experiences that people connect with on a deeper level.
Which perfumes took the longest to make? Similarly, which ones readily revealed themselves to you in the creative process?
Some perfumes, like intricate paintings, need time to unfold. It's a journey of trials and errors, each contributing to the final story. Then there are those that come together effortlessly, revealing a clear form and harmony. It's tricky, because when a final formula comes together quickly, it's actually the result of hours of experience (and difficulty!) working on other formulas.
Vetiverissimo came together quickly, but it was the result of my long time fascination with vetiver—so in some ways, my mind had been working out that formula since I started making perfume. Ummagumma, which has become one of my most popular perfumes, took much longer to calibrate. The creative process is a dance between the timeless and the immediate, each fragrance finding its own rhythm.
Do you think leaning too strongly on visual metaphors and analogies limits the qualities that uniquely belong to the olfactory realm?
Visual metaphors are great, but I don't lean on them too heavily. Perfume is about emotions, memories, and sensory experiences and communicates in a visceral way that a painting cannot. A painting of hyacinths will never replicate the intensity of the fragrance of hyacinth – which is a scent some people love and others dislike. I aim to strike a balance between the tangible and the intangible, allowing my fragrances to be an art form that transcend the need for visual comparisons, but that remain connected to that world.