In case you were wondering, yes the perfume market is pretty crowded, as new “niche brands” continue to pop up at an astonishing rate. According to data taken from a Fragrance of the World presentation (at Exsence 2024), “since 2009, there has been a 970% increase in the numbers of niche brands on the market. As of 2023, niche brands are responsible for the highest number of new perfume launches every year. They are no longer the exception; they are the majority.”

What does that mean for consumers? Well, as fun as it is to discover something new, it’s probably not surprising that most consumers view new brands with a degree of scepticism. Gone are the days when small independent outfits were synonymous with alternative and original creations. Nowadays, new brands can as easily be “mass market” as they can be creative and original.

In this context, every perfume lover needs to be selective as to which brands she/he is willing to try , if for no other reason than trying everything is really no longer possible. So what elements are needed, at least in my opinion, to generate enough interest to sample a new brand? To answer this, I am reminded of a book called “The Purple Cow” by Seth Godin, which outlines the basic tenants of marketing and the secrets to growing a successful business. It’s obvious really. In order to succeed, your idea or product needs to be new and correspond to a need consumers have, even unconsciously.

But being innovative can be a challenge when talking about perfume. Scents have been around for thousand of years, so reinventing the wheel might seem like an impossible task. So if you can’t come up with a new product entirely, the next best thing is to offer an “upgraded version”.

 In the perfume market, this could refer to new raw materials used or innovation in terms of packaging (green and reusable or covetable and artistic packaging, etc.) or even the particular appeal and uniqueness of the story telling and inspiration behind the brand, etc. In a nutshell, you need to set yourself apart.

It’s a daunting task, which is why I’ve decided to create a dedicated format on my blog (the “Nosy Chats” interviews) to meet the creators behind some of these new brands and examine whether, and how ,they meet this challenge.As per usual, none of these articles are sponsored and I will never review a brand with conditions attached.

With all this in mind, I have recently tried a new brand called “La Palette du Parfumeur” (the perfumer’s palette), which  was created in 2024 by Samia Bebe, a French born perfumery retail veteran with families ties to Morocco. After a 25 year career working in the industry, mostly on the retail side, Samia decided to take the plunge and study perfume composition at 5eme Sens, the French perfumery school based in Paris with a branch in Grasse. (full disclosure, this is where I also studied and where I met Samia briefly). Following her graduation in 2022, Samia decided to follow her dream and create her own perfume brand, a decision no doubt informed by her many years’ experience in retail, which helped her understand what sells, what to avoid and what do customers want.

The name of the brand is inspired by the artist’s palette, who, regardless of the chosen art form, selects and interprets materials at his disposal to create his art work based on past experiences and emotions. Each perfume is based around a specific colour that conjures up an olfactive world.

My first comment, before smelling anything, would be that, although completely fine in terms of concept, i.e. linking emotions, memories and the olfactive expression they inspire, this has been done by other brands. Using colours to translate these emotions is probably the most novel aspect of this story telling.

Regarding packaging: the brand went for the classic luxury packaging option of heavy glass, heavy metal cap, no refill. It’s beautiful, slightly reminiscent of the packaging of brands such as Ex Nihilo to give you an idea. My observation is that, so far, although a lot of consumers clearly care about the environment,  this concern has not yet really been adopted by many luxury brands whose number one priority is to make sure their packaging conveys the right message. So “green” is often seen as cheaper, mainly by distributors, who will pass on brands that don’t present in a certain way. I personally find that’s a shame, as explained in a previous article (https://www.pixidisperfumes.com/packaging-and-perfume-does-it-mater-and-what-is-real-luxury)

The brand launched five fragrances, which is quite a lot for a brand to launch with, but this is probably the area where Samia’s experience in the retail sector comes in handy. Retailers will always prefer to stock brands that have at least five different perfumes, as they present better on a shelf. So, even if this is a big ask for a small brand, having three at the very least or, better still, five fragrances to launch with, will help you with the distribution side of things.

It is the same knowledge of the industry that guided her to opt for an eau de parfum concentration (20%) that is preferred by customers who want long lasting perfumes and a for a 100 ml bottle format, as again, bigger formats are favoured by retailers (for instance some brands will have the option of both 50 and 100 ml bottles but retailers will often only carry the larger formats).

Samia worked with a medium-size lab based in Grasse for the production of the concentrate, as well as the conditioning and packaging. (this can be done by the same provider, but can also be divided up between various subcontractors).

Now what do the perfumes smell like? Let’s start with the two that I think are the most distinctive:

-Vert Amande:

A sophisticated gourmand scent, not too sweet, with a hint of green, which is quite original as there aren’t many perfumes in the same genre and almond-centric perfumes do seem to be having quite a moment, so it’s interesting to see a new take on this note.It’s a bit like the almond tree in all its splendour: from the green, citrusy side of the top notes to the almost marzipan-like sweetness (without going too gourmand) in the heart and base notes.

Well worth a try.

