The first time I smelled Meo Fusciuni’s perfumes, I stopped what I was doing and just stayed with them. One by one, I moved through the collection, each opening with its own tone, then changing, asking me to follow. There was not one I could set aside. Viole Nere, L’Oblio, Encore du Temps, Little Song, these held me the longest, but I could live with them all.
The discovery vials came with a booklet. Not marketing copy, but the actual story of each perfume, the poem that formed its first lines, and the music that played while he worked. It was complete in a way that felt rare. In a market swollen with mass-produced “niche” and endless variations on the same idea, here was a body of work built slowly, with skill and restraint, and an unshakable point of view.
Meo Fusciuni is the working name of Giuseppe Imprezzabile, born in 1977 in Mazara del Vallo, a fishing town in western Sicily. His name is layered with family: “Meo” from his father’s name, “Fusciuni” meaning “flowing stream” from his grandfather. Before perfume there was science, chemistry, herbalism, ethnobotany. Before perfume there was travel, Morocco, Sicily, and in 2009, Istanbul.
In Istanbul, the shift happened. Surrounded by the scent of spices, the damp air of the Bosphorus, the weight of mosques and markets, he began what would become his first perfume, Nota di Viaggio (Rites of Passage). He calls that moment a door opening. He stepped through it, and the house of Meo Fusciuni was born.
Today he works in Sarzana, in the beautiful region of Liguria. His atelier is part laboratory, part library, part sanctuary, what he calls his temple. Everything starts with words. The poem comes first, the molecule after. A memory, an emotion, a place, then the slow work of shaping them in scent. He uses both natural and synthetic raw materials, sourced from suppliers he has known and trusted for years. His connection to vetiver is constant, and hedione appears often for its clarity and movement.
Federica Castellani, his partner in life and work, directs the visual and narrative language of the brand. Together they have shaped the perfumes into cycles: Trilogy of Journey (Istanbul, Morocco, Sicily), Cycle of Poetry, Metamorphosis, and the Timeless Trilogy, inspired by Asia. Each is autobiographical. Wearing one is not about smelling “nice” but carrying a fragment of his life.
Here, in his own words, is Meo Fusciuni.
Did you always know you would become a perfumer, or did fragrance emerge slowly as part of your journey through herbal medicine and poetry?
I’ve always believed that each of us has a unique destiny, a path that unfolds over time. Becoming a perfumer was not something I ever envisioned, nor was it a family profession. However, my journey into the world of perfume felt quite natural, largely influenced by my herbal studies and my deep love for literature. I’ve come to see artistic perfumery as a perfect synergy of science and art, a blend of molecules and words.
You did not come through a traditional perfume school or apprentice under a master perfumer. Instead, you built your practice through herbal medicine, ethnobotany, and travel. How has that shaped your creative process, and did you ever consider a formal apprenticeship?
My journey into perfumery was quite unconventional. It began with extensive studies in chemistry and botany, coupled with significant time spent in extraction laboratories. This background greatly facilitated my entry into the world of perfumery, particularly in understanding formulation and synthetic odorant molecules, which I found to be the most complex and challenging aspects. I was incredibly fortunate to meet Arturetto Landi, a remarkable perfumer who has since become a valued mentor. This meeting truly marked a pivotal moment in my professional development.
What values or ideas guide your work? What do you want your fragrances to express or offer the person who wears them?
I’ve always sought to express the truth of my life through my perfumes, striving to give voice to my emotions, recount my travels, and create with the intention to excite. My focus has never been to simply please the perfume market, but rather to share my ideas within it. I believe that when someone wears one of our perfumes, they are embracing a particular state of mind, their soul, and their feelings in that very moment.
Many niche brands outsource large parts of the creation process. Can you walk us through how a Meo Fusciuni perfume comes to life, and which parts you insist on handling in-house?
What I love most about our journey is that every aspect originates from our own minds and hands. Our story is deeply personal, an autobiographical project where our perfumes reflect my emotions and our travels. Over time, we have aimed to delegate the more technical elements of our work, as these would otherwise consume valuable time better spent on creation and communication. As a brand with global distribution, some delegation is essential, and we strive to focus this on the technical side of our operations.
Are there particular raw materials, extraction methods, or longstanding suppliers you return to, not just for quality, but because they align with your values?
