構築感官漫遊的「氣味美術館」，透過 November Treasure Nikki 與 Sam 的氣味策展，喚回潛藏於空間中的生活記憶

 

November Treasure 兩位主理人 Sam 與 Nikki

 
 

香氛一詞源自拉丁語「per fumum」，意指「透過煙霧」。千年以前，人們透過焚燒木頭與香脂所升起的霧氣，與神靈及祖先對話。當一縷輕煙裊裊升起，承載的不只是儀式本身，更是人們內心深處難以言說的思慕，以及對於難以伸手觸及之物的想像與寄託。

穿越至現代，香氛隨著不同地域的歷史發展與文藝復興的推進，演變出多元的敘事脈絡與商業型態。唯一不變的是，人們依然藉由嗅覺描繪時間的片刻，試圖透過氣味將過去喚回當下。當一個人將香氣穿戴於身，所承載的不只是展現個人喜好與生活品味，同時也以氣味與他人交換自身的生命經驗。

創立於2014年的台灣香氛品牌 November Treasure，從市集起步，直至台中第一間實體店的誕生，始終致力於描繪「空間中的氣味」。歷經十餘年的積累，在2026年品牌正式邁入全面升級，在台中市西區華美一路的河畔，砌築出一座以感官為起點的「氣味美術館」。

 
 

  • The word “fragrance” derives from the Latin “per fumum”, meaning “through smoke.” Thousands of years ago, people communicated with deities and ancestors through the mist rising from the burning of wood and resins. As a wisp of smoke curled upwards, it carried not only the ritual itself but also the inexpressible longings deep within people’s hearts, as well as imaginings and hopes for things beyond reach.

    Fast forward to the modern era, and as history unfolded across different regions and the Renaissance advanced, fragrance has evolved into diverse narrative threads and commercial forms. The one constant is that people still use their sense of smell to capture fleeting moments in time, attempting to summon the past into the present through scent. When one wears a fragrance, it carries not only a reflection of personal taste and lifestyle but also serves as a means of exchanging life experiences with others through scent.

    Founded in 2014, the Taiwanese fragrance brand November Treasure began at street markets and, following the opening of its first physical store in Taichung, has consistently dedicated itself to capturing “the scent of a space.” After more than a decade of development, the brand officially embarked on a comprehensive upgrade in 2026, constructing a “Scent Museum” centered on the senses on the banks of the river along Huamei 1st Road in West District, Taichung.

 
 
 
 

作為品牌首間直營概念店，從氣味、工藝到空間，皆以「幾何、通透、明亮」為核心設定，並延伸至整體視覺語彙，引導來訪者由嗅覺出發，沿著感官逐步鋪陳，走入更完整而立體的敘事場域。

在這座潛藏於連棟透天老屋中的「氣味美術館」內，November Treasure 的兩位主理人 Nikki 與 Sam，在店內準備上架的身影穿梭其間。如香氣般層層穿透的空間裡，光影在材質之間折射、游移，映入眼簾。兩人如同場域的策展人，引領我們進入他們所構築的氣味宇宙，並娓娓道來一路上的創業思路與脈絡。

 
 

  • As the brand’s first directly operated concept store, everything from the scents and craftsmanship to the spatial design is centered on the themes of geometry, transparency, and brightness, which extend to the overall visual language. This guides visitors to begin with their sense of smell, progressing through the senses step by step, and entering a more complete and multidimensional narrative space.

    Within this “Scent Museum,” hidden away in a terraced row of old townhouses, November Treasure’s co-founders, Nikki and Sam, move about the space as they prepare the merchandise for display. In a space where scents permeate layer upon layer, light and shadow refract and shift across the materials, catching the eye. Like curators of this space, the pair guide us into the olfactory universe they have crafted, recounting the entrepreneurial journey and its evolution along the way.

 
 
 
 

Q：想請你們分享一下，你們的背景及創業動機，是什麼樣的契機讓你們決定創立香氛品牌？



Nikki： 其實我畢業後的第一份工作就是創立這個品牌。我本來念的是國貿，當時在美國念語言學校要準備念商學院的過程中，受到當地寄宿家庭很大的文化衝擊，對他們來說，香氛就是很日常的東西，但對 2013 年左右的我來說是很陌生的。

那時在台灣，香氛並不普及，大家家裡很少會有這些產品。後來因為一次意外打翻蠟燭的契機，我開始對這件事產生興趣，也發現當時台灣市場上找不到符合我需求香氛產品，所以回來台灣後才決定自己投入創業，一路一邊試錯一直走到今天。

Sam： 我原本是做零售業與服飾業為主，從公司離開時，Nikki也已經創立了品牌一段時間，直到2020 年正式加入後才開始一起協助經營品牌，我主要是把過往在零售業、公司體系、營運規劃的經驗帶進來。Nikki是香氣設計的負責人，我則是推進香氣設計以外的事務執行，包括品牌規劃銷售、商品陳列和包裝設計，這也是我過去的比較有經驗且擅長的事情。

 
 

  • Q: Could you share a bit about your backgrounds and what motivated you to start this business? What was the catalyst that led you to launch a fragrance brand?