–Orange Marrocain: is a floral spicy scent centred around orange blossom and cinnamon, both important elements in Moroccan cuisine and a lovely and original pairing.  According to Samia this was the most complex perfume to get right, as spices had to be balanced carefully given the allergens present in those materials that are currently restricted under EU regulations. The harmony between cinnamon, honey and orange notes was also a particularly challenging exercise. I don’t know if I would personally wear Orange Marrocain myself because I have a bit of a problem with orange blossom perfumes, but it’s a very interesting scent and I think it would also capture beautifully the festive atmosphere of the end of the year, with its sparkling citrus and sweet cinnamon notes… Let’s hope they bring out candles!

– Violet Lipstick: given my love of iris/violet notes this is a shoo-in for me. It’s got that vintage lipstick vibe (with a red fruit opening and little touches of leather/suede), but at the same time it’s completely contemporary.  It’s the essence of femininity: a cute leather bag and a lipstick! It’s a familiar accord and you wouldn’t be wrong to compare it to the likes of EdPFM’s Lipstick Rose or Chanel’s Misia, not bad references to have!

–La vie en Rose: the current brand’s best seller. The name somehow suggested to me a rose perfume, but it’s actually a musky “second skin” perfume in the vein of Glossier’s You. I don’t really have very much to say about it as “clean/you-but-better” perfumes are not something I gravitate towards, but I’m very clearly in a minority, as they are hugely popular. I guess you could layer this, if you wanted to, with most perfumes, or wear it on its own if you were after a very delicate olfactive signature.

–Bleu Infini: I thought, given the name, it would be a marine-like smell but not at all! The blue refers to the berry notes that are present, and this is a happy and fruity perfume with notes of blueberry, grapefruit and orange. Doesn’t have a massive personality in my view and so again not for me, but most definitely an easy wear you could choose for any occasion and probably something more geared towards a younger customer base.

Perfumes all retail for 189 eur for 100 ml, which is in line with current niche perfume prices and are at present mainly distributed in France in 6 perfumeries with plans to expand to Morocco, Canada, Australia, the UK and Italy.  According to the brand owner  the next perfume will be an enveloping, woody and spicy scent, so watch out if you like those notes. (You can purchase all the perfumes described above on the brand’s website: https://www.lapaletteduparfumeur.com)

So what are my final thoughts on the brand? I’m in awe of anyone who actually launches their perfume brand, especially in such a crowded market. The “Palette du Parfumeur” is clearly the baby of someone who loves perfume and has invested a lot of heart, soul and expertise into this. Personally, and I don’t know the owner well enough to know what her ties to Morocco are, I would encourage the brand to lean into its Moroccan heritage in terms of source of inspiration and raw materials. The two most distinctive perfumes from the range (Orange Marrocain and Vert Amande), in my view, are those that are inspired by that land and it is also that element that sets them apart. I guess although Serge Lutens had first dibs on claiming Morocco as an inspiration,  followed Andy Tauer and its beautiful l’Air du Desert Marrocain and le Marroc pour Elle, more “voices” and interpretations would be welcomed.

So happy discovery to all and I will keep you posted on the new brands I have scouted in my next Nosy Chat interview…

The post WHY TRY A NEW BRAND? Nosy Chat with Samia Bebe appeared first on Pixidis Perfumes.

I guess this question is at the heart of the development, in the last twenty-five to thirty years, of what is now referred to as the “niche fragrance industry”. Far from being a fringe element, this sector now covers a sizeable portion of the market. As mentioned in previous posts (see my article in March on the other big fragrance fair in Italy, Esxcence) the very definition of “niche” is blurred to say the least.. It comprises both small artisanal brands where the perfumer/owner manages the day-to-day running of the company while also creating all of the brand’s fragrances (ex.: Bruno Fazzolari with his brand Fzotic or Andy Tauer with Tauer Perfumes) but also includes brands such as Byredo  or l’Artisant Parfumeur (both owned by Puig) that are marketed as “niche” but are in reality owned by multinationals, with all that this entails in terms of strategy, financial means, objectives, etc.

So, in this murky territory, what constitutes an “artistic fragrance or an artistic perfume brand”, a term that is often mentioned but seldom explained.  The Florence-based fragrance fair, Pitti Fragranze, has been trying to answer this question for more than two decades by offering a well respected forum where new and exciting brands emerge and upcoming trends and moods in the artisanal perfume world are discussed.

Unlike bigger fairs in the industry, the premium is on a very curated list of brands that is given the space and opportunity to engage with distributors and retailers, as well as a series of industry talks on new materials and trends.  This year’s big installation was centred around the link that exists between sound and fragrance, a very “in” concept judging also by the number of brands that mention music as their source of inspiration. The installation offered participants the opportunity to experience a fragrance that represented “silence” and one that translated “noise” in olfactive form. Not having tried either, I can’t really comment. I’m not sure I really buy this idea but again, it’s all pretty subjective.

This year’s event was attended by 215 different brands from around the globe, of which 96 were either new or returning participants and roughly 10% emerging companies – an important aspect for buyers present at the fair who are increasingly interested in scouting and finding new original fragrances for their clients. There were numerous “themes” covered at the event, including “Mother Nature”,  “Eternal Summer”, “Ancestral Ties”,etc..

