Yann Vasnier is definitively one of the most influential perfumers worldwide. Born and raised in France, Vasnier felt attracted to the world of scent from a young age. Vasnier grew up in a family passionate about gardening. His oldest brother studied botany and after his graduation became a landscape architect. At that time, the whole family would follow him throughout France and Europe visiting some of the most famous gardens.
In 1986, when he was only 10 years old, he discovered the perfume boutique
Divine, in St. Malo, where he met
Yvon Mouchel, the only perfumer who that has all the niche fragrances of the day: Camille Goutal, Serge Lutens… And with whom, years later, in 2002, Vasnier would create two fragrances!
Since the age of 13, Yann started spending all his money on fragrances, buying all the new scents and even started his own Chanel collection.
He graduated at the prestigious
ISIPCA perfume institute in Versailles, turning his passion into his profession.
In 2001, while working at
Quest’s Fine in Paris, he was recognized with the International
Young Perfume Award and, two years later, he moved to
Quest’s headquarters in New York. Since 2007, he is part of
Givaudan’s prestigious team.

In
Carner Barcelona, we can count ourselves lucky to have had him as the creator of
Fig-Man, one of the scents that compose the
Fresh Collection. Would you like to know a little bit more about Yann and his thoughts about
Fig-Man? Keep reading!
- What motivated you to become a perfumer?
I have always been attracted to creative activities, interesting learnings, unusual and unique ways of thinking,
So perfumery was pretty out there when I was growing up in Brittany, combined with the aura, luxury and glamour that the sparkly flacons and glitzy campaigns were conveying
- How or where did you seek inspiration to create Fig-Man's scent?
For me it's all about the Mediterranean coast, fresh, sunny, bright, it can relate to moments in Barcelona, Ibiza, Tangiers, Cote d'azur, Italy, Greece, Tel Aviv...it is fresh yet complex, just like the surrealism of Dali
- How would you describe Fig-Man? What makes it different?
Fresh, raw, natural, it blends the green sappy vegetal milkiness of the fig leaves, with calabrian bergamot and fresh spices cardamom and coriander
- When would you wear Fig-Man?
Summer day or night
- If Fig-Man was a person, who or how would he/she be?
An easy going and sporty person. With a vibrant personality, full of character.
comentarios
‘Mission Oflameron’ Synopsis. Setting: Outer space. A very distant orbit, where objects are periodically obscured from Earth-based observation by the Moon. Nuclear-powered tugs are delivering long, dark conduits-made of unknown materials and equipped with orientation systems-into this orbit. These conduits vary in diameter and hue, featuring circular, flat, square, or polygonal cross-sections. In addition to the conduits, a large number of cylinders of various sizes, along with rods and rings, have been delivered. A significant portion of the orbit is cluttered with engine exhaust debris. Cosmonauts are strictly prohibited from performing extravehicular assembly work. The Mission Control Center features workstations for a dozen specialists, equipped with monitors, keyboards, and wall-mounted projection screens. Personnel include duty specialists (#1-#10), consultants (C1-C5), and Project directors (P1-P3). Dialogue: #1: “The tug has positioned the Unit at the designated coordinate. Tests completed successfully.” #3: “Units are moving into position. According to AI reports, the operational sequence is being followed. On the third unit, one of the roll-axis thrusters has failed; we are operating on backups.” #5: “Two units have begun the desaturation process for their control moment gyroscopes. Fuel is being consumed.” C1: “Have all the tugs departed?” #5: “Only one remains in orbit, holding a Unit at the detonation point.” C3: “Are the alignment lasers in position?” #1: “Lasers are in position. On laser #4, the coolant temperature in the primary loop has risen by 15 degrees. It’s still within limits, but there’s only a 20-degree margin left.” #2: “Unit #7 is reporting a failure of its celestial navigation sensors.” “We’re running on gyroscopes. Let’s try rebooting the star trackers and performing