    Nikki:
    Actually, my very first job after graduating was launching this brand. I originally studied international trade. At the time, while attending a language school in the US to prepare for business school, I experienced a significant culture shock with my host family. For them, fragrance was an everyday thing, but for me back in 2013, it was quite unfamiliar. Back then in Taiwan, fragrance wasn’t widespread; you rarely found such products in people’s homes. Later, after accidentally knocking over a candle, I became interested in the subject and realized there were no fragrance products on the Taiwanese market that met my needs. So, upon returning to Taiwan, I decided to start my own business, and we’ve been learning through trial and error ever since.

    Sam:
    I originally worked mainly in retail and the fashion industry. When I left my previous company, Nikki had already been running the brand for some time; it wasn’t until I officially joined in 2020 that I began helping to manage the brand. My main contribution has been bringing in my experience in retail, corporate structures, and operational planning. Nikki is in charge of fragrance design, while I handle the execution of matters beyond that, including brand planning, sales, product display, and packaging design—areas where I have more experience and expertise.

 
 
 
 

Q：現在的香氛市場選擇很多、風格各異的當下，當初創立 November Treasure 時，你們的動機是什麼？



Nikki： 我們其實一直都蠻「任性」的，像我們今年推出的護手霜，就不是隨便掛個香味而已。考慮到台灣氣候又濕又悶，我們特別研發了「親水性」配方，能抓取空氣中的水分到皮膚裡，吸收很快、不厚重，不像歐美品牌用起來會有一層油膜感。我希望顧客回饋不只是香味本身，而是同時要具備實用性，為的就是希望能更貼近大家的生活。

Sam： 就像服裝產業每一年都會有新的流行趨勢，我們也很清楚市場現在流行什麼、什麼味道會好賣，但我們還是堅持做自己想做的味道，即使它不主流、單價較高，或者在銷售上會比較辛苦。我們想回應的仍是品牌的理念的與在地需求，所以這並不是一個以商業趨勢考量為出發點的選擇，這點跟我們在發展周邊配件的邏輯是一樣的。

 
 

  • Q: With so many options and diverse styles in the fragrance market today, what motivated you to launch November Treasure?

    Nikki:
    We’ve actually always been quite “willful.” Take the hand cream we launched this year, for instance—it's not just about adding a scent. Given Taiwan’s humid and stifling climate, we specifically developed a “hydrophilic” formula that draws moisture from the air into the skin. It absorbs very quickly and isn’t heavy, unlike European and American brands that leave a greasy film. I hope that customer feedback focuses not just on the scent itself, but also on its practicality, as our aim is to be more closely attuned to people’s daily lives.

    Sam:
    Just as the fashion industry sees new trends every year, we are well aware of current market trends and which scents sell well. However, we remain committed to creating the scents we want to create, even if they are not mainstream, have a higher price point, or are more challenging to sell. We still want to respond to the brand’s philosophy and local needs, so this isn’t a choice driven by commercial trends; this logic is the same as when we develop our accessories.

 
 
 
 
 
 

建築結構的轉化，成為對街區生活痕跡的溫柔退讓


空間設計由 本事空間製作( skilLABility )操刀，刻意讓出部分商業坪數，在入口處採用大幅內退的幾何設計。如同張開的雙臂迎接著到來的訪客，同時也為空間換取最大的開闊與呼吸感。

這種近乎奢侈的空間運用方式，消弭了狹長型建築常見的壓迫與陰暗，使自然光得以如香氣般滲入室內，於無形之中鋪展開來，預告一場純粹而專注的感官旅程。

 
 

  • The transformation of the architectural structure becomes a gentle concession to the traces of neighborhood life

    The spatial design, crafted by skilLABility, deliberately cedes part of the commercial floor area, employing a geometric design with a significant recess at the entrance. Like outstretched arms welcoming visitors, this also creates the greatest sense of openness and breathing space within the venue.