I think it’s worth mentioning some of these new entries, such as Nissaba, a new brand that emphasises the land of Mesopotamia as its source of inspiration, as well as “clean”/natural heavy ingredients and a “circular economy” ethos  (recyclable and refillable packaging, focused on low carbon foot print, etc. ).  I haven’t had a chance to smell their perfumes but from what I have read, I’m intrigued and I applaud the responsible approach. At 160 eur a bottle (100 ml), it’s not even outrageously priced.  Why Mesopotamia I am not sure (the founders don’t seem to have any link to Irak or the Middle East) and to confuse matters, their individual perfumes then take inspiration from Indonesia, Africa and other parts of the world. I mean, fine, but it’s just a bit confusing and none of the founders seem to be anything other than French, which again, is totally fine. I’m not going to get all politically correct about this and say it’s cultural appropriation, it’s just not very authentic to me.

Ghawali, is another interesting offering, this time from the UAE, that is taking the approach of going for a very high-end product, refined, curated and very polished without targeting especially a Middle East based clientele but rather a global high-end customer base. I think that if they manage to keep some authenticity as to their source of inspiration, they have the means to do something interesting.

So after a few of my initial gut reactions, instead  of having the “classical” approach to reviewing a fair, looking at what’s in/what’s out, upcoming trends, or new brand discoveries,  I thought I would ask an artist with a special affinity to perfume and scent to provide her take on the event. Laura Amato is a visual artist with a background as a translator and a life spent travelling the world, who decided a few years back to change the course of her life. I had an immediate affinity with her when I met her a few months ago, having myself gone through a “Copernican revolution” of sorts when I decided to change my life and study perfumery. She now focuses on creating visual and textile art, has collaborated with various galleries and will feature her work in the upcoming  Rome Art Week (RAW: 21-26 October, https://romeartweek.com/it/raw/)

I asked her a few questions about herself and Pitti:

1- What led you to become an artist and what are your sources of inspiration as well as the tools/techniques you use to create?

In my family, there has always been an artistic bent: canvases, colours, brushes, spatulas and thinners all form a kaleidoscope of images and olfactory sensations that enveloped  my childhood. It is only in the last ten years, however, that I have dedicated myself to painting, my evolution as a painter is in constant development, my artistic vision is based on creative freedom and supported by continuous personal research. What drives me to paint is the primary, sometimes impelling need to communicate and share in a visual trace, stories and moods. And it is precisely this story that the female figures in my paintings express through body language and the immediacy of their imperfect image. They represent the various “versions” of myself, fulfilling my mission to cherish and represent emotions through collage, acrylic colours and photographs, that  are the linguistic tools with which I like to translate my visions onto canvas.

2- You are also passionate about perfume and have created, through the association you have created “Liberostile (https://liberostile.org/en)  a new prize focusing on the link between literature and olfaction, the Aromata Prize. What prompted you to create this award?

I have been participating in Rome Art Week since the second edition, when I organised for the occasion, with a gallery in the Monti neighbourhood of Rome, a group exhibition dedicated to the connections between literature and painting. Exploring the connection between literature and art forms has always interested me, I am fascinated by the expression, through the various arts, of the emotions aroused by reading a novel or the charismatic figure of a character. This is the idea behind the Aromata Prize, the first of its kind in Rome, dedicated to Italian and international artistic perfumery and structured like an artist’s  “call for art/call to art”. The intention is to highlight the creative aspect of master perfumers, who are, to me, all-round artists, on a par with a great painter or composer.

3- Let’s move on to Pitti, the place ‘par excellence’ of artistic perfumery, at least in Europe. It was your first time at the fair, what did you think of it and how would you define artistic perfumery?

This year was my first time at Pitti, a very rewarding experience, the atmosphere was that of a reunion of a big family: to find so many people I already knew and united by a passion for artistic perfumery was exciting. It was a joyous occasion for me and the opportunity for wonderful exchanges of view on the creative process.

4- Do you see any particular trends for emerging brands and for artistic perfumery in general?

Undoubtedly, oud and pungent woods continue to have a strong following among consumers that demand longevity from their scents, which is then reflected in the perfume offerings but I also noticed a lot of narcotic white floral scents and rich amber perfumes, so it’s a mixed bag. 

Music, memories, travel remain the most recurring sources of inspiration, while it seems to me that painting and literature are still among the least explored sources.

With this said, I look forward to both to discovering Laura’s creations during Rome’s Art Week and to follow closely the 2025 edition of the Aromata Prize for new and exciting literature and perfume “cross- pollination” experiments…

I will keep you posted, as usual! Until then, happy scent discoveries!

The post PITTI 2024: AN ARTIST’S POINT OF VIEW appeared first on Pixidis Perfumes.

It is said that all roads lead to Rome. Not the same can be said about perfumery. For the many who are eager to learn the art of perfume composition, the road is long, winding, often expensive, marked with obstacles and forks on the way, with side trails leading to nowhere and many opportunities to get lost. Was it always so?

