Travelers are born at the confluence between homeland and host countries. They embody the Promethean dream of creation by fusion. Pierre Montale is one of those people.
This tireless traveller had a date with destiny 20 years ago in the far reaches of the Kingdom of Arabia. Introduced to confidential and millennia olfactory materials directly through the Royal family, he puts his suitcases down to go on an inward journey, fluctuation between learning process and pure marvel.
Back to his homeland in 2003, he presents his first creations under the aegis of the new eponymous house. Montale thus becomes the point of contact of two worlds. A unique olfactory immersion which stimulates a motionless journey and secretly in love with the eternal movement of the soul.
On the range of Pierre Montale’s most popular scents rises the spirit of the Oud, keeper of traditions at the gates to the East.
Fragrant Asian ointment commonly used in the Gulf region and Saudi Arabia, this scent is extracted from the Oud tree. A secret millennia process kept away from light during several years.
Subjugated by his infinite combinatorial properties, Pierre Montale became the first exporter of Aoud for the West. He will then compose more than a hundred of timeless fragrances.
Aoud is produced when the Aquilaria/Agar Tree is infected by a parasitic fungus. The tree naturally secrets a defense against this parasite. This mechanism produces a very dark and aromatic resin. This set of wood/parasite/natural defense is taken manually, sheltered from the light in cellars for several years. After a distillation process, the Aoud is here.
It is a material used in spiritual rites and practices from the Middle East to the Far bats, crossing the border of religions.
The aluminum bottle, commonly used by the perfumers of Grasse in larger sizes to retain their perfume concentrates, has become a bottle of niche perfumery and a luxury product. It embodies the combination of luxurious modernity and the preservation of traditions.
The aluminum bottle Montale has been specially created to protect and preserve the valuable essences and contribute to their evolution.
"Venus couldn’t wear only perfumes. The perfume is the only clothe which suits her beauty; it is revealing a perfection of which we couldn’t access with our eyes closed. We abandon ourselves in her immaterial arms and it carries us in another space where our skins and our breath have related party.Hidden in the heart of its own invisibility, it doesn’t cover the body, it doesn’t mask, on the contrary it shapes an intangible sensoriality that slides in us and grabbed our breath to irradiate up to our intimate depths.
Our senses are places of exchange. The fragrance borrows the most vital way, the ways through which exerts what our senses have most immediate, most necessary, most primal and most archaic. It establishes fundamental porosity, pass through the skins like a ghost, to whom that wears it and to whom it intends to: the other breath you, you enter into its blow.
Only Veronique Bigo was able to report of its invisible crossings. Her painting doesn’t cover its support of a coloured wall, it doesn’t interpose, it is not an obstacle to this breathing of the canvas that we are invited to feel. Transparent, it perfumes her, in the sense that it creates also exchanges between buried intimacies.
As the perfume, it opens invisible doors, plays with the opaque materiality of things and the closing of spaces. Thus, your gaze goes through the metallic enclosure of the Montale’s perfume bottle.
And maybe you are able to, breathing deeply in front of the canvas and giving your senses to their intimate fantasy, feel that the perfume does the same, and that it invades you.
It is that Veronique Bigo didn’t content herself to represent a bottle of perfume: she painted the perfume itself. In turn, we should not content ourselves by staring looking it. We should breathe in front of the canvas, we should open our secret doors and let flows in ourselves the invisible essence of her painting."
Thierry Le Gall