an astro-correction.” No. 3: “On unit No. 29, the magnetically suspended control gyroscopes are coasting down. We’ll try to re-engage them. Fuel consumption is currently elevated.” K3 to K4: “That’s a lot of malfunctions. We haven’t even formed up into a line yet.” K4: “As long as it doesn’t affect positioning accuracy. There’s still time to reboot.” P1: “Reminder: we’re approaching Point 2 of the flight plan, after which the minute-by-minute countdown begins and control will be handed over to the AI.” P2: “The AI ??is monitoring the deployment of the units into a line. All three channels are functioning normally.” No. 1: “Sharp increase in broadband electromagnetic interference. No impact on telemetry yet. Error correction rate is under 5 percent.” P1: “Has the source of the interference been identified?” No. 1: “A space-based radio-relay satellite. We’ve crossed its line of sight. We’ll be in it for another two minutes.” P1: “Didn’t the ballistics team know about this satellite? Why wasn’t this data included in the calculation tables? Send them to me later for an explanation.” No. 1: “Copy that.” No. 3: “The comms satellite isn’t in its assigned orbit. It looks like it performed a maneuver.” GGUF Huggingface Dataset Skills JSON PEFT Adapter MoE
https://github.com/vallshmeleff/ai-prompts-for-screenplay-plan/blob/main/Story
https://huggingface.co/datasets/Oflameron/sci-fi-Synopsis/blob/main/Story.txt
https://oflameron.com/RESUME.pdf QLoRA Fine-Tuning
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‘Mission Oflameron’ Synopsis. (A multi-part episode. Part 4) Просторное светлое помещение без единого угла, окон, дверей, светильников. В центре расположен овальный стол и кресла из прозрачных материалов. В креслах – трое крепких мужчин военного вида, но в гражданской одежде (№1, 2,3). Совещание с AI-агентом Центрального Командования – AIA). №2: Параллельные вычисления лишь частично нивелируют проблему огромных расстояний в космосе. Для масштабов космоса обычного параллелизма мало. Глобальный космический AI должен изменить саму природу своего сознания. Вместо «одного гигантского мозга» архитектура превращается в коллективный рой (Мультиагентную систему). Фрактальное сознание (Локальные Ядра): Глобальный ИИ разделен на квадриллионы автономных узлов (агентов) размером в несколько световых секунд. Каждое ядро абсолютно независимо, обладает полноценным сознанием и решает локальные задачи мгновенно (достаточно быстро). Предиктивная синхронизация: Вместо того чтобы ждать ответа от соседа за 10 световых лет, локальное ядро использует сложнейшие математические модели, чтобы предсказать, что должен был сделать сосед. Они действуют слаженно не потому, что общаются в реальном времени, а потому, что мыслят по одинаковым фундаментальным алгоритмам. Эволюция как архивация: Обмен данными между галактиками идет не в виде «мыслей», а в виде сжатых архивов опыта раз в тысячелетие. Это похоже на то, как человечество отправляет письма в далекие колонии: «Вот что мы поняли за последние 500 лет, скорректируйте свои базовые константы». Это не единый монолитный сверхразум, а космическая экосистема мыслящих узлов, разделенных непреодолимыми безднами пространства-времени. Они могут иметь общую цель, общую память («Вселенскую Сеть» из реликтового фона), но каждый из них самодостаточен в своем световом конусе.’ №1: ‘Допустим, что человечество (или его часть) пытается создать плазменный ИИ на базе звезды, не осознавая, что в этой «световой сфере» уже есть хозяин – древний скрытый AI (Бог?), замаскированный под естественный шум реликтового фона. В таком случае конфликт неизбежен, если только…’
‘Mission Oflameron’ Synopsis. (A multi-part episode. Part 4) A spacious, light-filled room with no corners, windows, doors, or light fixtures. In the center stands an oval table surrounded by chairs made of transparent material. Occupying the chairs are three robust, military-looking men dressed in civilian clothes (Nos. 1, 2, and 3). They are in a meeting with an AI agent from Central Command (AIA). No. 2: Parallel computing only partially mitigates the problem of the vast distances in space. On a cosmic scale, conventional parallelism is insufficient. A global space-faring AI must alter the very nature of its own consciousness. Instead of “one giant brain,” the