Thierry Wasser, Director of Perfumes Creations at Guerlain: “In Perfumery, My Nonchalance Saved Me”

On a spring day at the Beau-Rivage Palace in Lausanne, the hotel celebrated the inclusion of the prestigious Guerlain brand in its wellness spa offerings. Thierry Wasser arrived in high spirits, a glass of local Chasselas in hand, clearly delighted to be in the Vaud region. His greeting was warmly delivered in an accent typical of those born in the area. As Guerlain’s Creative Director of Perfumes since 2008, Wasser has inherited the immense knowledge of Jean-Paul Guerlain. However, his early olfactory experiences were shaped far from the grand Parisian boulevards, in the Swiss countryside of Montreux, where he grew up. Chosen outside the family circle, Wasser's passion and curiosity make him a sensory traveler and a sculptor of emotions. His encyclopedic knowledge of essences and his genuine pleasure in meeting farmers and artisans who produce the precious raw materials make him a unique master perfumer. Known for great successes like Idylle, Shalimar Initial, La Petite Robe Noire, and others, Wasser loves to trade his three-piece suit for work overalls, connecting with the earth, flowers, and rare woods. Here, we meet a free spirit.

What is unique about being a perfumer at Guerlain?

It’s multifaceted and very different from other places, as we produce 120 perfumes internally, including the fragrances for our cosmetic products. This requires managing the entire value chain, from sourcing raw materials to creating formulas and overseeing production. I spend a third of my year traveling and directly purchasing materials, just as Jean-Paul Guerlain did before me. I’m merely continuing his work. But this approach is unique to Guerlain; if others claim to do the same, I don’t see them in the fields or distilleries of India or elsewhere.

You are the heir to the vast knowledge of Jean-Paul Guerlain. Tell us about your first meeting.

It was a human connection, a symbiosis. I was fortunate to travel with him to Tunisia in 2009, even though he was already unwell. He owned an orange blossom distillery there, which had been inactive and in a state of disrepair for years. He wanted to show it to me. I still remember seeing him sitting on a chair in the garden, watching me as I examined what could be salvaged. A tear rolled down his cheek. I’ll never forget that moment. From then on, I began distilling neroli there, reconnecting with the history of the house, as the brand once labeled its products “Guerlain perfumer-distiller.” I spent a lot of time at that distillery. Every morning, we would discuss the daily price of flowers, with stock sometimes reaching up to 17 tons of flowers. I return there every year, and it fascinates me, just like my trips to Vietnam for oud. Each distillery and supplier relationship is built on a very fraternal human connection. As for creation, I share the reins with Delphine Jelk, a highly talented Swiss woman whom I’m glad to have hired. When we smell raw materials, our vocabulary and reactions are identical. This chemistry is rare.

Is this camaraderie rare in your profession?

Yes, competition among perfumers is fierce, both within houses and among major producers. Collaboration often turns into a difficult-to-manage layer of egos. But fortunately, there are great encounters. Annick Ménardo, an independent perfumer now, is one such person. We created many perfumes together when we were both at Firmenich, forming a real creative union.

What fosters such sacred unions?

It's hard to say, but in my collaboration with Annick Ménardo, it was our complementarity. She overthought things, while I didn't think enough. She couldn't finish a perfume due to over-intellectualizing, lacking the necessary nonchalance. I had that nonchalance. We were a dynamic duo. Lightness and nonchalance are important; they saved me. This is what Mr. Hadorne, head of perfumery at Givaudan, noticed in me at a young age. I passed the test with nonchalance, putting words to scents as few could, despite not recognizing anything. I had no formal qualifications, just a basic diploma in drugstore work. This nonchalance is a form of confidence.

What makes your work successful?

Having partners worldwide who produce the finest raw materials without causing production delays. Creation is less my domain now, as Delphine Jelk handles it. Creating requires a context. The profession has changed, perhaps due to my own evolution. I’m not attached to my creations; I don't even wear my perfumes but instead, Habit Rouge, created by Jean-Paul Guerlain in 1965. I’ve carried it in my pocket since I was young. I’m happiest in the plantations, free, engaging with producers, the earth, and craftsmanship. I listen, reflect, and try to find suitable solutions to cultivate magnificent products. Understanding each other requires fraternity. I regret that regulations are becoming too restrictive, often disconnected from the reality on the ground. My role is to infuse humanity into processes. Respect for labor and workforce is essential for sustainable development, which is why I believe in fair pricing for excellence.

Can creation be rationalized?

The point is to experience a scent that transports you through time and space. The olfactory is tied to the emotional. The experience of smelling cannot be rationalized; it must be lived. There are no rules for creating a perfume. Alberto Morillas once told me, "stop thinking and mix the colors!" Perfumery has no rules, only aesthetics. The perfume must seduce, and no one can definitively judge it as good or bad. Staying in the emotional realm is vulnerable and can be intimidating. Ingredient lists rationalize the process and provide a shield. Creation isn't scientific; it has no rules. Raw materials are like words we learn, forming a vocabulary. The idea is to tell a story with them. The challenge is that there’s no grammar, so you must assemble words until they make sense. Some may appeal to you more, which gives you a style.

What are your favorite “words”?

It depends. There was a time when it was the rose. Today, it might be leather, bergamot, and vanilla for their chiaroscuro contrast. But I don’t ponder this; it comes with the desire to express or remain silent. Life is a creation. If you're comfortable with yourself and love who you are, you can love others. This is the essence of Guerlain: beauty starts with oneself and then can be shared. What a bottle holds is far greater. The creator, the conductor, isn't very important; it’s the experience and emotion that matter. And Guerlain is the philharmonic orchestra of this.