Flor de Hueso
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This creation was made to mark the 25th anniversary of the homonymous album Ronroco by Oscar-winning musician and composer Gustavo Santaolalla, named after the traditional Andean stringed instrument that became central in his distinctive sound.
For this collaboration, Julian Bedel, artist and founder of Fueguia 1833, studied the instrument itself in the laboratory, translating its woods and resins into scent. At the heart of the composition are Copal, Oud Chaco, and Salvia del Monte, each with its own tonal resonance.
Both self-taught artists from Argentina, Bedel and Santaolalla, left their homeland to follow their artistic paths. Their shared sensibility — rooted in origin, craftsmanship, and emotion — finds expression in this collaboration through the parallel languages of perfume and music.
Inspired by the instrument’s warm, resonant sound and wooden body, Ronroco traces a clear path: from tree, to instrument, to perfume.
Durazno draws inspiration from Chinese and Japanese tea traditions, where tea is a ritual of time, patience, presence, and observation; the Asian notion of gardens designed to evoke what cannot be seen directly, structured through absence and partial revelation; and the concept of the missing fundamental in music.
Born from an image—the gentle steam rising from a cup of peach tea—it celebrates the delicate transformation of leaf and flower into scent, the beauty of fragmentation, of what is physically absent but still perceived, the wisdom of nature and poetry.
“Durazno appeared in fragments, at the edge between wakefulness and sleep, through the sum of all my visits to gardens in the East. It took shape in the space between those gardens—a presence like the missing fundamental in music: not yet physically there, and still fully perceived. It leans on your complicity, on your own infinite garden that is always revealing itself.”JB
The acorde of Ronroco is composed of Copal, Oud Chaco and Salvia del Monte.
Julian Bedel approached the ingredients and composition of this perfume through a process inspired by sound equalization in music, centered on the deep bond between Gustavo Santaolalla, the spirit of the ronroco, and the ceremonial role of scent in his work.
For Santaolalla, scent is part of the creative process itself. Before recording or performing, he prepares the space by burning resins and herbs such as frankincense, copal, myrrh, and sage.
Wood is central to the instrument’s construction, and varnishes made from tree resins protect it and preserve its resonant sound. This connects to the woody character of Oud Chaco and the resinous character of Copal in the perfume, while Salvia del Monte brings an herbal note to the composition.
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