    This almost extravagant use of space dispels the sense of oppression and gloom often found in narrow, elongated buildings, allowing natural light to permeate the interior like a fragrance, spreading imperceptibly and heralding a pure and focused sensory journey.

 
 
 
 

為使這座老屋自然融入周遭街區的生活紋理，品牌與設計團隊選擇保留原有建築外貌，僅以簡約招牌作為識別，刻意避免過多裝飾所帶來的視覺干擾，不讓空間與周遭鄰里產生突兀的對比。

其原始建築結構是為過去三代同堂的住戶而獨立規劃的「雙門」格局。門的位置被保留下來，使一、二樓的動線在此自然交會，在日常之中形成出入分流的節奏，同時也為因應二樓尚待開放的策展空間，預留下了伏筆。

 
 

  • To ensure this historic house blends naturally into the fabric of the surrounding neighborhood, the brand and design team chose to retain the building’s original façade, using only a minimalist sign for identification. They deliberately avoided the visual distraction of excessive ornamentation, ensuring the space does not create a jarring contrast with the neighborhood.

    The original architectural structure features a “double-door” layout, designed specifically for the three-generation household that once lived there. The positioning of the doors has been retained, allowing the circulation routes of the ground and first floors to converge naturally here. This creates a rhythm of separate entry and exit in daily life while also laying the groundwork for the exhibition space on the first floor, which is yet to be opened.

 
 
 
 
 
 

以幾何語彙構築氣味的理性骨架，於圓與角之間取得感性平衡


擅長使用材質與結構語彙進行敘事的本事空間製作，將 November Treasure 理性的調香思維，轉化為精準而節制的幾何語彙。

設計靈感源於品牌初始設定的三角形物件，使幾何轉化成為貫穿整體空間的語言與結構，支撐起這座氣味場域的理性骨架。不鏽鋼反射出冷靜而克制的光澤，玻璃使光線得以穿透與延展，木質則收束光線，留下溫和而內斂的層次。三者在空間中彼此交織，堆疊出一種帶有秩序感的美學狀態。

推門而入，揉合黑膠音響與包裝展示的木質多功能吧檯，以大面積的圓弧曲線迎接來訪者，天花懸著來自日本奈良 listude 多面體手工音響，藉由環境的音場，隱約暗示著即將展開的氣味旅程。牆面陳列與訂製的三角形不鏽鋼洗手台，則以銳利的切面呈現雕塑般的幾何線條。

 
 

  • Constructing a rational framework for scent through geometric language, striking an emotional balance between curves and angles 

    The design team of skilLABility, renowned for its ability to tell stories through materials and structural language, has transformed November Treasure’s rational approach to perfumery into a precise and restrained geometric vocabulary.

    Drawing inspiration from the brand’s original triangular motif, the design transforms geometry into a language and structure that permeates the entire space, supporting the rational framework of this olfactory realm. Stainless steel reflects a cool, restrained luster; glass allows light to penetrate and extend, while wood channels the light, creating gentle, understated layers. The three elements intertwine within the space, layering to create an aesthetic state imbued with a sense of order.

    Upon entering, a wooden multifunctional bar—blending vinyl record players with product displays—greets visitors with sweeping, curved lines. Suspended from the ceiling are handcrafted polyhedral speakers from “Listude” in Nara, Japan, which, through the ambient soundscape, subtly hint at the olfactory journey about to unfold. The wall-mounted display and the bespoke triangular stainless steel washbasin present sculptural geometric lines through sharp, clean edges.

    The juxtaposition of rounded forms and sharp edges creates a subtle tension between rationality and sensibility. The relationship between different materials is redefined through the interplay of light and shadow and the shifting textures, maintaining a delicate and enduring balance between rigidity and softness. Following the lines and flow extending from the entrance, each element unfolds in mutual resonance, constructing a three-dimensional outline of the brand’s philosophy.

