How to become a perfumer?
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 19th 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-20th 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 21st 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!
