方方在英國念書時，想念著台灣的茉莉花茶，當地最常見的是帶著佛手柑氣息的伯爵茶。於是她突發奇想，能不能調出一杯穿在身上的「茉莉花茶」？

愛丁島有許多草藥舖。她跑去抓藥，試著調配一瓶茉莉花茶。

原本以為，茉莉花茶就是茉莉＋茶的。真的開始調配後，她發現反而是茉莉花原精加上想到沒想過的癒創木。

Ａ與Ｂ形成的氣味，不一定等於Ａ＋Ｂ，反而要用Ａ＋Ｃ的組合。

這些例子在台灣茶文化裡是內化一般的存在，卻在調香裡可以再次表現出來。比如說，台灣紅玉紅茶的氣味表現是：肉桂+薄荷，如果加上玫瑰去窨茶，居然會飄出荔枝味。配方沒有荔枝，鼻子卻覺得有。嗅覺的世界裡充滿魔法。

過往視覺藝術家，會輕視味覺和嗅覺的創作者，認為吃與嗅聞非常直接，沒有幻象，而畫家可以透過創造光影來模擬光從哪裡來，好像在藝術品味上就比較高級。在方方在燒杯裡調香時，她開始意識到：嗅覺同樣可以虛構空間、折疊時間，甚至讓不存在的花、茶與果實，在人的記憶裡同時出現。

鑽研氣味十年後，有了 Eau de parFang這個當代調香品牌。

While studying in the UK, Fang missed Taiwanese jasmine tea. Earl Grey, scented with bergamot, seemed to be everywhere. She began to wonder: could she create jasmine tea to wear on the skin?

Experimenting with ingredients from Edinburgh’s herbal shops and learned with Scottish witch, she discovered that jasmine tea was not simply jasmine plus tea. Instead, jasmine absolute and guaiac wood created the magic.

In scent, the impression of A + B does not always require A + B. Sometimes, A + C creates the same mystery.

Taiwanese tea carries this same magic. Ruby black tea evokes cinnamon and mint, while tea scented with roses can suggest lychee, even though it contains none.

Painters often assume that mystery belongs to the visual world. By creating shadows, they can suggest a light that does not exist, while scent seems too direct to create mystery. Yet at her beaker, Fang discovered that perfumery was also full of mysteries. Scent could invent space, fold time, and bring absent flowers, tea and fruit together in memory.

After ten years devoted to exploring scent, Eau de parFang was born.