Since the beginning of modern perfumery as we know it, which coincided with the advent of industrial chemistry during the second half of the 19^th century, the question of how perfume formulation knowledge is transmitted has been crucial. For a long time, the only way to gain this knowledge was through an apprenticeship with a perfumer, much like other artisans who have, since the Middle Ages, developed a system for the transmission and safeguarding of their craft. Ancient guilds come to mind with their master/apprentice relationship, essential for the quality control of artisanal output of trades such as weavers, cutlers, dyers, bakers, etc..

As for perfumers, it is a quite a bit later, in 1656, that the first guild of glove and perfume makers was established, representing one of the first important perfume trade associations. Glove and perfume makers were grouped because the unpleasant smell linked to the tanning process made all leather goods quite repulsive smelling and in-need of an olfactive “masking” process of sorts, which required perfume.

Going back to the transmission of know-how, this way of passing knowledge from master to apprentice was not only quite restrictive, it obviously also created an impenetrable barrier to those outside the guild.

So when did things change?

The first revolution and codification of the art of perfumery was done by Jean Carles (1892-1966), a French perfumer who developed a scientific method for studying raw materials and perfume composition. His method, which classified all raw materials in distinctive families, is based on a strict system for combining raw materials in different ratios until an ideal equilibrium is found.

This codification of perfumery knowledge happened quite late when compared to other art forms. To give a point of comparison,  music was first “codified” at the time of Monteverdi (1567-1643), over 300 year earlier. For perfumery, one has to wait until Jean Carles in mid-20^th century for some form of classification of perfumery materials and an official method for studying perfumery.

So what is the Jean Carles method? The basis is, as mentioned, a classification of all raw materials in families (floral, woody, spicy, etc..). Students are asked to study raw materials first by comparing materials from different families, so for instance comparing orange (citrus family) with sandalwood (woody family), then by comparing materials from the same family. For example, in the citrus family, you would compare sweet orange essential oil (EO) with lemon EO, bergamot EO, grapefruit EO, cedrat EO, lime EO, yes EO, etc., and also compare the same material with slightly different extraction methods or country of origin: sweet orange EO decolorized (versus the natural material), sweet orange EO from Brazil versus Italy, lemon EO FCF (fuco coumarine free) versus “full” lemon EO, etc. These comparisons are meant for students to appreciate and recognize the distinctive features of each material.

The following stage would then focus on learning the construction of simple accords, i.e. the combination of two or more materials to compose a mini perfume of sorts. This is when the method becomes very labour intensive, as, for example, when combining two raw materials, students would need to test 10 possible combinations. Take orange and sandalwood essential oils. You would need to try: 1/10th sandalwood EO to 9/10th sweet orange EO; 2/10th sandalwood to 8/10th sweet orange, 3/10th sandalwood to 7/10th sweet orange, etc… This is obviously quite a labour intensive method, and needs to be repeated each time one adds a new material to the accord.

This method was a clear departure from what people imagined to be a sort of Jean-Baptiste Grenouille (the protagonist from Patrick Süskind’s novel Perfume) process, where magical inspiration guided the perfumer in the selection of raw materials and their proportions.

Although the Jean Carles method is still taught, Calice Becker, master perfumer and current head of the Givaudan’s school of perfumery, talked at Esxence 2024 about how teaching methods have evolved. (see the interview with Calice Becker).

https://www.youtube.com/watch?v=0xs8gFgbmKU&list=PLvu7GGxyqhRa3demb_nuIp0MmTpgKVOUM

At Givaudan, when students look at a particular (natural) raw material, they study all the components of that raw material and then focus on “ingredients” that contain similar molecules. For instance, bergamot EO and lime EO are studied together because they contain similar molecules, such as D-Limonene and Gamma Terpinene. Materials studied together are sometimes from the same olfactive family (i.e. citrus, woody, spicy, etc.) but not necessarily. For instance, cinnamic alcohol is obviously present in cinnamon EO (a spice) but also in Tolu and Peru balsams, resins that both part of the amber/oriental family, etc.

Of course, Givaudan is not the only company to have such an in-house training programme. Other composition companies (such as Symrise, Mane, etc.) also have their own in-house schools where they take a few students a year for free in exchange of a life indenture servitude (not really, but they do have to sign exclusive contracts with the company for years).

So, companies like Givaudan, that control an enormous portion of both the production of raw materials used in perfumery and of the creation of perfume released on the market each year, are also the new gate keepers of knowledge. Their students will end up working in one of their productions centers worldwide but, as Mrs Becker said, there are very few slots available each year: in 2024, out of 2,700 applicants, 6 were chosen! Other companies have similar ratios.

You do the maths.

In addition, the criteria for the selection of students may have little to do with how “brilliant”, motivated or creative students are. It is, after all, a massive investment for the company to make, both in terms of years of training and signifiant resources poured into each student. They want to make sure they get the most out of their investment. So a predisposition to working in a model such as a big composition house will play a significant role, as will, I suspect, the country of origin of the student. With new growth markets being firstly in Asia, then Middle East and also South America, students from those regions will have an extra appeal to composition houses eager to make forays into those markets.

So where does that leave those wanting to study perfumery who don’t make it into composition houses’ training programmes? Generally, they first study chemistry as a first degree and then try to enter one of the perfumery schools, like ISIPCA or ESP (Ecole Supérieure du Parfum) or one of the courses offered at a French university such a Univesité de Nice Côte d’Azur, Université de Montpellier, etc.