 
 
 
 
 
 
 
 

圓潤與稜角彼此對位，使視覺在理性與感性之間取得一種微妙的張力。異材質之間的關係，亦在光影的反射與紋理的轉換之中被重新調整，於剛與柔之間維持著細膩而持續的平衡。順著自入口延伸的線條與動線，各個元素在相互呼應中逐步展開，建構出品牌思維的立體輪廓。

 
 

Q：從第一間實體店的成立，到第二間新空間的誕生，你們感受到自己發生了哪些轉變？



Sam： 早期預算沒有那麼多，其實上一間店面空間因為坪數不大，所有的東西都是我們自己去設計和佈置，但現在新的空間尺度已經超出我們能夠掌握的範圍，我們才決定將設計委外。這次搬遷的主因，是因為房東不續約，這件非自願性的事件發生，對我們也算另一種成長，強制推動我們進到下一個階段。如果上一個空間續約下去，一些我們想要執行的規劃，可能又會繼續拖延下去。

Nikki： 以前的一店，我們都稱他為「小屋」，氛圍很溫馨，但那裡更像是一個工作室，大家會覺得我們是一個很有風格的小店，但未必會把我們看作一個成熟的「品牌 」。到了現在這個新空間，我們把之前台北松菸駐點的「全金屬」元素和第一間實體店的「全木質」結合在一起，變成比較當代感的空間。我們也更堅持「 訂製 」，店裡的家具幾乎都是為了這個空間量身打造的。

 
 

  • Q: From the opening of your first physical store to the launch of this new space, what changes have you noticed in yourselves?

    Sam:
    In the early days, our budget wasn’t as generous. In fact, because the previous shop was quite small, we designed and arranged everything ourselves. But now, the scale of the new space has exceeded what we can manage on our own, so we decided to outsource the design. The main reason for this move was that the landlord didn’t renew the lease. This involuntary event has actually been a form of growth for us, forcing us to move into the next phase. Had we continued with the previous space, some of the plans we wanted to implement might have been put on hold indefinitely.

    Nikki:
    We used to refer to our first shop as the “cabin”; it had a very cozy atmosphere, but it felt more like a studio. People would see us as a stylish little shop, but they might not necessarily view us as a mature “brand.” In this new space, we’ve combined the “all-metal” elements from our previous SCCP (Songshan Cultural and Creative Park) site in Taipei with the “all-wood” aesthetic of our first physical shop, creating a more contemporary space. We’ve also placed greater emphasis on ‘bespoke’ design; almost all the furniture in the shop has been custom-made for this space.

 
 
 
 

Q：你們將新空間定義為「氣味美術館」，這個命名背後的想法是什麼？



Nikki ： 我們希望這個空間看到每個物件，像是在觀賞一個藝術品。這也是這間店做得很通透明亮的原因之一，不像一般香氛店看起來昏暗。裝修簡約，沒有使用太多的顏色，就是為了讓焦點回到物件本身，不會受到周圍的環境干擾。

包括音樂的部分，也是一個引導客人進到空間裡面蠻重要的因素之一，像是黑膠與音響也我們一開始就設定好要有的元素。從客人踏入店內開始，我們就會為他們做一次整體的導覽，因為我們的老客人很多，希望讓大家感受到的是一個全新的體驗，而不是只是復刻上一間店面。我們會不定期與自己欣賞的工藝家合作，特別訂製能與香氛結合使用的周邊，當客人帶走自己選擇香氛產品時，感覺就像帶走一件獨特的「收藏」回家。

 
 

  • Q: ou’ve defined the new space as a “Scent Museum”– what’s the thinking behind this name?

    Nikki:
    We want every item in this space to be viewed as if it were a work of art. This is also one of the reasons why the shop is so bright and airy, unlike the dimly lit atmosphere of typical fragrance boutiques. The décor is minimalist, with a restrained color palette, specifically designed to draw the focus back to the items themselves—without being distracted by the surroundings. The music plays a significant role in guiding guests into the space; elements such as vinyl records and hi-fi systems were key features we decided to include right from the start. From the moment guests step inside, we provide them with a comprehensive tour. As we have many regular customers, we want everyone to experience something entirely new, rather than simply a replica of our previous store. We collaborate from time to time with artisans whose work we admire, commissioning bespoke accessories designed to complement our fragrances. When guests take home the fragrance products they have chosen, it feels as though they are taking home a unique “collector’s item.”

 
 
 
 

光線作為氣味的載體，為空間留下可被感知的座標


在氣味流動的世界裡，人們需要一處可以停留與聚焦的定錨，而光，便成為這座氣味美術館中的重要座標。

燈光設計由 伏流物件（The Undercurrent Object）製作，作為空間量身定制的燈具，其燈具外觀不喧賓奪主，而是巧妙的成為空間的元素之一。自入口望入，燈具懸掛於視覺軸線之中，筆直延伸至空間深處，如同氣味鋪陳的節奏。光線在其中層層滲透、流動，最終如流水般融合，成為整體氛圍的調和者。


Nikki： 當初決定委託「伏流物件」製作的時候，我們給予工藝家非常大的創作空間。過程只提供了空間的設計圖和整體的氛圍概念，中間完全不干預他的創作。直到安裝當天，我們才第一次見到燈具的實體，結果跟空間契合得不可思議。

 
 

  • Light as a carrier of scent, leaving perceptible coordinates within the space

    In a world where scents flow, people need an anchor where they can pause and focus, and light thus becomes a vital coordinate within this museum of scent.

