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Introducing Wind Flowers

Long awaited and more than 5 years in the making, Master Perfumer Olivier Creed is delighted to unveil Wind Flowers to the world. 

Olivier was personally inspired by the unique combination of the grace and strength of a dancer’s flowing movement through the wind in the air.  So he created a beautiful sparkling floral fragrance with magical undertones of reminiscent of light woody nougat. 

In Wind Flowers Olivier Creed evokes strength of movement with the airiness and delicacy of femininity.


Inspired by movement, Wind Flowers is the latest Eau De Parfum from the House of Creed. Floral and fresh, this fragrance opens with sweet jasmine, wrapped around the zesty scent of Tunisian orange blossom and softened by a and a fruity peach note, a powerful heart of delicate jasmine flower, tuberose petals and a soft rose extract add depth and texture to this fragrance while a warm flurry of sandalwood is twisted around a haze of iris and musk. A vibrant note of orange blossom and creamy praline offsets this dusky floral scent; bringing to life this luminous fragrance.

Classification: Floral,  Amber. Fresh

Head: Jasmine (India), Orange Blossom (Tunisia), Peach

Heart: Jasmine Sambac, Tuberose Absolute, Rose Centifolia,

Base: Iris, Orange Blossom Tunisia, Musk Notes, Sandalwood, Praline


Directed by Victoria Gaiger and shot by Rick Guest, famed photographer and videographer.  Visual style evokes the expression of airiness and movement in both still and moving image.

Rick approaches photography with the meticulous eye of a scientist, and the flair and passion of an artist

Lauren Cuthbertson award winning dancer and recently a new mother too, principle dancer of the Royal Ballet.


As much as her technical prowess and her musicality, Cuthbertson is renowned for her acting. When she steps on stage, from her expressive eyes to the tips of her pointe shoes, her entire essence becomes the character. And the secret behind these incredible transformations? It’s scent.

For Romeo and Juliet, she has half a dozen perfumes. Her dresser has them ready for her off stage, stored in individual miniature perfume bottles, each in their own velvet-lined box. Quick costume changes are accompanied by a couple spritzes to the neck and wrists. She is instantaneously transported olfactorily, from, say, the formal ambience of the ballroom scene to the romantic atmosphere of the balcony pas de deux, or the dank, mossy airs of the tomb.

‘There’s a really big contrast in such a short space of time and you have to emote that very quickly to the audience. Scent puts me right in that time and place. It hits me harder than any costume or prop change can.’

‘There’s that intimacy of being there when your mum’s getting ready to go out, when you’re young and you’re looking up to an adult. The finishing touch was always scent.’