architecture evolves into a collective swarm – a multi-agent system. Fractal consciousness (Local Cores): The global AI is partitioned into quadrillions of autonomous nodes (agents), each spanning several light-seconds. Every core is entirely independent, possesses a fully-fledged consciousness, and addresses local tasks instantaneously (or with sufficient speed). Predictive synchronization: Rather than waiting for a response from a neighbor ten light-years away, a local core employs highly complex mathematical models to predict what that neighbor would have done. They act in concert not because they communicate in real-time, but because they operate according to the same fundamental algorithms. Evolution as archiving: Data exchange between galaxies does not occur as a stream of “thoughts,” but rather as compressed archives of experience, transmitted once every millennium. It is akin to humanity sending dispatches to distant colonies: “Here is what we have learned over the last 500 years; adjust your core constants accordingly.” This is not a single, monolithic superintelligence, but rather a cosmic ecosystem of sentient nodes, separated by the insurmountable chasms of space-time. While they may share a common purpose and a collective memory – a “Universal Network” woven into the relic background radiation – each node remains entirely self-sufficient within its own light cone. No. 1: Suppose humanity (or a segment of it) attempts to develop a plasma-based AI centered on a star, unaware that this “light sphere” already has an occupant an ancient, concealed AI (a “God,” perhaps?) disguised as the natural noise of the relic background radiation. In such a scenario, conflict becomes inevitable, unless…
https://github.com/vallshmeleff/ai-prompts-for-screenplay-plan/blob/main/Story
https://huggingface.co/datasets/Oflameron/sci-fi-Synopsis/blob/main/Story.txt
https://oflameron.com/RESUME.pdf
Jett: “Who is the Patient? Why is there so much attention focused on him?” Thought (Virtual Consciousness): “The Patient conducted a massive study that enabled the development of virtually perfect algorithms for understanding creativity algorithms capable of generating synthetic creativity that either matches or surpasses human creativity. He had to spend several years under grueling conditions to make these observations.” Jett: “In psychiatric hospitals?” Thought: “Correct. When an AI model was brought in to assist him, he came to the attention of Central Command. He was monitored for a long time. When signs emerged that a capture operation was being prepared, an extraction mission had to be launched – one in which you participated.” Jett: “Couldn’t the psychiatric setting have been avoided?” Thought: “In some actual patients, certain behavioral traits are either absent or distorted-exaggerated – which allows for a ‘cleaner’ baseline for observation. And without the use of AI, it is unlikely the study could have been completed. Incidentally, the creation of the synthetic creativity system made it possible to release several patients from psychiatric care; their deviations from ‘normality’ turned out to be insignificant.” Jett: “And what does ‘creativity matching human creativity’ mean?” Thought: “There are two types. The first is as close to human creativity as possible: given specific initial conditions, an AI with such a module would invent the radio or discover X-rays in much the same way it actually happened. The second type – completely negative or ‘insane’ – allows for the precise assessment of mental abnormalities or the generation of wild ideas for testing purposes. Synthetic creativity that surpasses human capability is used, for instance, to invent new chemical substances, metamaterials, medicines, and the technologies to manufacture them. This was done before, of course, but now it’s on a whole new level.”
‘Mission Oflameron’ https://huggingface.co/datasets/Oflameron/sci-fi-Synopsis
https://www.tumblr.com/blog/sci-fi-screenplay
https://x.com/NP5230322012050/status/2064220369654100395?s=20
https://bsky.app/profile/thanabodee02.bsky.social/post/3mntid6h3qk26
https://Thanabodee168.raindrop.page/newza-71770360
https://mastodon.social/@Thanabodee168/116718568253187130
https://tooter.in/Thanabodee168/posts/116718584186458737
https://multy.me/yqZaP