Following in the footsteps of the talented pioneer Serge Lutens whom he admires so much, this maverick of perfumery keeps a reasonable distance from the great olfactory barnum . To ask Arnaud where his taste for perfume comes from is to expose himself to a story that lasts, to a biography by the menu. She comes from afar. Deep inside him. It is about his farmer grandfather; his passion for architecture; mechanics; of his native country: Pas-de-Calais.

Rarely has a niche brand been able to boast of being so autobiographical. There is a lot of Arnaud Poulain in Les Eaux Primordiales; there is him entirely in these compositions. No austerity in Primordial Waters. No pretension either or spirit of seriousness.

At thirty-two, Arnaud cultivates an odd profile between engineer and perfumer, halfway between romantic and prosaic veins. Halfway, always. This is where he feels best, where he dreams of being best: nearby, on side roads. And his dream reserves seem inexhaustible...


Architected and androgynous, radically minimalist, the bottle is inspired by the photographic work of Bernd and Hilla Becher, a couple of German photographers from the 1950s who immortalized mine shafts and oil pumps. These artists who founded the Düsseldorf school are part of this "aesthetics of objectivity" which Arnaud Poulain's compositions also claim. It is precisely their series of shots on coal silos that freely inspired the contours of the bottle.

The label is simply adorned with the name of the perfume written in the classic Courier typeface designed in 1955 by Howard Kettler.

This timeless bottle, with its sober and neat design, is tailor-made for today's perfumery.