• photography by Hugo Comte

    model Chiara Scelsi

    SUSTAINABLE ‘PARADISE’ OF M.I.H JEANS

    Written by Ksenia Rundin

    The jeans as we know them today were launched in 1873 by Jacob Davis and Levi Strauss in the small gold rush town of Saint Francisco. Later, the robust product with its copper rivets for the tough outdoor world of the Far West, has ended up in the limelight of fashion, becoming a multifaceted symbol. Nevertheless, under a long time the production of jeans has had a harmful impact on the nature due to the resource-demanding and therefore environmentally harmful production process. The situation seems to be changing now and sustainability becomes an obvious aspect of the jeans fashion. In June, M.i.h Jeans, which was founded in 1969 and has always been standing for quality and responsibility for its own impact on the industry, introduced the Paradise capsule collection made of a new responsible denim – the only denim mill in the world certified with the EU Ecolabel and Nordic Swan Ecolabel. The material was specially developed in partnership with ISKO.

    The Paradise capsule constitutes a statement of the brand’s future intent to lead the way in denim sustainability. Being a member of the Alliance for Responsible Denim, an international cross-industry alliance, M.i.h Jeans aims also to challenge and disrupt the industry to drive a sustainable change. The collection consists of five denim styles with a functional, playful and harmonic aesthetics built by a juxtaposition of the 1970s and Japonism placed in a futuristic mood of our times. Odalisque Magazine has interviewed M.i.h Jeans and learned more about the idea behind their design, sustainability and the role of jeans in the post-postmodern society.

    “How did the idea of collaboration between M.i.h. Jeans and ISKO come up?
    We’ve worked with Isko as one of our main denim partners since the brand started, and we were one of the first brands with whom they shared their sustainability plans and denims.  It was probably 12 months ago that we began to develop the denim for the Paradise capsule together.

    Could you please tell us about the idea/-s behind the design of the garments for this collection?
    Creating the capsule of Paradise pieces was one of the easiest things we've done.  We knew what we wanted to say with the pieces, and how we wanted the denim to look.  We wanted to put together pieces that were simple and sophisticated, with an underlying sense of the M.i.h Jeans energy. We did this in large and small ways; with shapes that echo iconic 70s styles in silhouette with white stitching that was used in that decade, but with simplified details and a beautiful cut that feels relevant.  Using a classic rinse wash echoes back to the unwashed denim of the 70s and forward to the lowest impact wash possible.  The idea was authenticity, elevation, simplicity and energy.

    The garments viewed together look like a very well-planned capsule collection, where you can combine those in a few different ways. Do you think that by offering a variety of styles within the same clothes collection companies together with their consumers can co-create a sustainable approach to the clothing consumption?
    I love the idea of a complete wardrobe in denim that you can mix and match, but I think the key to sustainability for the customer is to offer a consistent and evolving style across each new collection so that the customer can dress from the brand and mix old pieces together with new pieces in a way that keeps you in love with everything in your wardrobe. Brands can certainly help customers build a wardrobe that they continue to wear and love by designing for their customer and how she wants to dress, rather than for instantaneous fashion trends.

    Do you think the companies should educate their customers on sustainability in order to give them the right tools to base their choice on or the companies should bear the main responsibility for delivering sustainable products to the market?
    It’s the responsibility of brands to make the right choices and show leadership, but it absolutely needs to be a partnership with the customer, it can’t be done in a vacuum.  How long a customer keeps a garment, how they wash and care for a garment and of course who they choose to buy from are in their control.  M.i.h Jeans always asks our customers to join us in learning about the sustainable options, we aim to be transparent, and we also aim to show the customer how they can help us, whether it’s by recycling their jeans with us, or simply asking us questions.

    From being a working class garment, a sub-cultural garment and a wardrobe essential, the jeans have made an incredible way to the front row of fashion, where the history of fashion could easily be studied from the jeans perspective. How would you describe the role the garment today plays in our wardrobe?
    Denim absolutely tells one of the key stories in fashion from the 20th century, and will continue to do so in the 21st. Our wardrobes today are unthinkable without jeans, they’re a foundational piece of clothing. Though as a big environmental offender it is about marrying heritage and technology to improve the environmental impact of fashion.

    Do you think or you probably know if the jeans ever could be made of any alternative material than cotton?
    It depends on what you think of as denim.  Jeans are already made from lyocell, which is a manmade natural fibre (made from wood pulp). I love jeans made of cotton, which is why M.i.h is passionate about exploring the possibilities of recycled cotton.

