Sandrine Videault
Sandrine Videault carried the rare distinction of training directly under Edmond Roudnitska, the legendary nose behind Diorissimo and Diorella. Roudnitska, who passed away in 1996 at 88, shaped a generation of perfumers with his philosophical approach to scent. Videault absorbed that sensibility deeply, emerging as a perfumer who treated fragrance as an art form rather than a commercial exercise. Her work took a distinctive path through the world of fine fragrance. Rather than building a portfolio of commercial releases, Videault collaborated with artists from other disciplines. She partnered with Australian floral designer Saskia Havekes, bringing her botanical expertise to collaborative projects that pushed the boundaries of what natural materials could express. Her most recognized work, Magnolia Grandiflora, demonstrated her commitment to capturing flowers in their fullest, most authentic expression. Those who knew her work described Videault as uncompromising and passionate, a creator who refused to sacrifice artistic integrity for commercial pressure. Her premature passing left a gap in the perfume world, but her philosophy of honoring living materials above all else continues to resonate with those who encountered her work.
The hits
Notable creations
The signature
How Sandrine composes
Videault's signature lay in her ability to translate botanical gardens into liquid form. She worked primarily with living flower materials rather than isolated aromatic compounds, a practice that required both technical mastery and an artist's sensibility. Her magnolia work exemplifies this approach: green and dewy at first contact, unfolding into creamy richness, never losing the essential character of the living blossom. Her compositions unfolded slowly on skin, revealing new facets over hours rather than minutes. She favored restraint over projection, understanding that true floral authenticity often whispers rather than shouts.
Philosophy
What drives Sandrine
Videault believed fragrance should capture something living, not merely recreate an approximation of nature. She pursued authenticity in her materials with almost monastic devotion, spending years studying how flowers actually smell rather than accepting synthetic shortcuts. Her approach to perfumery emphasized patience and deep observation. She understood that true floral representation requires intimate familiarity with the living flower, not just its abstract chemical signature. This conviction guided every creation she undertook, no matter how long the process demanded.
The houses
Maisons Sandrine composes for
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