Pigmentarium is turning Prague’s culture into perfume

It’s not uncommon for creatives to find inspiration in their surroundings and the places they call home. But for Tomas Ric, the founder of Pigmentarium, to chalk up Prague as merely a point of inspiration would be a disservice to the relationship between his brand and his home city. In fact, Ric’s scent collection could more aptly be described as a love letter to the Czech capital. “I love Prague so much,” the founder says, “its creative energy, independent scene, techno nights, galleries, architecture and history. Inspiration is everywhere.” It can, in many ways, be described as a city of two halves. To many, Prague is known as home to some of the best preserved medieval architecture in the world. Yet, at the same time, it is a thoroughly modern place, and has long been the playground for artists and academics developing new ideas. This intermingling of the old world and the new is as present in the olfactory narrative of Pigmentarium as it is in the city’s streets.

Take Ad Libitum, for example, the first scent in the Pigmentarium collection, and the building block that every perfume that followed builds upon. This earthy, musky scent takes the deep, enticing base notes of patchouli, oakmoss and musk, and brings them to life with the zesty spritz of tangerine, joined by the grounding elegance of jasmine and neroli. This scent, Ric explains, was an ode to the functionalist architecture of Prague. “Prague is known for its historical centre, but its modernist and functionalist architecture tells another story,” Ric says, “structure, discipline and light. Ad Libitum was built like that — transparent but stable, emotional but rational.” By taking these elements of the visual culture of the city — not just the architecture but also the art, the films and, of course, the people — and transforming them into olfactory experiences, Ric offers a new lens through which to understand his home. 

Much like Prague’s hidden gems, the scents themselves are endlessly surprising. In each of them Ric breathes new life into classic ingredients with his unique and often unconventional scent pairings. Yet, on the skin, they make complete sense. In fact, no scent has earned me more compliments than the sparkling, refreshing notes of Genesis — Pigmentarium’s most verdant, bright perfume. Notes of green apple, laurel and fig leaves build up the vision of a sun-soaked forest, with fruits ripening on the floor and drops of dew forming on the leaves. At the other end of the spectrum, yet equally as alluring, are perfumes like Murmur, a heady, sexy scent described as a favourite on the fashion scene. 

Ric’s sensory world doesn’t stop at perfumes, though. As of late, he has released a line of incense to accompany his scents. With these, the founder widened his gaze, looking to cities across the world for inspiration. Each richly fragranced, hand dipped incense has a burn time of forty minutes, a window of time to relax and lose yourself in their aroma. And, to elevate the experience even further, Ric has teamed up with renowned Czech porcelain artist Daniel Piršč to create molten-looking ceramic incense altars.

Ric sat down with HUNGER to discuss exactly how he bottles his love for his home city.

Czech culture and history play a major role in your brand — how does this manifest in your scents?

When we begin a new creation, it always starts with emotion — a story, an atmosphere and inspiration drawn from Czechia, its people and its hidden beauty. Erotikon, for instance, was inspired by one of the first films in the world to feature erotic scenes, shot in 1929 by a Czech director. It’s a story of attraction and desire, which we translated into fragrance through seductive chocolate and tonka, sparkling pink pepper and ginger and the comforting intimacy of amber and sandalwood. With other perfumes, inspiration might come from architecture or from the meditative silence of a Baroque church.

Ad Libitum is also described as the foundation for all your scents. What does it establish that remains constant across the collection?

That’s true. Ad Libitum set the DNA of Pigmentarium. First, inspiration drawn from Prague: the city, the culture, the people. Second, the dialogue between history and modernity. Third, the use of only the highest-quality materials to create distinctive, emotional compositions. And finally, we approach perfumery as art. We never begin with market research — we start with an idea worth translating into scent.

What is the process of developing a new scent like for you? Where do you look for inspiration?

I love Prague so much — its creative energy, independent scene, techno nights, galleries, architecture and history. Inspiration is everywhere. When we begin the creative process, we don’t rush. The idea always comes naturally — a moment so strong that everything else disappears. For instance, in 2023 we stepped into a church filled with incense and light filtering through stained glass. Two hours later, we were in the lab, surrounded by materials, trying to recreate that exact moment we had just lived.

Patchouli is a note that seems to come up in a lot of your scents. Is there a particular reason behind that?

I love patchouli. It’s earthy, a little salty, grounding — it brings a touch of nature and realism to every creation. It reminds me of what’s important: balance, sustainability and responsibility. I also associate it with the idea of freedom — the 1970s movement and that raw, unapologetic use of pure patchouli oil. Something that today might feel almost too daring, and that’s exactly why I love it.

Patchouli can often be an overwhelming note, yet you manage to integrate it into several of your perfumes while keeping them completely distinct. What’s the key to achieving this?

