Peter Bohm
Peter Bohm occupies an unusual position in modern perfumery: a man whose name appears alongside only a handful of creations, yet whose work under the Bijan label endures. Based in South Plainfield, New Jersey, Bohm built his career through the formulation side of the fragrance industry, serving as president of Imperial Cosmetics SVC. Inc. from 1987 to 1995, when the company was acquired by Kolmar Industries. His partnership with Iranian-American designer Bijan Pakzad produced two notable fragrances for the eponymous label: Bijan Women, launched in 1986, and the following year’s Bijan Bijan. While many of his contemporaries churned out dozens of releases, Bohm preferred to work with precision over volume, treating each creation as a standalone statement rather than part of a broader collection. His background in cosmetics chemistry gave him a technical foundation that translated into meticulously constructed scents, particularly in the white floral register.
The hits
Notable creations
The signature
How Peter composes
White florals define much of Bohm’s known output. Bijan Women showcases his facility with jasmine and tuberose, building them into a creamy, assertive composition that avoids the delicacy often associated with lighter floral fragrances. His formulations suggest a preference for richness and presence, using generous doses of heart notes to create fragrances that project strongly and develop slowly on skin. The technical expertise gained from his years in cosmetics formulation likely informed this bold, long-lasting approach.
Philosophy
What drives Peter
Bohm’s approach favors depth and intentionality over trend-chasing. Rather than flooding the market with annual releases, he concentrated his creative energy on a small number of projects, each one demanding careful attention to structure and longevity. His work suggests a belief that a fragrance should communicate something singular and complete, rather than simply reflecting what happens to be popular in a given season. The restrained output also hints at a craftsman’s ego: he would rather be known for two exceptional creations than twenty forgettable ones.
The houses
Maisons Peter composes for
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