As France’s first lady of fragrance, Chantal Roos has had more impact on the industry than most; she was the brains behind such iconic scents as YSL Opium and Paris, Issey Miyake L’eau D’issey and Jean Paul Gaultier classique. Her daughter Alexandra roos is a french musician and composer, with four albums to her name. Last year, they launched dear rose, a niche line of five perfumes, inspired by the various emotions and stages in women’s lives.

’O Chantal, before Dear Rose, you were responsible for many classic fragrance launches—which has been the standout?

Chantal Roos: Some launches have been incredible experiences more than others. Opium, because it was the first one and because I had no idea of what we were creating… a huge success. Then L’Eau d’Issey, because nobody outside Japan was able to pronounce the name of Issey Miyake. Japan had never been famous for their fragrances and there I was, doing my best, but sure that we would only sell a few pieces…

’O You must have had some amazing experiences in your time—what’s a particular highlight?

CR: To be able to work with the most incredible talents, all different, with different cultures, with different visions of women, and to enter into their world to be able to come out with the right product that would be coherent with their fashion.

’O Alexandra, what’s the earliest beauty memory you have of your mother?

Alexandra Roos: My mother was, and is, a beautiful woman—that is my memory of her. The “Catherine Deneuve of perfumery” as somebody once said.

’O Which of your mother’s earlier creations is your favourite?

AR: Opium. My favourite perfume ever. For the fragrance itself, the name and the daring.

’O What are the main differences between you in terms of fragrance philosophy?

AR: My mother was working in the business industry and it gave her a different approach to mine, of course, a more professional point of view. I had the philosophy of the fragrance lover only, without the commercial issue. It is changing now…

CR: I have the weight of my more than 30 years in the perfume industry, with all the “Yes you can/no you can’t” in my head. Alexandra arrives and brings her musical culture and another way to look at the fragrance, with more freedom. She brings me her creativity, her freshness, her new eyes for this business. She dares more and pushes me.

’O Alexandra, what are the synergies between fragrance and music?

AR: Vocabulary, for one—words like notes, accord, mixing, harmony… In both music and fragrance, there can be a universal truth with various possible faces: classical or contemporary, as long as it reaches your heart.

’O Chantal, how much has the industry changed since your daughter was born?

CR: In 1977, for the launch of Opium, there was one other single launch: Rochas Mystère. Today you have more than 500 launches in a year. It is less exceptional and too many things smell the same. Niche perfumery came on the market because of the fragrance business becoming more mass.

’O Is there a generational gap when it comes to perfume?

AR: Less than before. I was wearing Opium when I was 16, but I won’t wear Anaïs Anaïs anymore. It might not be a gap, but a different philosophy and way of living that shows through the choice of your perfume.

’O Signature scent vs fragrance wardrobe… your preference?

CR: Dear Rose is for five different moments of one woman’s life—different periods, different moods, different lovers… Some women are faithful to one fragrance but most of the time they want to change.

AR: A wardrobe of scent. Lots of clothes but one style.

’O What are your favourite notes?

CR: Everybody knows that I really love woody juices.

AR: I don’t have favourite notes, it depends how they are mixed. Maybe I need more time… I can only say that tuberose notes excite me. I love Fracas.

’O If you could bottle each other, what would she smell like?

CR: My daughter is half Dear Rose Sympathy For The Sun and half Dear Rose I Love My Man, depending on her emotions or on the timing.

AR: Opium.