The key is not to fight it but to let it play a different role in each composition. In Ad Libitum, patchouli acts as quiet architecture beneath bergamot and cedar, giving the perfume depth and a sense of urban calm. In Oratorio, it becomes spiritual, wrapped in olibanum and neroli, like incense rising in a cathedral. And in Erotikon, it turns sensual — warm and intimate. It’s never the same character twice. Patchouli can be grounding or seductive, sacred or playful — it depends on the story we want to tell.

How has the brand changed and grown since launching in 2018?

That’s a great question. Back then, I honestly had no idea how the perfume or beauty business worked. I was just a dreamer. I saved some amount of money, invested it into the first fragrance and worked nonstop. I dreamed of creating a perfume brand that would represent Prague to the world — something authentic, crafted with people I know, that could stand proudly next to global names. I was only twenty-three and finishing my master’s degree at the university when starting the brand. What changed? We’re no longer dreaming — we’re living the dream. Today, Pigmentarium is a team of six, working with external agencies, distributors and sales partners. It’s a brand for a global generation that values authenticity, quality and creativity. What hasn’t changed is our local spirit — local production, collaborations with Czech artists and pure enthusiasm for creating.

Sustainability plays a key role in Pigmentarium’s philosophy. Was it difficult to achieve, and why is it so important to you?

Absolutely — and it’s an ongoing process. I’m still quite young, and I’m aware of what we as humans are doing to the planet. I was recently in Japan, where you can literally feel the impact of climate change every day. For us, sustainability starts with recyclable packaging and responsibly-sourced ingredients. We try to find the balance between natural and synthetic materials to achieve both quality and sustainability. But sustainability also means social responsibility — ten percent of our online sales goes to the training of assistance dogs for people in need. It’s not just a concept, it’s part of who we are as a brand.

Your signature scent, Ad Libitum, is inspired by Prague’s functionalist architecture. How did you translate that into a fragrance?

I love the tension between history and modernity — this constant influence of the past on the present and the future. Prague is known for its historical centre, but its modernist and functionalist architecture tells another story: structure, discipline and light. Ad Libitum was built like that — transparent but stable, emotional but rational.

Murmur is particularly beloved by the fashion community. Why do you think it resonates so strongly?

Murmur is a statement — bold and intimate at the same time. It feels like a wild night you’ll never forget but won’t fully talk about. The mix of oud, amber and civet gives it something deeply sexual and animalistic, while the rose and patchouli soften it, making it addictive and mysterious. It holds you close, yet you always want more.

What inspired the decision to create a line of incense alongside your perfumes?

Our perfumes are rooted in Prague, while our incense has its heart in Sri Lanka. I wanted to bring back that feeling of early travel — when you didn’t have Google Maps or Instagram, only curiosity and discovery. The collection, called Bon Voyage, allows us to travel with our minds. It was born after my trip to Sri Lanka — just me, a backpack and music in my ears. I fell in love with the traditional process of hand-rolling incense and letting it dry under the sun.

How does the process of developing incense differ from developing perfume?

We simplified incense as much as possible. Each stick is built around one one hundred percent natural essential oil to fully express its power — soothing sandalwood, cleansing rose, refreshing mint. It’s all about purity and focus.

The incense burners — or altars — are captivating objects. How did the collaboration with Daniel Piršč come about?

Our incense altars are made from porcelain — a material that’s fragile and timeless. Since incense is such a traditional ritual, we wanted to elevate it to a contemporary art piece. With its metallic glaze, the altar looks striking in any space, whether minimalist or eclectic. It’s sculpture meeting daily ritual.

Are there any notes you’ve not yet worked with that you’d like to explore in the future?

There are still many materials we haven’t touched — partly by choice. Pigmentarium has always been about emotion and atmosphere, not trends. That said, I’m fascinated by the new wave of mineral and metallic notes — ingredients that don’t just smell, but create a sense of texture and light. They feel almost architectural, which fits how we think about perfume. I’m also curious about marine and ozonic accords, but approached in an abstract, artistic way — not the usual seaside cliché, but a feeling of openness. We only use new materials when they help tell a story, never just because they’re fashionable.

Are there any artists you’re inspired by that you’d like to create a scent based on?

I’ve always been drawn to artists who work with emotion as their material — those who build entire worlds rather than just images. I think of Alberto Giacometti, for example, and the fragility of his figures. Translating that tension between presence and absence into a fragrance would be fascinating — something airy, smoky, yet human. But I’m also constantly inspired by people around me, my friends: photographer Hana Knížová, poet Michaela Fenkl, sculptor Tereza Štětinová, painter Laura Limbourg, and many others. If I could, I’d make a perfume with each of them. That’s the beauty of Pigmentarium — it grows through collaboration and shared emotion.