Perfume has always been about storytelling. The act of wearing a scent is an act of stepping into a narrative — a mood, a feeling, a version of yourself made possible through fragrance. Our fragrances don't resolve quickly. They push and pull, unfold on your skin like a story — uncomfortable in the best moments, revelatory in others.

Each fragrance is built from a specific work of literature. That novel becomes a cultural catalyst — the starting point for a creative movement that extends far beyond the bottle. The artists who make our covers, the musicians, the chefs, the writers: all working from the same source, all arriving somewhere different.

Literature is our framework because stories are democratic. Anyone can enter one. It opens an almost infinite world of narratives, emotions, and identities that perfume alone cannot easily access — widening the universe rather than narrowing it.

The result is not perfume with a literary theme. It is a place you can enter, explore, and return to.

Timothy Han founded Imprint in East London. Before perfumery, he worked in fashion — as an assistant to John Galliano, in an environment where every creative decision carried consequence. That education didn't stay in fashion.

He came to fragrance without formal training. Which turned out to be the point. Unconstrained by convention, he developed a methodology built around literature — using specific works of fiction as the creative framework for each scent. Not as theme. As starting point, brief, and world.

Over a decade of practice preceded Imprint: bespoke commissions, institutional collaborations, experiential work that took scent out of the bottle and into spaces, events, and cultural moments. All of it in service of a question he kept returning to — what happens when perfume is treated as a cultural form rather than a product?

Imprint is the answer he keeps working on.