    The lighting design, created by “The Undercurrent Object,” features bespoke fixtures tailored to the space. Their appearance does not overshadow the surroundings but rather blends seamlessly as an integral element of the environment. Viewed from the entrance, the luminaires hang along the visual axis, extending straight into the depths of the space, much like the rhythm of unfolding scents. Light permeates and flows through them in layers, ultimately merging like flowing water to harmonize the overall atmosphere.

    Nikki:
    When we first decided to commission “The Undercurrent Object,” we gave the artisan considerable creative freedom. Throughout the process, we provided only the spatial design drawings and an overall concept for the atmosphere, refraining from interfering with their creative process whatsoever. It wasn’t until the day of installation that we saw the physical fixture for the first time, and the result was an astonishingly perfect fit for the space.

 
 
 
 

讓氣味成為敘事的主角，空間去中性化的感官體驗


為了落實「氣味美術館」的概念，November Treasure 重新梳理過往在的試香體驗上的痛點，選擇在空間中不放置任何開放式液體香氣，在美術館內預留了一方天井，讓訪客能在此試香。

所有氣味皆被收納於特製展品之中，使嗅覺回到一種更為純粹的狀態。當混雜的氣味被排除之後，每一次聞香，都成為一次專注、貼近自我感知的過程。

 
 

Q：有沒有設計過哪一款香氣是自己非常喜歡，但市場反應卻不如預期，甚至賣得不好的？



Nikki： 確實有。如果你仔細看我們的編號，現在已經到 40 幾號了，但中間會出現跳號，比如從 1 號直接跳到 9 號，那些消失的編號就是我個人很喜歡，但在銷售上不夠理想的味道。我們會定期審視目前的產品，把較不受歡迎的味道篩選掉。

 
 

  • Making scent the protagonist of the narrative: a sensory experience that transcends the neutrality of space

    To realize the concept of the “Scent Museum,” November Treasure re-examined the pain points of past scent-testing experiences and chose not to place any open-bottle fragrances within the space. Instead, a dedicated atrium was reserved within the museum for visitors to sample scents.

    All scents are contained within specially crafted exhibits, returning the sense of smell to a purer state. With the elimination of mixed odors, every scent-tasting becomes a focused process of connecting with one’s own perception.

    Q: Have you ever designed a fragrance that you personally loved, but which failed to meet market expectations or even sold poorly?

    Nikki:
    Indeed, there have been. If you look closely at our numbering system, we’re now in the 40s, but there are gaps in the sequence—for instance, it jumps from No. 1 straight to No. 9. Those missing numbers represent scents I personally loved but which didn’t perform well commercially. We regularly review our current range and remove the less popular scents.

 
 
 
 

Q：會有客人因為不想要跟大眾一樣的香氣，反過來請你們推薦冷門的氣味嗎？ 



Nikki： 這時我就會推薦對一般人來說相對陌生的特殊味道，因為氣味其實蠻奇妙，也很主觀的，許多人在聞香的時候，會最先被自己成長過程中接觸過，記憶裡最熟悉的味道吸引。

 
 

Q：你在設計香氣的時候，有曾經想要試著回溯自己成長過程裡熟悉的氣味嗎？



Nikki： 有，我 2019 年的時候有發展一個香氣系列，叫做「遊子」( Diaspora )，那就是在復刻我小時候在外婆家長大的記憶。那系列有三個味道：代表外婆家檜木傢俱的木質調、代表庭院的玉蘭花香，還有果菜園的番茄葉味。那是我在美國留學時最想念的味道，我把木質調那款直接用外婆的名字「簡香 JIAN XIANG」來命名。當時推出時，很多客人聞了直接在我面前掉眼淚，但因為那個系列的原物料已經沒辦法再生產了，我希望他能被完整的呈現，所以目前已經先被我存封起來。

我們有時候我們在聞國外品牌的香氣，雖然很香，但你不會覺得這是我記憶裡曾經聞過的味道，因為國外有許多的花香成分是台灣沒有的，所以就不會對個人有很高的連結性，雖然我的外婆已經不在了，但只要每次從客人口中提到「簡香 JIAN XIANG」，我就會覺得外婆好像被我用另外一種方式留在我的生命裡。

 
 

  • Q: Do customers ever ask you to recommend less popular scents because they don’t want the same fragrance as everyone else? 