    What is the ideal/universal jeans wardrobe concerning styles, cuts and number of pieces?
    There is no ideal, but for me I have about 10 jeans in rotation at any one time.  Two to three straight legs in dark to light washes, a high rise jean, a slouchy jean, two to three flares (cropped), and one real hero pair to wear when you want to impress with your denim.

    Do you have artificial intelligence integrated into your production process?
    We work with machinery and computer programs from Jeanologia that incorporate technology to maximise the impact reduction of every pair of jeans.”

  • TAGFLIX: CREATING A NEW INTELLECTUAL VIDEO EXPERIENCE

    Written by Ksenia Rundin

    Do you remember the enchanting plot and exuberant intrigues of the American television soap opera ‘The Bold and the Beautiful’, taking place around the Forrester family and their fashion business? At the beginning of the 1990s, when I just became a teenager, I could not help but admire the geometric elegance of the opulent suits and accessories, exquisitely worn by treacherous Stephanie Douglas and diligent Brooke Logan. The chic boldness of meticulously organised scenography interior designs that bestowed the intimate feeling of glamour, created a true moment of experience with each new scene. Nevertheless, my avid curiosity about those peculiar details, which practically held the dramatic and cultural frame of the whole story, had never been satisfied.

    Today, twenty years later, Tagflix comes with a revolutionary solution, enabling people to find things they desire in any video through a simple touch of the digital screen. Being sincere visionaries of their time, the Tagflix team, - similar to da Vinci, once carefully sketching out his flying machine, modelled after the anatomy of birds and bats, - by following the spiritual anatomy of the human desire and curiosity, bring people and knowledge together in a video format. While, in an unobtrusive way, serving a consumer with the information on details presented in a video, the company simultaneously creates a vitally important analytical data for the brands engaged. Thus Tagflix conceives a bilateral communication tool with immediate intellectual effect. Providing the consumer with knowledge and thus enabling one to keep the freedom of choice in place, Tagflix’s invention helps different brands to uphold the democracy of consumption and to discover new markets. The company makes the future happen today by bringing the past ahead, visualizing the knowledge and marrying the latter to the moment of creative experience.

    Discovering new potential of the video as a source of information and communication, the Californian team create a totally new ecosystem, which brings the consumer onto the intellectual arena of the marketing communication and turns her into an equal player. It is a silent way to market the goods and services, where the consumer bases the decision on an intellectual experience. Hence, leading our discussion back to the cult series of the early 1990s, we would today be able to learn about screenwriting, fashion and design, art and film history by simply putting our index finger towards the item we are curious about on the screen. Furthermore, the discovered knowledge can also be shared with friends through social media channels, what also opens up for new interactions such as communities, where consumers can exchange their interests and passions, learning from each other and creating new discourses.

    This summer, Odalisque Magazine met one of the co-founders of Tagflix, Marcus Ehrenblad in Stockholm and talked with him about the company, sustainability, luxury and their plans for the future. Seemingly, the time for creating a new type of consumer, who makes own decisions and takes responsibility for those, has come.

    The concept of Tagflix derives from the avid consumers of online video, who created a certain consumer-for-consumer product. Could you describe the main stages of your establishing process from the moment you first came up with the idea of creating Tagflix till the day you could present a complete product for the market?
    My co-founder Tim and I initially started another company that did crowd equity funding that we did not pursue due to very restrictive US license laws. That same week Tim and I were having a drink and watching TV at my place trying to work out what to do next. It was then, when I saw a really cool shirt on TV and pointed this out to Tim and he picked up the remote, pointed it at the screen and said as a joke, ‘I just bought it for you!’ That is how it all started. As two tech nerds, we asked ourselves, ‘How could you actually make that work?’ We thought it was going to be simple, but it was not, yet five years on we are now sitting here with you having this exact discussion.

    We realised that we had to put the video content and audience first by making the experience unobtrusive and remove annoying ads or gamification that seemed to be happening in the industry.  Therefore we had to take a completely new approach that would enable a better, more natural user experience that focused on discovering the things people loved in video, and also give brands and publishers the deep insights they needed to be successful and improve their content.

    How will you accomplish to stay unique with your invention and protect yourself against IP-infringement?
    We are fortunate to have some of the most passionate designers and engineers I've ever worked with on our team. Aside from being very easy to work with, their drive to exceed expectations pushes us to solve problems in unique ways. Pairing that with a reputable Intellectual Property Rights firm, we were able to patent our flagship user experience as well as the Video Graph backend technology.