Some of these courses are in French others in English. (For a full review, please look at the article in Nez magazine, that may contains some outdate information regarding prices but is still very useful: https://mag.bynez.com/en/reports/olfactory-education-how-to-cultivate-your-nose/where-to-train-as-a-perfumer/)

Then there is the GIP (Grasse Institute of Perfumery) created in 2002 by PRODAROM (national union of aromatic product producers) which does not require a degree in chemistry and is in English. Considered by many as the most prestigious school outside of the ones offered by the composition houses, it is extremely hard to enter and expensive.

Finally there is Cinquième Sens (for transparency sake, this is where I studied) which was created in 1976 by Monique Schlienger, a Robertet perfumer, and is an independent creation house that specialises in offering courses for professionals as well as perfume enthusists. They have schools in Grasse and Paris and offer a mix of short and some longer courses, like the one I attended called Designer Olfactif (a 6 month-course)  that is mainly aimed, I think, at people looking to create their own perfume brand.

Outside of France, particularly in Italy and the US, there are an increasing number of options to learn perfumery. In the US, the Institute of Art and Olfaction in Los Angeles teaches formulation and also has online modules. In addition, many independent perfumers teach creative courses, such as Mandy Aftel .

In Italy, Mouillette and Co (a franchising partner of Cinquième  Sens) offers a series of courses in Parma, some long, some short for professionals and perfume enthusiasts and has a good track record of placing graduates in various positions in the industry.

L’Accademia del Profumo in Italy also offers a course in Italian for Fragrance Evaluator & Marketing Specialist and further training modules are in the pipeline, as Italy tries to develop their own academic perfume learning programmes.

In Japan, the Japan Flavour and Fragrance School offers a three-year perfumer/flavourist course.

Then, there are what I would call the “introductory” online modules aimed at giving you a first “taste” of olfaction and perfume compostion. It is a good way in my view to test your commitment and your passion.

In the U.K., The Perfumery ArtSchool offers aspiring perfumers the opportunity to take online courses (300 hours) to obtain a Certificate in Perfumery Art. Karen Gilbert (https://www.karengilbert.co.uk/)  also offers a series of online courses (which I took several years ago) for aspiring perfumers, some short on-site courses in the UK and a useful online community of self-taught perfumers who have the opportunity to connect with each other through an online chat and regular online calls.

There are no doubt other short term courses I could mention, but it is impossible to list them all. The objective that motivates you to study perfumery, your age, previous academic degree, the time and monetary constraints you may have, as well as linguistic and geographical limits will all condition your choice.

So although we have come a long way since the guilds of the 17th century, one would be entitled to think that not that much has changed from the master and apprentice relationship of old. The gates of knowledge are still tightly controlled and dreams of learning to become are perfumer are not easily reached.

But there are today in the 21^st century more avenues than ever before for becoming a perfumer, even if many of those ways are not acknowledged or recognized by the industry. I would call it the age of chaos, intended in a positive way, going back to its Greek ethimology of “a void state preceding the creation of the universe”. It’s a state of flux. It also depends what you want to do. If your goal is to work within the industry and create the next Angel (by Mugler) or Baccarat Rouge (by Maison Francis Kurdijan), then you may need to follow the classic path to becoming a perfumer. If your objective is to create your own brand and express yourself creatively through scent,  in a way going back to the age of Guerlain and artisan perfumers of old, then the options are much numerous.

To illustrate many of these fascinating journeys , I will, in a series of interviews, talk with various people that have come to scent creation through their own creative path. I hope this will give heart to all those who are considering perfumery as their calling, as I firmly believe that following your dreams is what makes us human and that being repeatedly told that something is not possible should not deter one.

I will leave you with a quote from the famous novel “Letters to a young poet” by Rainer Maria Rilke based on an exchange of letters between the author and a poetry student, which I think would also aptly apply to perfumery students:

“No one can advise or help you—no one. There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; [..] This most of all: ask yourself in the most silent hour of your night: must I write? Dig into yourself for a deep answer.”

Wishing all aspiring perfume creators the best of luck, onwards and upwards!

The post HOW TO BECOME A PERFUMER? appeared first on Pixidis Perfumes.

Was it a metamorphosis? Is there one underway in the perfume industry?

Read on to find out…

Getting There

The first “metamorphosis” was the sheer number of people that visited the fair: 12,000 attendees compared to 10,000 the previous years, a 20% jump. The issue being that the increased participation was all concentrated during the last day of the fair (reportedly 5,000 people), the only one open to the public. This meant that for people such as myself, who had arrived early in the morning at the event, there was an over 2-hour long queue (under the rain) to get in …

Coming from Rome, which is a 3-hour long high speed train ride from Milan (and some people in the queue whom I spoke to had come from much further afield) it was a long way to come for little time on-site and poor access to brands and interesting presentations by industry insiders.

