Inspired by LBTY: Ianthe Oud by Chiara Perano

A deep-rooted passion for artistic expression lies at the heart of Liberty, from the Tudor foundations of our store upwards and outwards. The exquisite world of Liberty’s LBTY. Fragrance is no exception, guided by a passion for creativity and collaboration, celebrating history and heritage with an eye to the future.

And what better way to explore the intricacies of the Liberty’s LBTY. Fragrance collection than by continuing our close collaboration with the creative world? This year, we’re tasking a series of contemporary creatives with reimagining each scent through their unique artistic media as part of our Inspired by LBTY. series.

Raised between the English coastlines and southern Italy, painter Chiara Perano’s practice explores our emotional and spiritual connection to the natural world around us. Paying homage to feminine silhouettes, botanical forms and the cosmos, she conjures dreamlike scenes that celebrate slowing down and taking in the sheer beauty of our landscapes and skies.

For her interpretation of Liberty LBTY. Fragrance's Ianthe Oud, she drew inspiration from both the fragrance and her enduring love of nature: from the scent’s mystical narrative and rich composition of precious oud, velvety florals and warm amber accords, to its heart note of violet, which blooms across England’s rolling hills.

Here, surrounded by canvases, brushes and well-thumbed books in her light-filled Hastings studio, she talks us through her artistic process and the creation of her ethereal artwork, 'Violet Secrets'.

Could you describe your work and your style?

I am a painter, and I create paintings that weave together folklore and nature. I'm obsessed with flowers, so they feature heavily throughout my work.

When did your fascination with nature, landscapes, and the mystical themes begin?

I've always been obsessed with landscape and the colours of nature. I grew up between Italy and England, and the colours of southern Italy really spoke to me from a young age. When I think back to that time, I remember the hot summers, rose gardens and dusky pink skies. The more mystical elements of my work have been amplified since leaving London and moving to the coast. I try to get out every month to watch the moon rise, and the cycles of the moon have had a strong influence on my work, reflecting the cyclical patterns of growth, change and renewal that shape the natural world.

What attracts you to different materials, and how do they shape the way you express an idea?

Most of my paintings are created with acrylics. I like how fast and immediate the medium is. I thin the paint down and build up lots of layers with watered glazes, but I can also add areas of thick, heavy paint. It's quite a quick and intuitive process. I also dabble in ceramics, which I really enjoy.

How has your exploration of femininity evolved throughout your career?

There has always been a strong feminine element in my work. Becoming a mother, seven years ago, probably shifted my understanding of that entirely. I'm interested in the push and pull between softness and strength. My work may feel soft, but there's always a strong, powerful edge running through it as well.

When you're creating a new piece, what is the first step in your process?

I studied illustration at university, so everything starts with a sketch. I'll plan out the composition and map out some loose colours before moving onto canvas. The finished painting doesn't always follow the sketch exactly - it often takes on a life of its own - but I like having that starting point.

How did you approach bringing the Liberty LBTY. fragrance to life visually?

I loved creating this piece. It tied in quite naturally with the themes I already explore in my work. I looked into the history and Greek mythology surrounding Ianthe, a nymph whose name translates to "violet", which is also a key note within the fragrance. From there, I created a scene in my mind centred around a dusky, floral and sensual atmosphere.

Text appears throughout your work. Has that always been part of your practice?

The use of text developed over time. During the pandemic, I visited an exhibition that inspired me to begin incorporating words into my paintings. I've always loved the old signage you find in Italy, particularly around the area where I grew up. I find the fonts and letterforms incredibly inspiring. Combined with poetic language, those influences gradually found their way into my work.

Text adds another layer to a painting, and I enjoy the process of painting the letters themselves. Looking at Old Masters and Renaissance works, there are often beautiful examples of text woven into imagery, and I've always been drawn to that combination of words and visual storytelling.

Can you tell us about the composition and colour palette of this piece?

I wanted the painting to convey a sense of strength, which is why there are darker tones running throughout it. I worked closely with the colour palette found within the Ianthe print. The violet flower, honey notes and dusky skies all informed the colours I chose. I wanted to capture that feeling of golden hour moving into twilight, as those were the colours that felt most representative of both the fragrance and the painting.

Was there a particular element of the fragrance that was most interesting or rewarding to translate visually?

I based the colour palette on the feeling of violets and honey - the warmth and richness of those notes. I also looked closely at the fragrance packaging, which of course features the beautiful Liberty Ianthe print. I enjoyed incorporating elements of that into the painting, particularly in the smaller florals.

What memories, places or emotions does Ianthe Oud evoke for you?

For me, it evokes that moment when the sky turns pink and golden at sunset, before shifting into that magical twilight period.

You included the phrase "Violet Seeks the Star" within the painting. What inspired that?

I added the text Violet Seeks the Star because I was thinking about the childlike wonder of looking out for the first star in the evening sky. I wanted to create a dreamlike atmosphere through the painting, centred around the violet flower and its connection to the nymph. That sense of wonder and imagination was something I was trying to capture.

What do you hope your work makes people feel?

I hope my paintings instil a sense of connection to nature. Ultimately, I want to remind people that we are all connected, and part of the same living ecosystem.