    Nikki:
    In such cases, I’d recommend unique scents that are relatively unfamiliar to most people. Scent is actually quite a curious and subjective thing; when people smell a fragrance, they’re often first drawn to the scents they encountered during their upbringing—the ones most familiar to them from their memories.

    Q: When designing scents, have you ever tried to revisit the familiar scents from your own childhood?

    Nikki:
    Yes, in 2019 I developed a fragrance collection called “Diaspora,” which was my attempt to recreate memories of growing up at my grandmother’s house. The collection features three scents: a woody note representing the cypress furniture in my grandmother’s home, the fragrance of magnolias from the garden, and the scent of tomato leaves from the vegetable patch. Those were the scents I missed most whilst studying in the US. I named the woody fragrance directly after my grandmother: “JIAN XIANG.” When it was first launched, many customers were moved to tears upon smelling it. However, as the raw materials for that series are no longer available, I wanted to ensure it was presented in its purest form, so I have temporarily archived it for now.

    Sometimes, when we smell fragrances from international brands, although they are lovely, they don’t feel like the scents we remember from our past. This is because many floral notes found abroad are not native to Taiwan, so they lack a strong personal connection. Although my grandmother is no longer with us, whenever a customer mentions “JIAN XIANG,” I feel as though she has been preserved in my life in a different way.

 
 
 
 

Q：你是透過什麼方式去回想，然後調製出你記憶中的氣味？



Nikki： 我在調製遊子系列的時候，其實花了很久的時間，憑著小時候跟外婆相處的記憶，和對外婆家空間裡的畫面去做聯想。我們現在很依賴視覺，但嗅覺的記憶是很深的，它像是一個「觸發點 」( Trigger )，聞到的瞬間會立刻你帶回當下的那個時刻的感受。這也是我在設計香氣的時候會做的一件事情，我會先去假設一個味道他要帶給我的感覺，腦海裡會先有一個畫面，再去調製香氣。

 
 

  • Q: How do you go about recalling and recreating the scents from your memories?

    Nikki:
    I actually spent a long time creating the “Diaspora” series, drawing on memories of my childhood with my grandmother and visualizing the spaces in her home. We rely heavily on sight these days, but olfactory memories run deep; they act as a ‘trigger.’ The moment you smell something; it instantly transports you back to the feelings of that specific moment. This is also something I do when designing fragrances: I first imagine the sensation a scent should evoke, visualizing a scene in my mind before blending the fragrance.

 
 
 
 

感官之間的共振，嗅覺與聽覺譜寫的協奏樂章


館藏中的核心展品，是與台灣致力於訂製物件的實驗品牌 Not Found Object 合作開發的「Scent Resonance（香氣共鳴儀）」。

這座外型如音箱般的裝置，將香階中的前調、中調與後調，轉化爲音階的高音、中音與低音。當旋鈕被轉動的瞬間，透過工業級馬達推送氣體，使氣味以更立體的方式被感知，讓聞香成為一種近似聆聽一首完整樂曲的互動式展演。

此設計亦取代傳統試香紙，使香氣的層次得以更完整地展開，模擬香水在人體上的真實濃淡變化。

 
 

  • Resonance between the senses: a concerto composed of scent and sound

    The centerpiece of the collection is the “Scent Resonance” device, developed in collaboration with Not Found Object, a Taiwanese experimental brand specializing in bespoke objects.

    This speaker-like installation transforms the top, middle, and base notes of a fragrance into high, mid, and low pitches. The moment the knob is turned, an industrial-grade motor propels air, allowing the scent to be perceived in a more three-dimensional way, turning the act of smelling into an interactive experience akin to listening to a complete musical composition.

    This design also replaces traditional scent strips, allowing the layers of the fragrance to unfold more fully and simulating the actual variations in intensity that occur when perfume is worn on the skin.

