The team over at Boy Smells drew from varied references and scent inspirations while working with Jones, like her ‘90s leather Azzedine Alaïa looks and an out-of-production Norman Norell fragrance the star used to wear a lot. “Musk was really at the heart of all the vintage fragrances that she loved,” Matthew Herman, co-founder of Boy Smells, tells Vogue. Hence the subtle notes of salted musk and hard-edged graphite to the candle.
The collaboration was one of time, care, and patience: “Grace” was originally slated to be released in February, during NYFW, but Omicron threw a wrench in everyone’s plans. Today, however, Herman finds himself slightly thankful for the unexpected delay.
“Grace is more and more in the zeitgeist right now,” Herman says, alluding to how the star has connected with a younger set of fans who appreciate her ahead-of-its-time experimentations with gender. “There is something about her relentless sense of self that feels really ripe for right now and really resonates with culture and identity right now. Of course we would have loved to launch it when we were meant to, but it feels even more right right now by happenstance.”
Collaboration has been in the air for Jones as of late. She recently appeared on Beyoncé’s highly acclaimed album Renaissance—which masterfully harkens back to the disco-tinged, opulent club-kid era of the ’70s and ’80s that Jones was a fixture of. “I remember saying, Beyoncé, you know I don’t usually do these kinds of things,” Jones recalls of how her appearance on the album’s standout track “Move” came about. “I’m a born alone, die alone, sing alone kind of girl.” But Jones eventually gave in to Queen Bey’s requests. “She was very, very sweet, so I said okay. I’ve met her a few times actually—through my brother’s church in Los Angeles. So we had that church connection outside of being singers as well.”
The singular and exacting vision Jones brings to projects shines as she talks of the collaboration. She had one major request: No auto-tune. “Basically I would listen and say, ‘as long as I sound like me, I’m happy.’” She laughs warm and deeply. “I remember when I first heard it, and we were communicating right then and there with the person that was mixing [the song]. I’d say, ‘Okay, that part doesn’t sound like me.’ and ‘This part sounds like me.’ I’d say ‘don’t do anything much, don’t tweak my vocals.’”
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