
There is a specific kind of alchemy required to helm a house founded in 1643 without becoming the curator of a museum. It demands more than just a nose for fragrance; it requires the surgical precision of a tailor and the visual appetite of a cinematographer. Enter Hugo Ferroux, the Saint Laurent Rive Droite alum who is currently trading the sharp lines of Parisian tailoring for the ephemeral geometry of smoke and wax.
Since his arrival as Creative Director at Trudon (formerly Cire Trudon), Ferroux has treated one of oldest candlemakers in the world not as a relic of Versailles, but as a “living narrative”: “a heritage in motion” that is suddenly, and quite deliberately, picking up speed.
In the wake of the launch of Carmen – a collection that feels like an intimate, tobacco-stained memory – Schön! alive speaks to Ferroux about the “materiality” of scent, the “intimate sillage” that “makes you want to follow a stranger down the street”, and why the future of Trudon involves a healthy obsession with its 17th Century roots.
You’ve described Trudon as a “living narrative” and “heritage in motion”. How are you balancing the weight of a house founded in 1643 with the fast-paced, contemporary “aesthetic laboratory” approach you honed at Saint Laurent Rive Droite?
With great serenity. I’ve adapted to a different tempo. At Trudon, things unfold more gradually. You always want to push further and do more but, ultimately, I find real satisfaction in creating work that is more enduring. We are developing a three-year roadmap, with new categories launching each year. It’s dense, but carefully structured and planned.
Your background at Studio Berçot and Mugler is deeply rooted in fashion and silhouette. How does your creative process change when designing a ‘flame’ or a scent rather than a garment?
I don’t approach creation with a silhouette in mind. I feel it’s more holistic: the period, the room, the furniture, the character, the clothes. My process is always driven by an image, an anticipation of how the collection will exist visually, once captured and printed. Whether it’s a shoe, an object or a scent, the process remains the same: driven by the narrative and desire.
Which specific era of French history or movement in decorative arts do you feel is currently ‘unspoken’ at Trudon and ripe for exploration in your 2026 collections, if any?
Having just joined the brand, and in line with my personal sensibility, I naturally gravitated toward the 17th Century, the origins of Trudon. It feels only natural for me to return to the roots to explore scents. There is still so much to play around that I don’t feel the need to look to another era yet. In contrast, when it comes to imagery, lifestyle and store architecture, I enjoy adding layers of history to create tension.
At Saint Laurent Rive Droite, you focused on a “comprehensive and meticulous approach to brand experience”. Beyond the candle itself, what does the ‘Trudon Experience’ look like?
We’re currently shaping a new identity for the stores. It’s all about shaking things up but staying respectful to the house and its codes. I have a clear vision of the direction we should take, but I also want to leave room for the unexpected to emerge along the way, to keep things light, to stay open and to enjoy the opportunities as they come. I’ve only been at Trudon for a year; there’s still so much to discover and try. I’ve encouraged our stores to light candles in the windows, both at night and during the day. When you buy a sofa, you want to try it first. The same should apply to candles. Light has been at the heart of what we do for nearly four centuries. It felt essential to bring our wax creations to life. The impact was immediate: people stopped, took photos and you could see a sense of wonder in their eyes.
In candle-making, your ‘fabrics’ are wax, glass and smoke. How do you approach the materiality of scent?
We are very fortunate to have our manufacture in the Perche, which holds a tremendous savoir-faire. It is our atelier, our backbone and the reason why no candles are quite like Trudon. From this standpoint, I know that they will always ensure the highest level of quality, which allows me to fully immerse myself in the creation of the fragrance. Trudon candles carry a bold and unmistakable signature. When creating a scent, a few elements are essential to me: It has to emerge from a story, provoke a reaction, evoke an emotion, and it must carry a strong presence.
You are heading the artistic direction for both Trudon and Carrière Frères. How do you plan to evolve their visual languages so they remain complementary without overlapping?
My approach shifts when I think about the two brands. They come from different lineages, shaped by different eras. I’m currently focusing on driving a number of changes at Trudon. For the moment, I’ve let Carrière Frères rest slightly, but only temporarily.
You worked closely with both Hedi Slimane and Anthony Vaccarello, two designers known for very strong, uncompromising aesthetics. What is the most important lesson you took from over a decade in Parisian high fashion that you are now applying to the world of luxury fragrance?
Both experiences were very different; both were amazing. With Hedi, it’s very much about the 360-degree approach and vision, all coming from one mind and diffusing itself in all departments. With Anthony, it was the range of possibilities, expressions: opening the boundaries of fashion as we know them and amplifying its voice through culture. Both were no compromise and had full support internally which I feel is the only way to succeed, wherever you are or whatever you undertake. Generally speaking, I think what stays with me is the notion of heritage, of respect for a house, while at the same time always looking ahead and considering what these codes mean today.
Many of your past projects involved music and performance. What does the ‘soundtrack’ of the new Trudon era feel like?
It’s funny you should ask since for me that is one of the last areas I am trying to figure out at Trudon. I have this obsession with violins; we will see where that leads. More broadly, I never begin with sound. Everything starts with a story, often sparked by a word or an image. Music only comes later, usually as a final layer accompanying a film or visual.
You describe Carmen as “virile leather becoming living skin”. How does your experience with the fabrics influence how you directed perfumer Emilie Bouge to ‘sculpt’ the tobacco and leather in this collection to feel so tactile?
I used to be a shoe designer when I started… working leather. Honestly, with Carmen, I wanted the fragrance to be sexy. In discussion with Bouge, we were drawn to this idea of the leather armchair of the ‘Che’ in Ernesto evolving into something more intimate: the skin of Carmen, as she rolls up tobacco leaves along her bare thighs.
With Carmen, we see a very deliberate visual language, such as the celadon packaging. How do these details contribute to the ‘immersive brand experience’ you want to build for the contemporary Trudon customer?
Clarity is luxury. At my arrival, it was essential to re-establish strong codes, a clear visual identity, and remain consistent with it. It was almost like drawing a circle around us and saying, “This is where we are starting all over again and, for now, everything must exist within this boundary.” We’ve been working on the brand identity for the past year, and some elements are still being refined. I know things will evolve, and they have to, but Carmen represents the first baby step: a starting point for what’s to come. Internally, we refer to this approach as “continuous improvement”.
Carmen is described as a scent that “lingers on the skin as it soaks into sheets”. Tell us more about this.
You capture a scene and it stays, forever fixed on film, carrying a feeling, a desire, a moment in time. I feel everyone is obsessed with sillage right now. It’s one of my top priorities when it comes to validating a perfume, but not from a performance point-of-view. I am looking for an intimate sillage; the one that makes you want to follow someone down the street.
Find out more about Trudon here.
words. Sandy Aziz
images. Courtesy of Trudon



