 
 
 
 
 
 

於工藝展品中，形構出微型的氣味場域


展示架上，陳列著品牌與台日工藝家共創的氣味展品。

由台灣玻璃工藝家 丁右尉（Din You-Wei）製作的口吹玻璃罩，以水珠意象點綴其表面，在極簡之中注入細微的生命感。厚實的手感與槓桿原理的設計，使翻轉聞香的動作變得輕盈而流暢。玻璃罩內，靜置著日本陶藝家 MO’STO 製作的聞香方塊。透過細緻如海綿的毛細孔結構，使香氣穩定而持續地釋放。當玻璃罩被輕輕掀開的瞬間，彷彿將一座微型空間收納於掌心之中。

 
 

Q：在選擇合作的工藝家時，你們有什麼特定的標準？整個企劃與溝通過程通常是怎麼進行的？



Nikki： 我們每個合作的企劃案，從初步溝通到最終成品製作出來的時程，基本上都是一年起跳，也不會大量製作。像我一直很想要擁有一個品牌專屬的玻璃燭罩，所以就委託台灣玻璃工藝家丁右尉製作，這個玻璃燭罩上面的裂紋延續了一店大門上玻璃窗的語彙，希望大家在使用這個玻璃罩的同時，也像是把一店小屋裡的回憶一起收藏。

 
 

  • Crafting miniature scent fields within the exhibits

    The display stand showcases scent-based exhibits co-created by the brand and Taiwanese and Japanese craftspeople.

    The mouth-blown glass dome, crafted by Taiwanese glass artist Din You-Wei, is adorned with droplets of water, infusing a subtle sense of life into its minimalist form. Its substantial feel and lever-based design make the act of flipping the dome to smell the fragrance light and fluid. Inside the glass dome rests a scent cube crafted by Japanese ceramic artist MO’STO. Its sponge-like capillary structure ensures a steady and sustained release of fragrance. The moment the glass dome is gently lifted, it feels as though a miniature world has been cradled in the palm of one’s hand.

    Q: When selecting craftspeople to collaborate with, do you have any specific criteria? How does the entire planning and communication process typically unfold?

    Nikki: 
    For every collaborative project we undertake, the timeline from initial discussions to the final production generally starts from one year, and we do not produce in large quantities. For instance, I’d long wanted a brand-exclusive glass candle shade, so I commissioned Taiwanese glass artisan Ding Youwei to create it. The cracks on this shade echo the design language of the glass window at the entrance to our first shop. I hope that when people use this shade, they’ll feel as though they’re also preserving the memories of that little shop.

 
 
 
 

Sam： 我們挑選合作對象的邏輯其實很直覺，不管是對方的創作手法、使用的元素，或是整體的設計風格，這些工藝家本身的創作只要是我們自己喜歡的，就會約時間親自去拜訪。

雖然現在的通訊很發達，但我們不喜歡那種冷冰冰的、透過網路傳個訊息就定案的商業合作。這並不是以一個商業利益為出發點的考量，我們希望做出來的周邊不只是符合我們的喜好，還需要兼具實際用途的功能，雖然在工序製程上通常很耗時，但制式的周邊產品不是我們想要製作的方向，我們的周邊在市面上也是非常少見的。

 
 

  • Sam: 
    Our approach to selecting collaborators is actually quite intuitive. Whether it’s their creative methods, the elements they use, or their overall design style, if we simply like the work of a particular artisan, we’ll arrange a time to visit them in person. Although modern communication is highly advanced, we dislike the cold, impersonal nature of business collaborations that are finalized through a simple online message. This isn’t driven by commercial interests; we want the merchandise we produce to not only reflect our personal tastes but also serve a practical purpose. Although the production process is often time-consuming, mass-produced merchandise isn’t the direction we wish to take, and our products are quite rare on the market.

 
 
 
 

Q：這樣聽下來你們經營的模式跟歷程跟別人不太一樣，如果你們兩個人碰到意見不合的時候會怎麼處理？



Nikki： 我是典型的夢想家，Sam 就是個執行家。有時候東西才剛調好，我就很想要趕快上架給大家知道。以前我一個人做的時候，可能一個月就能把新品推上市，現在我很開心要準備發表的時候，他就會馬上列出在執行時所有可能會面臨的問題，常常聽到心裡會覺得涼了一大截，也會有不想做了的念頭。

因為 Sam 對「完整度」的堅持，會需要延長到半年或一年。這也是我也需要在他身上學習的地方。但如果是我在設計香氣時不順利，他就不太會逼迫我，給我時間自己去調適。

Sam： 條件允許的狀態下，我還是會盡量符合 Nikki 能接受的方式去做決策。我會站在消費者的立場去評估，如果一個東西還沒有完整的包裝、沒有想好怎麼跟客人介紹，對我來說會有一定的風險。

我希望事情能夠規劃到一定的程度再去推進，而不是邊做邊改。一般販售的行銷邏輯，常常會因應節慶去做新品的推銷，但香氛應該讓客人花時間好好去體驗，節慶推廣效期過短，我會不希望一個努力完成的心血，就這樣被浪費掉。

 
 

  • Q: It sounds as though your business model and journey are quite different from others. How do you handle it when the two of you disagree?