    Behind the scenes is where it gets really interesting. We connect all many stakeholders in the value chain and combine the data (from viewers, publishers, advertisers, agencies, brands, product placement companies and ecommerce providers and content creators). This not only creates never before available insights to brands, it also allows us to form a complete ecosystem. We want others to build on top of our core technology, so that we become the industry standard. We believe this will provide a good barrier to entry and build a very interesting business.

    What impact do you think the Tagflix program will have on the brand equity of the luxury segment companies within the fashion industry?
    That is a great question and the answer is twofold. Firstly, we have created the ability to measure the impact of products and brands in video content, so that it can then be managed and improved over time. Secondly, we see a future where normal TV ads are disappearing as well as pre-rolls and mid-roll ads (interstitials) in favour of more Netflix style viewing. In essence, obtrusive video ads will decline overtime as a percentage of views. This means brands need to expose themselves elsewhere and through Tagflix they can do this while also being able to measure such exposure more accurately than ever before. With access to such data, brands are able to make better content decisions at creation stage. For fashion, it means we can better tailor clothing for the content being produced. No pun intended.

    We also believe it has a positive impact as larger brands have all told us that mono branded content as well as conventional advertising mediums are really struggling to reach their target audience. We provide deep consumer insights that tell brands which demographics are actively engaged in terms of brand uplift as well as social shares and whom are selling their products in which categories of videos.  The net effect is that brands can now measure the competitor landscape including share of voice inside videos.

    Do you think that by offering Tagflix – an omni-channel marketing strategy tool for your customers, you might create a challenge for such intermediators as influencers/bloggers by making their services redundant?
    On the contrary, Tagflix provides an additional revenue stream for influencers and bloggers. I would like to believe we are adding to their toolset and already see some vloggers as early adopters. Through Tagflix insights, they can demonstrate to brands the value they bring. The platform tools and metrics also help them optimise their campaign performance - all delivering more value to their brand clients, and differentiating from the competition. The Tagflix toolset only compliments bloggers and influencers as they publish smart videos across social platforms consumed by a more targeted audience.

    Influencers are also under huge pressure to prove their value is authentic, as brands become increasingly sophisticated and aware of ‘fake followers’. Given Tagflix measures all video interactions, it makes this much more difficult to fake, similar to how a capture code requires interaction by a real human user to proceed. The platform can detect patterns of usage which are more robotic verses those that are more authentic, and only the authentic interactions are considered.

    Does Tagflix contribute to the circular economy and the field of sustainability?
    Sustainability is actually one of our core values at Tagflix. We are in this for the long term as indicated by our persistence over the last five years. For a marketing industry worth $550B, there are inefficiencies we have identified and working on optimising as part of our strategy.

    How do you store all the data collected on customer behaviour and audience interactions? Who is responsible for that data?
    At a high level and like most tech start-ups these days we leverage the full benefits of the cloud. We take a best of breed approach favouring the right tools for the right job, so our data does not necessarily sit in the same place all the time. All our partners are GDPR certified and we take extra precautions to pseudo anonymise our data and have strict controls for reporting. We ensure our reporting data can never be tied back to specific users.

    Are you considering to enter new markets, for instance the art field or the educational field?
    Yes, eventually. Our value proposition is to allow users to discover anything within video whether it's a commercial product in a music video or information about something they have seen like a piece of art or an animal in a documentary. This however needs to be rolled out in stages and managed very carefully. If we claim to be able to document everything in every video on day one, then it is very difficult to keep that promise to our users. Given we are a big data company, data drives our strategy and we intend to do the same when considering new markets, partners and audiences as they become available. The ultimate goal is to become the de facto standard for video metadata, and so far we are on the right track. We happen to be focused on fashion, music and the arts at the moment.

    Are you engaged into any charity projects?
    Not yet but are very excited about any prospects of getting engaged with such projects. Another core value we embody is persistent problem solving and are definitely keen to work out other ways our technology and data can help, be it charitable or major world problems.

    We can also add our clients desired charities to Smart Video to help drive audience engagement and donations. This will really help charities raise their profile, and build stronger associations with the brand and business partners. This is a great way for business to build loyalty with their audiences.

