From Signature Scents to Cleaning Products

Hundreds of fragrance components in as many bottles, refrigerators filled with essential oils, pipettes, beakers, precision scales, various recipes – and a pinball machine. After all, Andreas Wilhelm needs a way to clear his mind when crafting fragrances. The perfumer has been running his own studio in Zurich since 2008, where he develops scent solutions for a variety of businesses and applications. His clients include the prestigious hotel chain Sofitel and Hyundai’s luxury division, both of whom he created signature fragrances for. He also lends his nose to art projects, recently making headlines with a money-inspired perfume commissioned by artist Katharina Hohmann. Naturally, he also creates traditional perfumes. «We basically do anything that has to do with scent,» the 44-year-old summarises his business.

Andreas Wilhelm shared insights into his world, explaining how he works, the opportunities and risks of signature fragrances, and how scent solutions can be implemented in spaces.

 
Mr Wilhelm, how did you become a perfumer?
Andreas Wilhelm (AW): In the 1990s, I completed an apprenticeship at Givaudan as a chemical laboratory technician specialising in perfume ingredient research. To this day, Givaudan is a leader in the fragrance and flavour industry. After my apprenticeship, I stayed on to gain experience in production. Some weeks, I was extracting 700 kilograms of vanilla pods! That’s when I knew this was what I wanted to do professionally. After a stint at Emil Flachsmann (now Frutarom Switzerland Ltd.), a company specialising in extracts, I applied for a training programme at the historic Luzi AG and eventually became a perfumer. Although, I often say I’m also a storyteller. People don’t just buy a fragrance because it smells good; they buy it for its story, its rarity, its exclusivity.

Since 2008, you’ve been an independent perfumer. What does Wilhelm Perfume offer?
AW: I create fragrances and oversee their production. Our speciality is crafting perfume concentrates tailored to our clients’ needs. These concentrates are the starting point and can be used in candles, diffusers, or perfumes. They’re also used as signature scents to strengthen brand recognition.​​​​​​​

How does the creation process for a perfume concentrate work?
AW: We typically start by delving into our client’s brand DNA and corporate identity. Together, we brainstorm and define in a workshop what feelings and associations the fragrance should evoke. Should it smell natural? Sophisticated? Technical? Cool? Green? Creating the brief takes time but is essential for an efficient development process. The starting point differs if a client has an existing benchmark in mind, for instance, asking for a candle scent similar to one already on the market or a perfume designed to sell 100,000 units in a specific target market. Sometimes, clients ask me to replicate a specific scent from a location, saying, «I want my shop to smell exactly like this!»

Does the end application – a signature scent or a candle – affect the development process?
AW: The creation process is the same, but the application determines which raw materials can be used. A candle with a lemon scent requires a different formulation than a lemon room spray. The technical base changes depending on the application to meet specific requirements, so it’s crucial to clarify where the fragrance will be used beforehand.

Let’s talk about the formula. How is it created?
AW: Based on the client’s needs, I develop the fragrance – initially on the computer. I use a third-party database with 2,000 raw materials to create my formulas, and once the client approves, the concentrates are produced. I usually mix 10 grams based on the formula to test if it smells as I envisioned. Sometimes I make 50 or 100 grams and experiment further, adding components like violet or iris root to see how the fragrance evolves.

Is there a minimum or maximum number of components in a formula?
AW: It varies, but the formula must always be practical for production. My recipes typically contain 25 to 100 components. Hermès’ long-time in-house perfumer, Jean-Claude Ellena, once said that formulas get shorter with age. I find that true for myself as well – with experience, you rely on a richer knowledge base.​​​​​​​

You work internationally. How much does cultural context influence your choice of fragrance components?
AW: Cultural preferences, often learned, play a significant role. For instance, certain qualities of oud are highly valued in the Middle East but less so here. Oud is derived from the agarwood tree, which must first be infected by a specific mould to produce the aromatic resin from which essential oil is extracted. This makes it extremely expensive, sometimes costing more than gold – up to 40,000 Swiss francs per kilogram. Similarly, iris root extraction is highly intricate, requiring two years of aging in a stone hut before the distillation process can begin, with prices reaching 60,000 francs per kilogram.​​​​​​​

How do scents physically affect the body?
AW: This is called body reaction – the physiological response to a scent, separate from the learned, subjective perception of fragrance. The science is still young, so data is limited, but we are already engaging with it and occasionally collaborate with researchers like Hanns Hatt from Ruhr University Bochum.​​​​​​​

Scents can evoke memories from the subconscious, both positive and negative. Doesn’t this pose a risk when creating fragrance solutions, particularly in the context of signature scents?
AW: A signature scent helps solidify a brand in customers’ memories. Scents enhance how we recall experiences, whether consciously or subconsciously. However, this strength can also be a risk if a customer associates the fragrance with a negative experience. This is where body reaction comes in. By incorporating soothing components like the natural fragrance linalool, it’s possible to create a calmer baseline, potentially reducing the severity of negative associations.​​​​​​​

Are there any businesses or industries that are particularly suited to a signature scent, or others you would advise against it?
AW: No, in my opinion, signature scents are suitable for any business. Personally, I think it’s essential that the scent is unique and not off-the-shelf. As I mentioned, there are 2,000 raw materials to choose from, and the combinations are endless. It’s always possible to create something individual and distinctive for every case.​​​​​​​

How do you approach the development of a signature scent designed for scenting spaces?
AW: Fundamentally, as I’ve already explained. What’s added in this case is an evaluation of the room’s dimensions and layout. The situation should be assessed on-site to determine factors such as ventilation pathways, potential equipment for scent distribution, and the required amount of fragrance. The presentation of the scent is carried out using the devices intended for its diffusion. It’s normal, however, for some adjustments to be needed after implementation.​​​​​​​

What’s the best way to distribute a signature scent in a space?
AW: It depends – and sometimes on local regulations. In Switzerland, for instance, ventilation systems can only circulate air and heat from the outside. In such cases, scent can be distributed through cleaning products like floor cleaners, in collaboration with cleaning product manufacturers. Other options include diffusers, liquid soaps for staff, or discreet scenting devices placed throughout the room. There’s no gold standard; the choice depends on the space and client preferences.​​​​​​​

How do you keep your nose healthy? Do you need to take any special precautions?
AW: I don’t need to take special measures. Olfactory cells regenerate every two to three weeks. My work primarily relies on imagination – I can vividly picture how components A, B, and C will smell together and know which ratios will work.​​​​​​​

Looking ahead, what are you working on, and where will we smell Wilhelm Perfume next?
AW: This autumn, the «Museum of the Future» opens in Dubai, for which we developed three fragrances. One is called «Scent Zero» and imagines how Earth would smell after 2,000 years of human absence. It has notes of fresh air, green tones, and a cooling effect, with linalool to lower heart rates.

Photography © niro.graphy, Ardit de Niroo