This was clearly not the best way to beginning the experience and a clear sign that organisers had been taken by surprise by the sheer number of visitors. It also meant that brands seemed stressed and slightly under siege, which again impacted the overall experience of the event. So my first recommendation would be for anyone genuinely interested in attending to avoid at all costs going on the one day opened to the public if there is any other way of attending (be it by invitation, as press, etc.) and for organisers to work out another system.

What’s new in the perfume world?

Thankfully, for anyone really interested in the state of perfumery, all the presentations are available on the Esxence youtube channel: (https://www.youtube.com/user/ESXENCEcom), some are extremely interesting, like the discussion with Master perfumer, and Givaudan School Director, Calice Becker about her career and the avenues (or lack thereof seemed to me) for people wanting to study perfumery, or the conferences dedicated to markets such as the Middle East or China.

I will devote separate articles or videos on some of these arguments, as the issues they broach would be too long to go into here. Suffice to say, based on the presentation from Fragrances of the World (the Michael Edwards’ organization) that there are a few take aways:

#1. Take away: niche is dead

First of all, the term “niche” perfumery is, at this stage, meaningless and needs breaking down in sub-sectors, as it covers realities that are too dissimilar (from small artisan brands headed by a one man/woman show, to big companies that have often been acquired by larger groups such as Byroad (Puig) or Frederic Malle (Estée Lauder)).

Since Esxence was create in 2009, there has been a 970% increase in the numbers of niche brands on the market (niche intended in opposition to “designer” brands, such as YSL, Dior, etc. that are traditionally the cosmetic and fragrance arm of luxury companies predominantly known for designing clothes and accessories). As of 2023, niche brands are responsible for the highest number of new perfume launches every year. They are no longer the exception; they are the majority.

#2. Take away: Asia and the East

Geographically speaking, markets that have seen the highest growth are China (growing at three times the speed of other markets), Oceania, Asia in general, and the Middle East. So, in a nutshell, look East with a growing number of locally grown perfume brands that are increasingly aiming at becoming international players, not merely local realities. I for one will be very excited to see how these brands grow, what they offer and how they transition to international.

 #3. Take away: loud is here to stay

Fragrance notes and families that have been popular in 2023 are not too dissimilar from those seen the previous year, with long lasting, base-heavy perfumes front and center such as amber fragrances, amber-woods and amber-floral. Meanwhile more natural, softer floral and woods have started being less popular (having experienced their haydays during the Covid pandemic), as well as citrus and green scents.

Some star ingredients featured in new releases have been ginger and cardamom, coconut, cognac, incense, soft leather and tobacco. Vanilla, an evergreen, has continued to be very present in perfume releases leaning on the gourmand side, as well as some fruits that were popular last year, such as cherry, mango strawberry and banana. Finally, “iced woods” have been popular in masculine scents, as woody notes are mixed with cooling spices for a counter intuitive effect.

Brands @Esxence: any trends?

Well with 360 brands present and 5000 people in the room, literally, it was hard to get a chance to explore most brands.

With a bird’s eye view, these are my take aways:

# 1. More diversity (and more non-European brands)

Compared to last year, I think one difference would be the higher number of brands that were not European and offered a different cultural take on perfume. Of course, and this will be the subject of a deep dive at some point, if you are a brand from say Japan or Oman and the perfumer or manufacturer you use is Firmenich or Givaudan, the result will still end up, in my view, being a fairly French-style of perfumery. As beautiful as that is, it’s not real diversity.

I know these big fragrance houses are now hiring and training “noses” from “emerging markets” such as Asia and the Middle East (I generally find that term silly and condescending, but I am using in here in the context of perfumery, comparing consolidated markets versus emerging ones), but still, their whole modus operandi has classical roots and the teachers at those big fragrance houses (Firmenich, Givaudan, etc.,) are mostly French or certainly European.

Some of the Middle Eastern brands present were quite gaudy and there were a lot of “bling” ornate bottles with loud scents full of aggressive amber-woods that made me want to run for the hills. Suffice to say, not everything there seemed to indicate luxury. There was even a house that clearly borrowed the packaging from a well-known English brand’s collection of scents, which was a bit strange to me.

But among the brands I met that impressed me was Gwahali, a UAE brand part of Haloub group. The manager of the brand, Forat Al Haider, took the time to explain the strategy behind the brand and the development of each scent, which he personally created in collaboration with Firmenich if I am not mistaken. From the presentation and a first smell of their scents, the objective seems clearly to offer an elegant, sophisticated line of fragrances that will appeal both to customers in the Middle East as well as international luxury clients. My overall impression was that they were going for a brand positioning similar to a “Maison Francis Kurdijan” (they brand themselves as ” modern oriental niche perfumes”). They come in a 100 ml format and retail in the UAE for 745 dirham, so around 187 EUR. They feel expensive but approachable and easy to wear. Nothing challenging, nothing pushing the boat too much, but beautifully done with quality ingredients. I feel compelled to say though that smelling/evaluating a line of perfumes at a fair is never ideal, so I will certainly make of point of trying to smell them again in an more objective environment and report back.

