Another challenge was to pull the bottle walls thin enough without compromising their structural integrity. This would help reduce material weight and ensure the bottles were proportional. The top had to be finished so that a cork stopper would fit properly. Cork was chosen because of its traditional use in perfumery and availability. In order to figure out volume, each bottle had to be filled with water before measuring out the perfume. No other identifying details such as labels or tags were used except for a signet ring imprint (did ancient perfumes have labels?). Finally, the bottles were not created with a particular perfume in mind, but were the end result of an exploration of perfume containment as a concept and analogous to study models or sketches used architecturally to analyze an idea.
My handmade ceramic perfume bottles work well and have an appeal that is almost toylike. They are reminiscent of the miniature Chinese ceramic jugs shown below that are almost 2,000 years old. As much as I enjoyed this experiment, the modern day exigencies of perfume selling would make my ceramic bottles highly impractical. Although form follows fragrance, there are practical considerations that have to be met. I will have to revisit this topic in the near future when I am ready to launch my first perfume.