    Nikki:
    I’m a typical dreamer, while Sam is a doer. Sometimes, as soon as a product is finalized, I’m eager to launch it straight away so everyone can see it. When I used to work alone, I could launch a new product within a month. Now, just as I’m getting excited about a launch, he immediately lists all the potential issues we might face during execution. Hearing that often gives me a real chill down my spine, and I even find myself thinking I don’t want to do it anymore. Because of Sam’s insistence on “Completeness, “the process can be extended to six months or even a year. This is something I need to learn from him. However, if I’m struggling with a fragrance design, he doesn’t tend to push me; he gives me time to sort it out myself.

    Sam:
    Where circumstances allow, I will still try my best to make decisions in a way that Nikki finds acceptable. I assess things from the consumer’s perspective; if a product isn’t fully packaged or I haven’t worked out how to present it to customers, I see that as carrying a certain risk. I prefer to plan things out to a certain extent before moving forward, rather than making changes as we go along. The standard marketing approach often involves launching new products to coincide with festive seasons, but with fragrances, customers should be given the time to experience them properly. As festive promotions have such a short lifespan, I wouldn’t want all the hard work we’ve put into a product to go to waste.

 
 
 
 
 
 

Q：隨著品牌成長，有一天你們可能無法再全部親力親為。對於未來必須「放手」這件事，你們有什麼想法或因應計畫？



Nikki： 這確實是我們未來會面臨的轉折點，將來如果品牌越做越大，產品需要代工的部分的確會增多，我們可能真的會需要找小幫手。現在因應新的洗沐系列產品推出，我們已經有開始引進一部分的代工合作，以往我們幾乎所有東西都是在工作室自己手工製作和包裝。 


Sam： 其實我們最珍貴的地方是從市集時期留下來的互動，很多跟我們一路一起走到現在的客人，會覺得跟我們的品牌是很貼近的。不會希望未來品牌越做越大，有了規模之後請了很多正式的員工，提供很制式化服務，做很制式的販售。我們有試著去找小幫手來協助我們，但目前真的很難找到能讓我們兩個人都認同、滿意的角色。因為我們也會希望這個角色是能夠代表這個品牌的一份子，而不是只是一個員工。

 
 

  • Q: As the brand grows, there may come a day when you can no longer handle everything yourselves. What are your thoughts or plans regarding the need to “let go” in the future?

    Nikki:
    This is certainly a turning point we’ll face in the future. If the brand continues to grow, the proportion of products requiring outsourcing will inevitably increase, and we may well need to take on some assistants. In response to the launch of our new bath and body range, we’ve already begun introducing some outsourcing partnerships; previously, almost everything was handmade and packaged in-house at our studio. 

    Sam:
    Actually, what we value most is the connection we’ve built since our market stall days. Many customers who’ve been with us all the way feel a real closeness to our brand. We don’t want the brand to grow so large that, once we’ve scaled up and hired lots of full-time staff, we end up providing a very formulaic service and conducting very standardized sales. We have tried to find assistants to help us, but at the moment it’s really difficult to find someone we both agree on and are happy with. Furthermore, we want this person to be a true representative of the brand, rather than just an employee.

 
 
 
 

「氣味美術館」的誕生，標誌著 November Treasure 從市集品牌走向專業化的重要轉折。對 Nikki 與 Sam 而言，人們從這裡帶走的從來不只是氣味，而是一段傾注生命記憶的收藏。

品牌所傳遞的，不僅是嗅覺的體驗，更是一種在同一片土地上生活的人們所共享的情感連結。這裡不只是販售香氛的店舖，而是一場跨越感官，連結空間與記憶的氣味策展。

 
 

  • The birth of the ‘Scent Museum’ marks a significant turning point for November Treasure, as it transitions from a market-based brand to a professional enterprise. For Nikki and Sam, what people take away from here is never merely a scent, but a collection imbued with the memories of a lifetime.

    What the brand conveys is not merely an olfactory experience but an emotional connection shared by people living on the same land. This is not just a shop selling fragrances but a curation of scents that transcends the senses, linking space and memory.

 
 

The Museum of Scent & Craft
氣味美術館

403 台中市西區華美西街一段180號
04 - 2372-2066
營業時間 11:00 - 18:00
（每週一、每月第二、四個週二公休）
WEB．IG

 
 

採訪 & 攝影/ Jamie Lo、 Jyun
Text/ Jyun

 
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