The packing, although beautiful, raises the question of what is truly luxury in 2024. Gwahali uses all the traditional codes of luxury: a very heavy glass bottle with a  “double” glass bottom, a very sturdy metal cap with engravings, the brand’s name in English and Arabic in elegant gold letters, etc.. The result is something that would look great on any instagram post or anyone’s night stand. Is it responsible? Is it refillable? Is the weight necessary? These are all questions some customers are asking.

But in an era of environmental crisis, I think each brand will have a different approach to how to interpret luxury (see Ph Fragrances’ opposite position to this challenge detailed later in this article, or the piece I wrote about this topic in June of last year: https://www.pixidisperfumes.com/packaging-and-perfume-does-it-mater-and-what-is-real-luxury/).

In a quite different direction, there is J-scent from Japan which is proposing an original line of perfumes from a country that has not yet produced a lot of  international perfume brands (Shiseido comes to mind, as well as Keiko Mecheiri and Di Ser). Their packaging is simple, with clean lines and feels very Japanese. The names of the various fragrances immediately conjure Japan: Sumo Wrestler, Hanamachi, Roasted Green Tea, Hakka. The notes are also original (wasabi, roasted peanut) and give a beautiful olfactive evocation of Japan. On the whole, it’s a brand that seems to be clear about what it wants to do, which of course works best when there are not a lot of competitors doing the same (i.e. translating Japan into olfactive form). Well worth exploring. My guess is this is more of a Gen Z brand (so your Glossier or Milk consumer if we want to translate this into cosmetics brands).

Of course, this begs a broader question of how will local brands from the Middle East and Asia, that are looking to appeal to international customers, proceed? I personally think that trying to be a “niche brand” that resembles a French or Italian one, will likely results in a loss of “soul” and individuality. I would be more excited to see brands really owning their diversity. Focusing on local notes and accords or on a different way of applying and conceiving fragrances, allowing us to discover something new. In the panel discussion on China, there were some exciting news about ventures between Chinese brands and Western luxury groups, for example L’Oreal’s investment in Chinese fragrance brand “To Summer” which presents itself as a brand that reflects Asian/Eastern sensibilities and tastes (see: https://centdegres.com/work/to-summer-your-eastern-scent/).

Only time will tell if the metamorphosis in the fragrance industry starts East.

# 2. Customisation

I think the whole issue of layering and creating a “customizable” scent is still very much part of what some people on the market crave (possibly especially in the USA according to the talk on the US market you can find on Esxence youtube channel), and EPC (Experimental Perfume Club) has very smartly plugged that segment. The brand proposes a series of scents that can be combined directly by the customers to create a personalized perfume (called the “Essential Collection” comprised of 9 different scents, such as Fig-Neroli, Amber-Iris, etc,), as well as a collection (the Signature Blend Collection) that offers a curated blend of two scents from the essential collection such as for example “Santal Nuit” which is a mix of “Bergamot-Incense” and “Sandalwood-Musk” from the Essential Collection.

The advantage of the second collection is that you don’t need to buy two scents (they cost 20 eur more though, so 150 eur for 50 ml instead of 130 eur for 50 ml for the essential collection) but it takes away from the main concept of the brand of allowing consumers to “play at creating their own perfume”.

#3. Sustainability and Ethics in perfumery

Finally, and these are issues near to my heart, sustainability, transparency and “ethics” in the fragrance industry. These are still challenges that some brands are committing to tackling earlier than others and where a lot of work remains to be done.

I mentioned last year “Parfumeurs du Monde” a brand that has taken the approach of offering all-natural perfumes relying on master perfumers such as Bernard Duchaufour for their creations, as well as the brand creator himself, Thierry Bernard. They are also committing to donating a percentage of their sales back to the planet with associations such as “Coeur de Forêt”. I really wanted to catch up with the founder Thierry Bernard to see how they were doing but the quantity of people at the event and general lack of time made it impossible. I would like to try to organise an interview to have an in-depth look at the brand in the context of a piece on natural perfumery in the months to come. Watch this space.

Another brand that caught my attention was Ph Natural. I met the owner, Camille Le Feuvre, at the end of the day and she seemed utterly exhausted and vented her frustration at how hard it was to convince distributors to take a chance on an eco-responsible natural brand (formulas are according to the company between 84% to 93% natural). Camille has over 15 years’ experience in the fragrance industry, working for the likes of fragrance titans like Givaudan.

Remarking on her experience at the fair, and I am quoting her post on Linkedin, which echoed what she told me at Esxence,  “The Ostentatious, the Gold… was omnipresent again and again. Does the old luxury still exist?There were [close to] 400 Niche perfume brands in Esxence last week…But we were only 10 actors of change for more sustainable luxury, more committed to health, the environment and society, but believe me, within 5 years these figures will change”. According to Camille, Ph Fragrances uses over 40 raw materials in their fragrances that are “sustainable” (i.e. respectful of both nature and the human and natural habitat in which these materials are cultivated and harvested, hence their increased cost).

The brand also has home scents as well as cosmetics products and their scents retail for 160 eur for 100 ml or 48 eur for 15 ml. They come in brown tinted bottles ( I think because they choose not to use UV filters in their fragrances), with a gold cap and simple lettering.They feel modern and urban. They called themselves “clean”, which is a term that bothers me generally speaking, and they explain why they chose not to use a series of substances out of a principle of precaution (better safe than sorry). I have no real memories of their scents, it was too late in the day but it seems like they are also taking the route of putting two main ingredients forward for each scent.

