In Far North Queensland, there’s a plantation that produces one of the most sought-after ingredients in fine fragrance, Agarwood. It belongs to Tim, his daughter Fleur and their extended family, who spend months at a time in the sticky heat, tending to the trees. It takes years and perfect conditions for the trees to mature before the oil can be slowly extracted. Unlike other woods in perfumery, Agarwood (also known as Oud) is rich and earthy but modern. It’s also incredibly expensive — nature’s own version of luxury.

The Agarwood is also the heart and soul of Silky Woods, part of the Botanical Series collection from Australian fine fragrance house Goldfield & Banks. Despite requests from international brands, it was an encounter between Tim and Goldfield & Banks founder Dimitri Weber that established a special working relationship. Weber, who cut his teeth in the French perfume industry, now works with native Australian botanicals and extracts — a project that's redefined homegrown perfume, while putting Australia on the global map.

To honour Silky Woods, I spent some time in Cairns, visiting the Wescorp Agarwood plantation, learning the process behind sustainable growth, harvesting and extraction — it's complex but a labour of love for Tim (for reference, it takes some thousands of trees just to produce a litre of oil). But the end result — a fragrance that's creamy, woody, rich but delicate — is worth it.

A behind the scenes look at fine Australian fragrance, and my conversation with Dimitri below.

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So Dimitri, what originally brought you to North Queensland?

I’m Belgian born but always lived in Paris. I first came to Australia for work, I was with Cartier launching its fragrance collection. No one in the office wanted to go because it was August, the European summer vacation. Of course, I put my hand up. I took a week afterwards to travel as I had an aunt in the Southern Highlands. I fell in love with Australia immediately. I actually met my partner on that first trip. A few years later I finally moved.

As for Far North Queensland, I love, love, love the tropics. I drove from Cairns to Port Douglas and could not believe the colours, it was so beautiful. I loved it so much that I got a place here during the pandemic. I do live in Sydney, but fly up as much as possible. It’s also great for my work, the flora up here is like nothing I’ve ever experienced. I feel very at home, actually.

Do you do a lot of creative work up here?

I do, it’s my favourite setting and sensorially so rich — the colours, the scents, the butterflies and bird song in the morning. It feels remote and untouched. It’s magic.

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You had an incredible career in the French fragrance industry before you relocated, eventually launching Goldfield & Banks. Tell me about the transition and how you’ve defined your version of Australian fine fragrance?

It's known in the industry that many raw materials come from Australia, Sandalwood is a perfect example. But there were so many other natives and botanicals that were unspoken about. I remember Dior used Boronia in the original Diorissimo but otherwise, nothing. Fine Australian fragrance didn’t really exist. It's only in the last few years that I have stopped to consider how Goldfield & Banks has contributed to the category — there are so many incredible growers and suppliers doing wonderful work. Collaborating with them is very special to me.

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How would you describe fine Australian fragrance to some of your former colleagues? How is it different to French perfumery?

Well, Australian ingredients are very of the land — they're aromatic and Earthy. Our natives are hardy and organic looking. They’re not soft and pretty like the rose and jasmine that’s so popular in French perfume. I feel at Goldfield & Banks we strongly juxtapose light and dark — we have the soil, dense rainforest, hinterlands, but also an incredible sunny coastline. I think Australian scent should be a beautiful contrast of the two.

This is the case when I'm working with perfumers, as well. Many are my dear friends and incredibly talented French master perfumers, but we're doing things differently. It’s important to me that we don’t default to classic French techniques.

What about the fragrance industry — what's changed since you launched your brand nine years ago?

It’s TikTok, for sure. You cannot deny the shift. One of my earlier fragrances went, I guess you would say viral, on YouTube — I can't imagine that now.

Earlier we didn’t really see male teenagers buying our scents, but now we do. Lots of them split the cost and perfume share with their friends. It's so fascinating to me. The way people shop for perfume is so different, as well. You used to go into the department store, try it on, walk around, live with it for a while… Now people blind buy based on reviews or word of mouth. As a founder I find this quite scary but we have a very low return rate.

I think people often want to buy into what a perfume represents or alludes to, as opposed to the actual notes or way it ‘smells’…

Yes exactly. At Goldfield, we share knowledge and expertise but I do think it’s important to have some mystery. People want to dream a little bit. I like to keep most of the backstage, backstage. I'm trying to build a house, not just a brand. I really want Goldfield & Banks to live beyond me — if I’m retired or dead, I hope things continue.

How do you work with perfumers — what’s your preferred method of collaboration?

I begin with a brief, and perfumers will respond with a pitch. I like to create a mood board, maybe write a bit of a story. I always have ingredients and a structure in mind. Most of my scents are inspired by nature or a place, as you probably know. Sometimes the decision is based on gut feeling, a connection, it just feels right. Other times I’ll choose based on sample submissions. I like to challenge the perfumers I work with to do things differently. And while they are the chemist behind the formula, I’m still the one who creates the perfume, if that makes sense. Essentially, I see myself as a creative director, my perfumer as a creative director and there's a commercial team in the middle.

How do you balance creativity and commerce?

You know, I've worked in the fragrance industry for 30 years, so I know what it costs to create a scent, and I can tell you honestly that we are on the higher side. In terms of quality, I overspend. But I just won’t release anything unless I am 100% convinced it’s perfect. We only work on two fragrances a year and it’s just not worth it. I’ve done it once in the past — never again.

On the topic of creativity, I love the way you name your perfumes…

Thank you. Our names actually reflect what’s inside the bottle. Sunset hour smells like a sunset hour. Silky Woods smells like silky wood…

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Okay, you need to tell me about Silky Woods and how you came to be one of the only perfume houses with access to Australian Agarwood?

It really was a chance encounter. I met them in Broome, because they also produce Sandalwood, and they told me about their sustainably-grown Agarwood in Far North Queensland. It’s incredibly difficult to access, but they were passionate about supplying it to me in Australia. It was like a gift, to be handed something so unique. I knew we had to create a fragrance around it.

It's an incredible scent. And you also created Silky Woods Elixir?

Yes, I love it. It’s like walking deeper into the rainforest. We added creamy fig and it changed everything.

I'd love to know how you determine a fragrance is finished?

I mean, I love my customers and I don't want to disappoint them — if I release something, it has to be great. I think it’s mostly a gut feeling. I’m quite anxious, and these things keep me awake at night. So if I feel confident about a fragrance — not worried or unconvinced — that’s usually a good indicator it’s complete. Also, compliments when I’m wearing it.

Is there a category of fragrance that intimidates you?

Hmm, probably florals. Consumers are so used to French florals, it’s difficult to come up with something unique. We’ve just created a new fragrance, it’s not out yet but it’s an aquatic floral, and the perfumer Emelie did an incredible job. I’ve never smelled anything like it. She printed out the entire formula to show me, and it contains 100 ingredients. I couldn’t believe it.

Goldfield & Banks Silky Woods