Over the past fifteen years, we have cultivated strong relationships with many suppliers. Our focus has always been on the quality of their raw materials and, as you noted, a shared commitment to ethical and sustainable practices. I have developed a particularly strong bond with Robertet over the years, and more recently, with the Italian company Atelier Fragranze Milano, led by the Maffei family. Regarding raw materials, I have always had a strong connection with the woody family, but I am increasingly fascinated by the world of high-quality synthetic raw materials, which offer exciting new creative possibilities.
What are the greatest challenges and rewards of producing perfume slowly and intentionally in an industry that often prioritizes speed and trend?
I believe the true advantage of taking things slowly lies in the rich experience of anticipation and emotion. It is a contrast to today’s tendency to rush, even in areas where natural maturation processes simply cannot be accelerated. For us, the real luxury in artistic and experimental perfumery is found in communicating differently and in allowing ourselves to experience the time of perfume more intimately.
The word “niche” is everywhere now. What does it actually mean to you, and does it still hold value?
The meaning of the word “niche” has evolved significantly over time, not just within our industry but across various sectors. I believe we all recognize the immense value this term holds for our respective companies. For me, this word has a profound meaning that extends beyond its traditional definition of distribution. It should encompass not only product quality but also the human quality involved in the process.
Your catalog is deliberately limited. How do you decide when a story or formula is ready to become part of the Meo Fusciuni collection?
Federica and I always seek to experience emotions during our travels that can eventually transform into a story and then a perfume. However, this is not always the case, as travel often brings unexpected surprises. Once I decide that a story will become a perfume, the transition is far from simple. It is a profound transformation of a word into a scent. I have never had the guidance of an evaluator to tell me when a perfume is truly ready. Instead, I rely on my own emotional cues to signal that the creative journey has concluded and the perfume has become a tangible emotion, a story waiting to be shared.
Is there a raw material or note you feel especially connected to, something that returns, quietly or overtly, in your work?
I believe every perfumer has a raw material or molecule to which they feel particularly connected. For me, in the natural realm of my work, it is undoubtedly vetiver. I am fascinated by all its geographical nuances and its various extractions. It is a raw material that excites me every time I experience its scent or consider incorporating it into a fragrance. On the chemical side of my work, hedione stands out. I truly appreciate its transparency and the beautiful evolution it brings to the floral accord in every perfume.
Was there a moment you realized perfumery had become more than a passion, something elemental to who you are?
I believe the pivotal moment occurred in 2010 with the inception of the Meo Fusciuni project. At that time, I was ready to move beyond my past experiences, my journey, and my previous career. It became clear that I was meant to become a perfumer. This path has presented significant challenges, both mentally and technically, but my passion for this discipline and my natural curiosity have always driven me forward.
You come from a background in herbal medicine and aromatherapy. Do you believe perfume has the power to influence emotional or spiritual wellbeing, and do you create with that intention?
I definitely believe that perfumes have a profound impact on us. Beyond the scientific evidence that supports this, I see our perfumes as olfactory memories and psychic journeys through our lives. Perfume truly influences our soul, especially certain raw materials. It can bring us joy, serenity, and aid in the search for a state of tranquility.
If someone were entering your world for the first time, which fragrance would you place in their hands, and why?
I believe Isola is the perfect choice for today. It is our new perfume, and it truly embodies a sense of happiness achieved after a challenging journey of remembrance. It evokes a memory that beautifully bridges childhood and the present, and transports you between Sicily and Japan. I am not sure how long this particular feeling will last, so it feels right to embrace and live it to the fullest.
There is no pretense in these perfumes, no hollow gestures dressed up as art. They are built with the kind of knowledge and patience that cannot be faked. After moving through the collection, I kept thinking how rare it is to smell something that shifts your sense of what perfume can be. Meo Fusciuni’s work does that, without rushing, without compromise, and with the certainty of someone who knows exactly what he wants to say.
There is no pretense in these perfumes, no hollow gestures dressed up as art. They are built with the kind of knowledge and patience that cannot be faked. After moving through the collection, I kept thinking how rare it is to smell something that shifts your sense of what perfume can be. Meo Fusciuni’s work does that, without rushing, without compromise, and with the certainty of someone who knows exactly what he wants to say.
Elevated Classics Classification
Primary Category: Perfumer-Led
Secondary Tags: Independent, Italy-Based, Expertly Trained, Small-Scale Production, Ethical Sourcing, Natural and Synthetic Materials
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