Next Year?

So as a conclusion, was Esxence a metamorphosis? Not yet. But things are changing rapidly and Esxence, if they manage to improve their organisation, is an exciting place to get the low-down on what is happening.

Until next year and happy sniffing and olfactive discoveries to all!

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I believe in the luxury perfume world, it is still important, despite some industry insiders’ claims that “real perfume lovers don’t care about packaging”. The flip side of that argument being that if you do care about packaging, you don’t care about the “juice”, the perfume itself. I find that statement both wrong and naïve.

But what does “important” mean in terms of packaging? I think anyone going to a high-end department store or niche perfume boutique will be familiar with the sight of the 50 ml perfume bottle made of heavy crystal, weighing as much as a small baby, adorned with fake jewels and gold ribbons, nestled in an expensive faux- lacquered wooden box, with high sounding names in dubious French and retailing anywhere north of 350 eur.. All this screams crassness, high-way robbery really, and not at all luxury to me, but this is still the packaging that a lot of brands that market themselves as upper premium brands choose to justify their prices (hello Roja Dove, Clive Christian, Fragrance Du Bois, etc. the list goes on).

The other end of the spectrum is indeed small indie brands that seem determined to counter this and communicate with their packaging that they are serious, artistic, hip and too cool to care with simple lab-style bottles, black and white labels with a font that looks like what Ernest Hemingway might have produced on his typewriter in Cuba circa 1950.

What is there in between? The world. A world that is fast changing. A world that if you have any interest in perfumery, or the planet for that matter, you should care about.

Because increasingly, packaging is being asked to reduce its impact on the planet. To avoid adding to the already disastrous plastic tsunami that seems to have polluted every corner of the world. To opt for recycled paper. To use no toxic inks. Prefer lighter glass material to limit weight and carbon footprint, etc. In a nutshell, to create a way to “package” a product while reducing or offsetting its impact on the environment.

At the Luxepack event dedicated to environmentally responsible packaging in the luxury sector in Paris in June, some the various philosophies around “green” packaging and luxury were discussed by industry trend setters. At the core, the debate was around a packaging that is either recyclable or reusable. Each pose their own challenges. Stella by Stella McCartney focused on offering refills for their beauty products, while natural beauty brand Amalthea offered consumers the option to refill their products either in store in their boutique in Paris, or online. But then who pays the postage? What about the challenges of cleaning and sterilizing the bottles? How much energy is used doing that? No option is easy and for small brands without their own Point of Sales, it might be impossible. While arguably simpler, the refill is also creating more waste, albeit with a lesser impact than the initial full packaging. But economically for a brand, how can you be sure people won’t just buy the refill? Decisions, decisions…

Some brands focused on next generation materials that will hopefully provide easy, “clean” and viable alternatives to plastic and polluting materials. (hello paper made from the waste from the agro food business. What about algae tuned into resilient bio plastic?). We are back to the Steve Jobs’ quote about packaging being the story but these materials are not yet accessible to most.

But more fundamentally, the real discussion was around the definition of luxury. What is real luxury? Or to put it as the man who knows a thing or two about luxury, Bernard Arnault, CEO of LVMH and currently richest man on the planet, what is “desirability” (a term he prefers to that of luxury).

For instance champagne producers Perrier-Jouët have bet against industry trends with their traditional heavy champagne bottle’s boxes and created an outward packaging for their most prestigious champagne that “dresses” the bottle like a coat, enveloping it like a piece of clothe. Minimal, elegant. The message is clear. Real luxury is minimal packaging but done with an investment in design and new materials, certainly not cheaper than a classical champagne box (they didn’t divulge the price). According to their sales figures, it has paid off handsomely.

For a long time there has been an association between “heavy” packaging (so in terms of the perfume sector, one would think of the weight of the bottle, the sturdiness and thickness of the paper box, the weight of the metal cap of the bottle, etc.) and luxury. A luxurious product is an expensive product. And an expensive product is justified by “expensive looking” and heavy materials. Some, as mentioned in the beginning have taken this concept and corrupted it, to create a packaging that is not only not sustainable (plastic and heavy glass galore) but also not really durable or reusable (not really wood, not really gold, etc…). It just looks expensive.

I believe this conception of luxury is condemned to die. The alternative does not need to be:” let’s not care about packaging” but should definitely be “purposeful packaging”, with manic attention to detail, investment in design and new materials when possible, not the sloppy don’t care attitude that some indie brands have adopted where labels fall off, flimsy boxes collapse, bad quality perfume bottle’s caps leak, etc. (I have to say that I totally understand budget restrictions, and that this also happens with more “luxurious brands” which is much more outrageous, but even constrained by budget and a cheaper packaging, I think attention to detail is important ).

Every element of your packaging must be thought through, must be intentional, in line with your brand. And must take into account the fact that we can no longer produce things without taking into account its environmental impact. This will have consequences on the price of your product but done correctly, and transparently, it can become part of your brand story.

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