    Could you name any interesting projects you are engaged into within fashion field?
    Real-time product tracking of livecast catwalks is something we are exploring and considering as an exciting prospect. The introduction of the Smart Video dashboards, and the audience insights that accompany them, will have a massive impact on how fashion brands understand what products work within video and with who. Allowing them over time to make video content better, and even help them understand what designs their audiences are interested in - this may even impact what makes it to shelves. 

    Artificial intelligence (AI) and the digital field as such are constantly evolving and changing areas. Do you practice foresight and trend spotting in your company in order to stay relevant on the market? For example future- and customer-oriented prioritisation of innovative ideas, product innovations or process innovations?
    In general, we are highly customer focused. AI is a fantastic tool to give our customers a better experience, and when something better comes along, you can bet our team is exploring it. As it turns out, when you aim to best serve your customer, the side effect is that you remain relevant. Looking outwards at the competition and trend spotting has its merits, however coming back to sustainability discussed earlier, we know there will always be times we are ahead of the competition and at other times they will be ahead of us. That is the game every business plays with each other everyday. What is in our control, is our team's ability to hire the right talent that share our value of exceeding expectations and delivering the best outcomes for our customers.

    How in such a case do you engage in foresight on the managerial level?
    In this very new space we have created, it is very difficult to predict what will happen or be needed in the future. We rely on our data to give us hints as to what market shifts are taking place and explore options as a management team from there. For example, the insights we provide about what products and designs are resonating most with viewers of fashion shows may have a significant influence on what designs make it off the catwalks and onto high street shelves, but until we try it, no one can predict the impact. The good news is, our platform is designed just for measuring such cases and has the ability to tie every engagement back to the original investment.

    Do you have any managerial strategy for it?
    This is part of our DNA as a data driven tech company and see this process as part of a continuous feedback loop from users, clients and our people within the company.

    How do you communicate results?
    We provide real time dashboards to our clients and they are able to see the performance and insights from a video nearly immediately.

    How do you evaluate efforts?
    It highly depends on the situation and what it is we are evaluating. For a product, we typically we use a/b testing approaches whereby some of our customers chosen at random will see one design and the remaining another. If feedback for the second design is more positive, we go with the second implementation. Sometimes you get a mix of good and bad from both datasets, and then we take the best bits and trial a third revised option. We also like Simon Sinek’s method of always starting with the Why, then How and lastly What. In our customer centric model, we typically pursue a project or task if the why makes sense first.

  • SNIPH – THE QUINTESSENCE OF YOUR PERSONAL PERFUME MATCHMAKING

    Written by Ksenia Rundin

    In the heart of Stockholm's heritage neighbourhood, Östermalm sits the young and bold fragrance service brand, Sniph who has dropped its entrepreneurial anchor on the fragrance scene. Sniph’s courageous and resolute innovators Lisa Kjellqvist and Tara Derakshan, have turned consumers’ perception of the perfume world upside down, creating their own digital rules based on an intellectual approach and passionate curiosity. The word ‘perfume’ comes from the Latin pro fumum, ‘through smoke’, and was originally reserved for the Gods. Today you can turn into your own connoisseur in your personally and uniquely tailored fragrance wardrobe. By choosing Sniph, you also become a member of a community, where you both develop you scent taste and build up your personal exclusive knowledge of fragrances, navigated by two tactful and sharp consultants.

    Essentially, the brand is a fragrance discovery service, assisting its customers to choose a suitable scent to wear. Sniph’s vision is to bring magnificent fragrances to peoples’ lives and help them to find a personal exploration into their own unique fragrances. When it concerns clothes, there are a few established concepts how to adapt your wardrobe to your lifestyle and to create a mood. Meanwhile, the expression “perfume wardrobe” sounds unfamiliar to the majority of us. Accordingly, Tara and Lisa want to simplify the whole process and help their customers find a wide range of incredible fragrances, which they otherwise would probably not have been able to discover on their own.

    The service costs SEK 159 (15€) per month, which includes an 8 mL perfume that is delivered in a sleek black case, which is easy to carry around in your handbag. One month is a time period considered reasonable for a person to discover whether they like a particular fragrance or not. Consequently, one needs to spend a bit more time with a fragrance than just to try it once in a store or as a tiny take home sample, before one can make up their mind. Lisa and Tara have chosen an optimal way to create suitable preconditions for making a valuable choice, at the same time liberating their customer from the time-consuming and painstaking decision making process. The fascination with fragrance is located in our senses, which are connected to the memory and feelings. Sniph’s aim is to create an experience connected to positive emotions whereby making their customers happier. They democratize fragrance as a service, creating a prefect matchmaking for the customers, whom are both men and women, constituting approximately 30/70.

    Do you think fashion of fragrance exists?
    Tara: Niche perfumes is a hot issue today. That could be considered fashion, where distinction – when you do not smell like anyone else – is the key.
    Lisa: Due to their special nature and function, fashion magazines such as Elle and Harper’s BAZAAR through their editors have to talk trends to their readers. It conceives a certain constructed perfume trend responding the readers’ consumer needs. At the end of the day it is about what you as a customer appreciate.

    Paris has always been considered as the capital of fashion. What is the capital of fragrance?
    Lisa: It is also definitely Paris. However, some people have historical and cultural connections to Grasse as a capital of perfume. Paris is where all the perfume business activities are taking place today.

    How do you stay update with latest fragrance trends? Are there any trend reports? Do you spot your own trends?
    Lisa: Fragrance trends are not that fast as, for example, fashion trends. There are no clear tendencies such as striped or spotted. It is about reading a lot, reading different blogs and national and international forums. You should also keep an eye on what is going on with the big brands, such as Gucci and Saint Laurent and such conglomerates as L’Óreal. Some big important trends can really be spotted there as a result of their expensive marketing campaigns. Nevertheless, we are more concerned with interpreting the current mood of our community members and how to create a good experience for them by choosing a right fragrance for the moment. Hence, we are not that trend-sensitive, seeing from the customer-oriented point of view. We prioritize the fragrance as such in relation to the concrete customer, putting the trends on the second place.
    Tara: We choose fragrances which are unique and peculiar aiming at the clientele, who are looking for a certain niche, desiring to smell different, avoiding Tax Free stores and daring to be different. They are searching to create a curated selection for a structured life. We ask for reviews on every fragrance we choose for our consumers in order to structure our products mainly based on their preferences and what they like and what they don’t like. This is also how we constantly improve our choices.
    Lisa: We definitely keep our finger on the pulse when it comes to the perfume trends by for instance looking at the top lists of the popular shopping malls and by participating in different fragrance fairs.
    Tara: The format the fragrance is presented by is a no-logo format, where the fragrance as such is the core part. Our aim is to introduce a perfume you really like and can experience without being affected by the logo or any market trends.
    Lisa: The format makes that you might have some scent left by the end of the month, what creates an opportunity for you to build up a fragrance wardrobe. It might also minimize the importance of the trends, giving you an opportunity to use your scent when you find it suitably based on occasions or emotions.

    What fragrance would you today recommend to Winston Churchill? To Wallis Simpson?
    Lisa: For Winston Churchill I would recommend a fragrance called ‘Fortis’ – a completely black liquid, telling a story of reincarnation, when you have lived a significant part of your life in one way and suddenly decide to radically change it. It turns sweet after a while, what would be a perfect match with the cigar smoke. It would fit his character, I think. Concerning Wallis Simpson, I would recommend ‘Remarkable People’ by Etat Libre d’Orange.

    Your concept reminds me of wine tasting concept based on the sensory examination and evaluation of the product as such.
    Lisa: Exactly! And we have empirical evidence that supports that, as we have performed quite a few fragrance testing occasions, especially in the beginning of our business activity. We were very interested in the perception as such, behind the brand affection. Before the brand of a tested scent was disclosed, one out of ten participants would probably like the smell, while others would compare the latter to an air freshener. After they discovered that the fragrance actually was from a well-known brand, the perception would evidently start changing for the better. Apparently, the brand has a great effect on your choice of scent.

    Do you consider SNIPH to be an influencer in the fragrance market? Why yes/no?
    Tara: Absolutely. An influencer is a source of inspiration for others or people might simply rely on his/her choice. This is what we constantly work with in order to make our members see us as experts within the perfume field and consequently, let us make a choice for them. We want our customers to trust us and our expertise.
    Lisa: The utmost goal is to offer an incredible service concept, offering a club-member feeling for our customers. Nevertheless, we are also a distribution channel for the perfume manufacturers, what also turns us into influencers in relation to them. We tell them what sells and what des not for our customers in Sweden or in England.
    Tara: Yes, it becomes a marketing distribution channel for the perfume brands as we choose them, similar to influencers picking a clothing brand and telling others that it was good. The products we have in our shelf are considered by us to be the best and we share that consideration with our members, who rely on our choice asking “What’s the latest?”
    Lisa: We always send ratings and feedback to the brands we collaborate with, sharing our experience and thoughts concerning their products. We find it very exciting!

    Do you think there are any bigger differences in marketing of fashion and marketing of scent fashion?
    Lisa: Big brands invest a lot of money, marketing their fragrances and putting big billboards on buildings and similar. Meanwhile, you would never see an YSL tuxedo suit being exposed to marketing in the same way – it would never be hanging on a billboard outside but rather connected to a luxury area surrounded by a concrete storytelling. So, there is a big difference.
    Tara: All those traditional roles are changing now, what might affect perfume and fashion advertising as well.

    Do you sell fragrances or a service concept?
    Lisa: We would say, it divided equally – 50 percent is the product and 50 percent is the service.
    Tara: We want to offer the same quality of service as you were attending a physical store. Therefore everything is carefully curated to make you choice as natural as possible.
    Lisa: At the same time you avoid the personal contact with a seller that usually makes you feel slightly obliged to purchase a product. Everything is according to your own rules. You set up the conditions for your purchase. No stress at all.

    As a fragrance retailer you are a middleman between consumers and fragrance brands/ producers, shouldering two different roles and solving two different problems from the marketing point of view, aren’t you?
    Tara: Yes. We introduce perfume brands to a new audience, while keeping a direct contact with our members, looking for new exciting fragrances. Hence, we send new scent samples to our members with fragrances they otherwise would never have discovered by themselves. Simply said, we market the perfume brands by introducing those to new potential consumers. On the other side, we have consumers, who might not have time and/or money to engage themselves into the perfume issue. So, we bring new exciting brands to them.
    Lisa: We match consumer with a right fragrance. Matchmakers!

    Could you describe your logistic chain from a consumer clicking its choice till the black box arrives at the door?
    Lisa: Leaving some parts of our logistic chain aside, we could note that the size of the box is well-calculated to fit your mail drop. We have personal contact with all the brands prior to collaboration, what is quite unique. We visit them while we are in Paris or during different perfume fairs. We look at their values and visions, wear their products on skin, make our choice and categorize it in accordance with our six collections based on lifestyle preferences, such as trendy or classic. The month you have subscribed for our service, we pick a fragrance for you, which we have already bought in a bigger bottle. We decant it for you into a little glass bottle placing the latter into a smart case. And the whole packaging process takes place at our office in Stockholm. We post it usually the same day you have placed the order, so you can have it the day after. Two weeks later you are given the opportunity to rate the perfume and let us know what you think. All the information is saved in your digital fragrance wardrobe, what also gives you an opportunity to get to know yourself a bit more.

    Do you keep an eye on the scientific part of the fragrance issue?
    Lisa: There is a rather narrow scientific data around olfaction (chemoreception that forms the sense of smell) specifically connected to fragrances. There are still unexplored corners because the connection to the cognitive aspect is very strong making it difficult to separate this particular field. I have interviewed both neuroscientists and researchers at the Stockholm School of Economics and they all consider this field to be very complicated in many aspects. Some experiments concerning the ability to perceive different smells have been performed in Great Britain.
    Tara: Back in the days when as a rule no fragrances were available, you paired yourself based on compatible body scents. Today, we cover our natural smell with a lot of synthetic scents. When you want to buy a perfume, you may opt for a Tax Free shop while travelling. While in the shop, you see different perfumes without having any idea what they contain. You smell those, staying otherwise quite passive in your purchase. Meanwhile, we, after having looked through those aspects, want to educate our consumers in fragrance.
    Lisa: As linguistic nerds, speaking a few languages, we understand that the ability to express yourself within a certain area is directly proportional to your vocabulary in the field. If one cannot describe a taste of wine in established terms, it might feel quite awkward for both oneself and for the audience. We want to supply our consumer with the right linguistic tool as well, to make the experience feel complete.
    Tara: Our consumers start reading the texts the perfume bottles are supplied with; they might buy a whole bottle of fragrance they liked but the curiosity never dies. They become a kind of their own connoisseurs in their own world, like a sub-culture on its own.

    How does your business model fit in the circular economy model?
    Lisa: Our product dimensions make it easy to transport the boxes, what is a precondition of the shared economy. Our members have themselves created a Facebook group, where they share their experiences and exchanging the products with each other. In such a way, they are building a circular service on their own, what is amazing. Our sample-sized bottles give our customers opportunity to try a perfume without committing to the full cost of the product.

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